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nightsmudge · 4 years ago

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Hope you all had a good and safe Halloween! Finally, I found the time to write down all these descriptions:

Day 25: Spirit Buddy During my work shift that day, I spent a good chunk of my time just trying to come up with a good design for a little spirit familiar idea, even going so far as to doodle out ideas on a piece of scrap paper whenever I had a moment. I ended up with a really adorable design that I liked a lot, and I need to draw a full reference pic when I get the chance.  The guy is a witch/shaman/divinator (I’ll research more later) who’s a college student. He inherited a book of spells and magic from his family line, as well as a little wooden pendant that contains a spirit who’s supposed to act as a familiar.  So far what I’ve come up with for the familiar is that they act sort of cat-like, being intelligent and slightly cheeky, but overall chill and helpful. Sometimes he’ll act cute because he knows people find him adorable (and like hell he’s going to turn down the attention). It’s also not unlike him to give a big slap to the face to whoever’s freaking out and needs to snap out of it, or to just yeet an object with his big hand-tail thing.  There is so much potential for shenanigans with this creature and I love it Day 26: Run and Hide Little Rabbit Ok, the story idea I came up for this demon is fairly dark  Like, it’s kinda messed up. Spike was born in a rural area full of farms and fields, in a place right next to a forest, and with a human population who was oblivious to magic.  When Spike was just an infant, his mother was killed, being hunted down by the local humans because she looked like a monster, and Spike was left at the edge of a forest. Luckily, he was found by a friendly farmer who raised rabbits, and mistook the demon infant for a strange defective rabbit due to his small size, large ears, and digitigrade legs. For most of his childhood, Spike was raised as if he was just a rabbit, the kind farmer waving off any remarks about his strange appearance. The farmer believed that Spike was just one of those rare instances of a genetic mutation, and cared more about Spike being a sweet little thing. However, as Spike grew, the kind farmer started to find less and less possible explanations for his appearance, at first thinking he was a Flemish giant rabbit, but then wondering if he was an entirely different animal due to his size. It wasn’t until Spike started to babble and imitate human speech that the kind farmer grew terrified. One of the neighbors suggested that Spike be released into the wild, and the kind farmer reluctantly agreed, wary of what Spike actually was.  For a while, the kind farmer would go out into the forest to leave some fresh food and water for Spike, but unfortunately he died a few years later due to a heart attack. It didn’t take long for the other members of the rural town to catch sightings of Spike. Out of their fear, Spike became known as the monster that stalks the town and the forest, and people immediately took up arms in case they ever saw him. Due to him being raised amongst rabbits, and him being chased down by every human who saw him, he became incredibly timid and fearful of everything.  As he grew into an adult, he wanted to stay far far away from the humans, but he had no choice but to sneak into their fields to steal food in order to sustain himself. This lead to the townsfolk becoming even more terrified as time went on, creating their own rumors and superstitions over the lumbering monster that came out to hunt at night. Even going so far as to blame every injury and bad occurrence on the skittish demon. It wasn’t until the village started to organize mobs to hunt down Spike that word began to spread about the monster in the woods. At this point, some of the more magically inclined individuals began to hear about this, and word got to the Magical Beings Protection Society. The MBPS sent out a rescue party to retrieve Spike and wipe the memories of all the townsfolk, and thankfully the mission was a success. However, they found that Spike’s mental state was long gone, a life of delusion and fear taking a severe toll on his psychological health. Spike could speak, but he was very insistent that he was a rabbit, no matter how many discrepancies were pointed out to him. He was admitted to the closest mental institution in a magic-friendly town, Ombra Nera, but no amount of care or treatment could fix him. He was so distressed about people not believing that he was a normal rabbit, on top being trapped inside a hospital, that he escaped on the first chance he got, and made a run for the forest that surrounds Ombra Nera.  To this day, Spike hides in the deepest and darkest parts of the forest surrounding the town, forging for roots and grass, and nervously muttering to himself about always needing to hide. He is doing better in the deep forest now that he is no longer being hunted, but his mind remains broken from years of neglect and abuse. Day 27: Punk Rock Satyr I was initially thinking of just drawing a human, but since I was studying Greek art for my art history class, I decided to go “fuck it, I’ll make her a satyr” I think I might make her friends with that one demon character idea with the huge cage/mouth tail thing Day 28: Floating Little Angel I didn’t have much of a plan or idea for this one, I just wanted to make a long and skinny creature that was very reminiscent of the character designs I liked to make up over 5 years ago  And I guess I decided to make it a sort angel? Idk, I just wanted to play around with the markings to make it look like it has psychic magic Might need to redesign this one to make it more consistent with the rest of my characters Day 29: Big Shoes The first thing that popped into my head was just this little gremlin with giant cartoony shoes It kinda reminds me of Webber from Don’t Starve Days 30-31: Ominous I wanted to end with a bang, so I decided to make one big drawing for the last couple days of Inktober This guy is another Necroform- a very powerful and high ranking Necroform as a matter of fact. Not sure what I’ll have him do in the afterlife realm, but all I know is that he’s probably about 15-20 ft tall Also I got the idea for his wings from those cheap skeleton animal figures that were popping up as Halloween decorations. Whoever makes those things probably doesn’t care about being anatomically correct lol I apologize for taking forever to update this, I've been trying to catch up with homework, and I've been trying to combat burnout

#Inktober #inktober challenge #inktober 2020

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leiascully · 6 years ago

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Smut: You’re Doing It Wrong (Or How To Do It Right)

Long ago in a far away land, I wrote a primer on all I’d learned about writing smut. I thought I’d reproduce it here for posterity, because it helped some people (not because I think anyone around here has a problem writing the filthiest of fictions).

The first rule of smut writing is don't be afraid. Smut does not have to be difficult or intimidating. There was a time I swore up and down that I'd never be able to write sexy scenes, but it's all in the way you approach it. This primer is designed to give you some things to think about to make your smut writing easier. If you've never written smut before, great! If you're an old hand, you might still find something useful or have something to offer. The sexiest thing is character. Hands down. Why are you writing or reading this story? You wanted to see these two (or three or four, etc.) people (or tentacles, or ghosts, what have you) get it on. Sex being rather mechanical as a matter of course, what distinguishes the act between these two (etc.) people (etc.)? Character. No matter who's doing what to whom, the motions and the emotions and the hydraulics are going to be similar. It's the interpretation through these characters that got you to read or write this particular story. The reason an act is sexy is because of the people who are participating in it. Smut is not about what turns you on, necessarily, so don't get embarrassed about it being too personal. Writing smut isn't about your personal tastes, unless you want to throw them in. It's about what turns on the characters you're exploring. Some thing are fairly universal, when it comes to sexiness, but you have to give it the flavor of the actual actors in the scene. I'm fortunate enough to have what I call the porn trance: I kind of space out when I'm writing a story and the sex doesn't distract me. Here are some questions to ask yourself when you start a story: First, who's in it and what are they doing? What point of view are you using? Third-person limited is the most common, because third-person omniscient could get confusing; first and second person usually require a little more work (second person particularly can throw a reader out of a story). Sticking with a perspective will help you. Second, what's the goal of the story? Motivation is key. Is it physical or emotional satisfaction? Stress relief or ephiphanies? Behavior can be altered by situation, intoxication, or other circumstances, but motivation is tied specifically to the character, even a general motivation to get laid. Third, how explicit do you want to get? This is also dependent on your characters, but what matters most is what you're willing to write. Some characters will think about sex in explicit terms. Some won't. There's a happy medium: you don't have to describe every single touch or feeling, because your readers will fill in the rest to a certain extent. You only have to write what you're comfortable with. There's a starting place. Here are some more specific points. I use examples from my own fic not because there aren't many, many other good smut writers, but because I can show you my own process a lot better than I can show you someone else's, porn trance or no porn trance. 01. Pacing and general writing. We could write Hemingway-style smut. It would be possible. It would go a little something like: "He thrust into her. It felt good. He thrust again. Her face was red and that made him excited. He liked fucking." It's valid, certainly, but it doesn't really interest me. The tone of your story is important. There's triumphant sex and awkward sex and drunken sex and shameful sex and nostalgic sex. What are you trying to achieve? Through whom? Save the three-dollar words for the serious fics with the verbose narrators. Your word choice depends on your character and the general atmosphere of the fic. Sentence length will really help draw your readers along. There are people who have coherent thought processes during sex, but part of the point of sex is that it's a relief from all those thoughts. Longer sentences feel more connected and they help streamline the action. A lot of choppy sentences will break up the scene too much and knock your reader out of the story a bit. As in the actual physical choreography, you want everything to be smooth (even when the action in the story is anything but). Given that the goal of a smutty story is fairly clear (right?), there's a logical progression toward the inevitable bliss or lack thereof. Using longer sentences toward the climax of the story will ease that transition, even if you start with short sentences. It'll also make your story more somber than short sentences will. Happy people will flit from though to thought a lot more than melancholy people. Pacing can really give a feel for the character's voice as well. For Lipstick and Stilettos (The West Wing, Amy/Ainsley), which is from the perspective of Ainsley Hayes, I think I used more parentheses than anyone has a right to, but Ainsley's speech is full of parenthetical remarks; it stands to reason her pillow thoughts would be too. Meanwhile, in that fic, Amy hardly says anything, but it gets a point across. Grammar is, of course, always important. Depending on your character, you may use correct grammar or you may choose not to, but this should be conscious and in keeping with the character's voice. Semicolons, in addition to being inherently sexy, are very useful for linking shorter sentences without breaking up the rhythm of the narrative. Learn them. Love them. Using them correctly isn't tricky: semicolons can connect two complete sentences or several clauses in a list, but they shouldn't link fragments of sentences. One thing I tend to do is pick one metaphor and stick to it. It helps give the story coherence while still letting you get figurative. For stuff in the BSG-verse, I talk about flying, which can incorporate takeoff and gravity and speed and grace and power and violence, depending on what you need. My House stories involve a lot of light, for some reason. Again, stick to things the characters know, and keep it reasonable. Mulder's likely to verge into figurative language. Jayne from Firefly is not, regardless of the fact that he gets most poetical about his pecker. A note with same-sex pairings: pronouns can get confusing. Epithets are just as irritating in smut as they are in regular fic. Try using names instead of "the redhead" or "the young-but-not-underage witch" or "the brown-eyed boyishly handsome oncologist". This is where perspective can help you: if your speaker is implied by the point of view, the reader can probably sort out a few extraneous pronouns. 02. Motivation. Everybody wants something. They want to give something or get something or share something, even if it's not with the person they're having sex with. It's the wanting you're trying to capture, and whether they get what they want. As the philosopher Jagger has told us, we can't always get what we want. Change the variables and the whole equation is altered, not just the answer. I wrote a fairly short and non-explicit House fic called Too Soon To See If I'm Happy In Your Hands which was Cuddy/everyone, where she slept with each of the other five main characters in turn, and each section has a slightly different feel. Each of the people she's with wants something different from her; even if she's not sure what exactly she wants from them, the differences are clear, and she knows what she doesn't want. This, of course, is part of character and should be tuned to whatever character you're writing. A lot of times people aren't quite sure what they want, but you should have some idea of how to get them to some point of equilibrium, or a point of desperation if that's what it takes. There has to be mental or emotional action along with the physical action. Even if your character has a lot of non-commital sex, there has to be something that sets off that desire, and some way in which it is resolved or sharpened. Why? This is the most crucial question of your story, and the one that can be most useful to you. Having sex for the sake of having sex is a legitimate motivation and frees you up a bit, but that's not true of every character. Asking yourself why these people are where they are lets you dig into the characters even more, and helps bring out the things that are true about the character, whether you knew them or not, even if it's just "Wow, this person loves to get it on." Once you know why, you can add in all the things that make the fic rich. You may have to figure this out by writing until you come to a conclusion, or you may know to start with. Either way, the why's the thing. 03. Details details details. Rule number one in not being afraid of writing sex: smut does not have to be explicit. Smut does not have to be chock full of anatomical detail (unless, perhaps, you're trying to put together a couple of doctors, who might know those words and think of them that way). It can be vague and breathy, all the focus above the belt. It all depends on what you're comfortable with, and what your characters are comfortable with. If what matters to your characters is the emotions and not the physical sensations, then you hardly have to describe the physical. One of the most explicit pieces I've written was Stretch Me Out On A Blanket Of Sky (Battlestar Galactica, Starbuck/Racetrack): nobody is going to believe that Starbuck and Racetrack are deeply emotionally involved when they're both known on the show for sleeping around and they don't spend that much leisure time together, so it requires a lot of specific, explicit physical detail. Meanwhile, in Red, Yellow, Blue, saying that House and Cuddy have sex is enough: the rest is incredibly vague, except for a few specific (not explicit) touches, like his hand on her hip. I think of it in film terms most of the time. Some scenes are soft-focus, some are oversaturated, and some are close-ups. You have to know your characters. What words would they say or not say? Even if they're not speaking during the fic, the way they phrase things in their thoughts is important. A good test is which words they'd use for genitalia and other interesting bits. Cock? Dick? Prick? Schlong? Cunt? Pussy? Vagina? Tits? Balls? Boobs? Testes? Do they use one for their own and another for someone else's, if it's a same-sex pairing? Some of this is cultural: Brits and Aussies seem more likely to use "prick" than Americans, but mostly it's personal to the character. Which brings me to the most important rule that isn't "don't be afraid", which is: submerge yourself in your character. Use their words. Notice the things they'd notice. The key to writing smut is not writing what you find hot, or what your audience will. It's got to be true to the character. Jim and Pam from The Office are not nearly as likely to get into a truly kinky situation as, say, Mulder and Scully from The X-Files with their much darker pasts, or House, who hires prostitutes. If House sleeps with Cuddy, he's likely to notice her breasts, since that's what he so often comments on; if he's sleeping with Wilson, he's probably more likely to mention something about Wilson's tie, or how he looks tired, or talk about Wilson's weight. Even in a Porn-Without-Plot, using a word your character would use can tie the story into the canon characters a lot better, which deepens whatever's going on, no matter how shallow the action. Pay attention to the way things change the more naked (or at least more physical) your characters get. Ordinary everyday things become significant when you're taking your clothes off. Secret freckles. Scars. The way underwear feels. The smell of deodorant or sweat. The space between the people: Wilson, getting close to House, starts to think in metric instead of Imperial measurements (Proximity) and that changes the way he perceives things, and shows his frame of mind. Cuddy pays a lot more attention to her fancy underwear when House is around (It's Kink But You Don't Ever Tell Her). Wearing dogtags constantly desensitizes Kara to them, until she and Kendra are both naked except for those tags, at which point, they become extremely noticeable (put your finger on my trigger). Physical mannerisms and limitations are important, too. With House, you always have to work around his leg. Bosomy women are going to jiggle if you make them do bouncy things. The defense mechanisms that people have, they're going to employ just the same when they're naked. Scully will still cross her arms and raise her eyebrows. Han Solo will probably still strut around in the all-together. They look different and they may move differently, naked, because nudity makes you vulnerable, physically and mentally. Who among us is entirely comfortable without clothes? I thought not. Your characters probably aren't either, unless you're in the porn star fandom, in which case, I suppose none of this really matters. Everyone has an insecurity or a way of protecting their vulnerabilities. It's good to capture these mannerisms. It makes people remember why they're reading yoru story, which is because it features the people they wanted to see together instead of faceless mannequins. Sex is a great equalizer. You have to put the differences in. 04. Situation. The situation itself is important mostly because of the limitations. You can put people wherever you want, theoretically; the limitations of where people can and will have sex are dependent mostly on the physical limits of whatever 'verse you're playing in. There are smutty AUs that are fantastic. There are supply closets and boudoirs and picnic tables. You can get your characters drunk, you can get them high, you can have them in emotional states that are out of the ordinary. What you really have to watch for is how the situation affects the motivation: who's likely to walk in? How much does the physical space change what they can do? Is someone going to fall off the couch or through the unlocked door? Is the bed comfortable or hard? Do you really want to have that kind of sex on that surface? No, I rather thought not. Is the sex time-sensitive? How strong is the gravity? How much does what else is in the space matter? Choreography matters. Readers notice when improbable things happen, like two people of disparate heights having sex standing up. Your audience may be able to suspend their disbelief for a time, but check your choreography anyway. This will keep you from giving your characters more hands or limbs than they actually possess. I have, in the past, been known to do stupid things like move my arms around in the air, or play footsie with a table leg, all in the name of research. A lot of times it's better to keep things slightly vague: your readers can compensate for a hand that's mysteriously somewhere else for five minutes. Try not to have anyone bend in impossible ways, and try to make sure the relevant bits of clothing are accounted for. This is of course part of the "details details details!" creed, but often, the space around the characters is secondary to the space between the characters, so I'm giving it a separate and less important section. Just make sure your characters aren't having sex on a plank or something, or in a vacuum. 05. Different kinds of sex. Physical, mental, and emotional issues play heavily into what kind of sex your characters are having. How does the action match up with the tone? How does the character's well-being affect what they do in bed? Older people, for instance, probably can't have rough sex up against the wall. Suit the mood and the position to the people who are in the story. There's no reason that energetic sex can't be sweet or slow sex can't be angry or emotionless. However, in general, tender sex means tender emotions. There are plenty of places to touch someone aside from the obvious erogenous zones; a little variety makes your smut so much more poignant and emotional. But the physical should match up with the emotional to some extent, or the difference should be made clear. As a general rule, it's much easier to have rough sex with someone you care about than tender sex with someone you wouldn't know if you saw them the next day. Again, this comes down to character, character, character. Maybe your character's a sex addict. Who knows? There are writers who write very realistic sex. cryptictac comes to mind as the gold standard in the House fandom. Let's get real: sex is weird. There are funny smells and funny sounds and strange situations. Some things don't feel as good as other things. There are nice touches and awkward touches and that varies from person to person and time to time. However, most smut stories gloss over things like condoms, dental dams, unfortunate or uncomfortable positions, and lube, and that's fine too. It depends on your characters' mindsets and the tone of the story. Is your character mostly comfortable with his or her body? Is the heat of the moment enough to draw your character out of their body enough to focus on the sexy parts instead of the inherent humor of the naked human body? Does your character take solace in that humor, or do they get all artistic and poetic about nudity? Each person is different, and it may depend on their partner. Vary your positions, if it goes with what your characters might do. What are they willing or not willing to try? Some people are pretty much always going to stick to missionary. Some need other options. Some people are going to experiment. Some people have a lot of experience. Some don't. Who are you writing? How do they feel? Position may affect the emotional impact; some are more intimate than others, depending on how much eye contact there is and how rough it is. Do your research. Babeland.com is a great reference tool when you need to look up lubes, toys, or other sex-related paraphenalia. SexInfo101.com is useful when you want to know the names of sex positions you didn't even know existed. There are tips for all kinds of things on the internet. If you're not sure about something, look it up. Presumably, if your character is doing it, they know what it is and what it feels like, or they will when they're done. Somebody has to know what's going on (or maybe they don't, but then you have to capture that uncertainty). I've written a number of stories about things I've never done (for instance, I'm not a gay man) and the thing that got me through it was research. It's great to stretch yourself and write about things you've never experienced, and it can really help you get a handle on a character, but you have to read up first. Read sex tips. Read other people's stories. Read read read. I hope you feel more comfortable now. Remember, even a small detail that's true to your characters can make a situation more poignant, no matter how many clothes they've still got on, or how soft-focus the sex is. Go forth! Write smut! Post it for Smut Tuesdays (bringing back the old challenge)! Expand your horizons. Remember: the more you write, the easier it gets.

Acknowledgements: Penumbra helped me title this. Zulu and @dilkirani read it over for me.

#writing #the smut primer #my fic #smut #smut writing #how to make them do it

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fraidycat-art · 7 years ago

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Can you help me understand Corrin’s dragon form? If Corrin took off their armor, would the armor not appear on the dragon as well? How the hell do the arms work?? Are they bent like a horse?? Or just straight up backwards human elbows like it looks?? And the face? An egg with Horns and movable lower jaw?? How do you bite? I mean maybe this is just a partial dragon form? Because they get jaws in their half-state during crits (from their arms)

Can you help me understand Corrin’s dragon form?

yes but we’re gonna need this.

If Corrin took off their armor, would the armor not appear on the dragon as well?

I mean, from how I understand, its a very real possibility. Proceed with warning because every dragon!corrin model is different i cannot make that distinction loudly enough, their differences are mostly skin-deep but on the sm4sh corrin model, there is a clear difference between flesh and scales - all in places that aren’t easily analogous. This makes it easy to group them when drawing, though!

The long neck, the tail, and the upper thigh/hips are particularly noteworthy for your idea. They are clearly muscled. You can also see it partially on the wings, but the torso plates stretch to it. Its particularly possible if you want to explore that area! I think that armor-swap versions of the dragon would be rad as hell.

How the hell do the arms work?? Are they bent like a horse?? Or just straight up backwards human elbows like it looks??

WELCOME TO MY SPECIAL HELL. This keeps me up at night! This very question has ruined me. That’s been the question every single time that I’ve drawn dragon!corrin (hence why I’ve drawn so many lately) but I think I’m finally settling on an anatomy that lets me rest. They are bent like a horse, and Corrin tries to move like a horse, it is not horse anatomy, but he is not structured like one. I’ll explain.

First off, let’s look at corrin with human-ish anatomy. Two arms, two legs. Normal stuff.

I use this most of the time, it allows for the front legs to twist enough to meet what Corrin does in cutscenes. The elbow is possible in theory, I try not to think too hard with this - its a simple re-arrangement at the elbow so that the radius lifts upwards. Up until rececntly, I really liked using this - its easy to remember and put my fucking soul to rest. Its really good, without collarbones the shoulder can be twisted any which way - the beauty of a girdle! I figured this was as close to what the actual inspiration was… until I really, really started thinking about why everybody thinks about horses first, and why human arms just… didn’t work. So come with me down this garden path, and look at this corrin with horse legs.

Horse legs are beautiful. They are nice and straight, they bear weight, and they have many points of articulation perfect for motion. Corrin does not have that, Corrin has one major joint and a wrist. See that horizontal bone under the scapula? that’s the radius, together with the scapula that makes the shoulder and the armpit.

However… corrin does not have a visible shoulder. Corrin also does not have an armpit. There is ribcage and then there is leg. That keeps me up at night. I had no explanation! Everything above the tibia and fibia do not exist in corrin. Every animal has that, but It just doesn’t fit! But… it works. When you look at corrin, you see a leg, and you see something along the lines of a horse. Here’s the kicker: there’s a reason you think of horses - despite everything.

for context: Here’s Spirit, an animated horse and source of my artistic inspiration! Dreamworks put a lot of time, effort, and money in order to animate Spirit as anatomically correct as possible. As you can see, it has the correct knee bend for Corrin, but it has a definite shoulder and armpit. So… why are we all thinking about horses when we see Corrin?!? He doesn’t have those!! He also doesn’t have hooves, or even a pastern! This was the first thing that ever struck me about Corrin - I’ve seen those legs on horses before. I’ve seen those legs a lot and I screamed every time I saw them. So why? Why are we thinking about horses when we look at Corrin?

Horses in anime are animated while extremely simplified. It saves on budget, but this means that it trickles down into manga - and eventually into regular art as well. Now take a look at Corrin again…

… I know… I know. Some dude in the design chair saw a huge quadrupedal animal, thought about horses, and drew the anime budget horse leg. Its actually a really prevalent trope! Corrin’s weird legs have been incorrect horse legs this entire time, right under our noses. I know dude - it flies in the face of all comparative anatomy, its wrong, no animal has hind legs for front legs. So the more you think anatomy for Corrin, the more misguided you become. So with this in mind, I personally threw anatomy away - yet it came back and hit me in the face again. Yeah you could get away with human arms for front legs, but… if we’re going for what the inspiration was…. if we’re cutting to the bone…

The front leg is a human leg with the toe bones re-arranged and stretched into a hand. It works better than human arms, in my opinion, as the extremely stout palm on the hand suddenly makes sense. The heel bone gives something for the thumb to anchor to. There is a tibia and fibia for rotation. There is a KNEE. A god-forsaken real knee. There is no scapula. There is no radius. There is, however, a brand new ball-in-socket joint in Corrin’s ribcage, which will wake me in a cold sweat once a month - but by god - THERE IS AN ANSWER.

As well, the human-leg-for-front-leg theory allows for the chest fuckery that the 3d models display. In both Sm4sh and Fates corrin is able to rotate the leg outwardly from the body to a truly startling degree. I briefly played with the idea of a two-hipped dragon. Corrin is a disaster and I love him.

A note on the hind legs: Its the same mystery, but not one as enthralling as the horse connection. its another artistic trope found in folks who are just starting with animals (particularly cats and dogs) to have the femur and tibia+fibia all curled up like that w. elongated metatarsals - this makes the hind legs INCREDIBLY LONG, however it happens to match what our eyes see in an animal’s sillohuette.

(note: yes, corrin’s thighs are incredibly beefy as a dragon.) This isn’t fully extended in my opinion! with the human arm theory, I couldn’t tip the ribcage upwards due to the scapula, but I’m not joking when I say that Corrin can likely rest his whole body on his chest without losing touch of the ground with any limb. The hind legs are gigantic, but the proportions are too far away from a rabbit’s to be used for hopping. This is why in most cutscenes, animations, ect of Corrin he usually has his hind legs parked behind him or to the side of him. They’re too long! Corrin’s resting state for his hind legs is a crouch.

(pictured: corrin’s beefy dragon thighs. note the wide stance and parking! intsys why… i dont understand… why is the dragon thicc? to be analogous to corrin? is corrin thicc?!?)

TL;DR: Corrin’s legs do not have a comparative anatomy to any one singular creature, mostly due to its complete reliance on artistic tropes instead of actual anatomy. That doesn’t mean we can’t make sense of it with bones, however.

And the face? An egg with Horns and movable lower jaw??

Egg is a strong word for the shape Corrin’s face is. The sm4sh model is generous, face on and left-to-right, the head is so close to being spherical that it might as well be. north-to-south there’s a bit of a hump on the topside due to the exposed spine, it thins out near the nose just a smidge - but its a very, very slight egg shape. My rule of thumb is to just draw a rounded neck, pinch the end just a touch. There’s no notable jawline under the faux-jaw, thought the throat-latch may hang. If anything the base of the ear-tendrils could create one if need be but? for the most part, I really do just… not draw a head.

if it looks like a ding-dong, you’re doing it right.

(see what i mean about how round it is? bonus: peep those front legs! posed as human legs would be, startled animals are stilt-legged. and the hind legs, as you can see, are struggling to exist.)

The jawbone is layered under the antlers. It hinges where the droptine from the eye meets the jawbone. I made the jaw a little long here, but the tooth area of the jaw never rests against the head. It doesn’t touch the head at all! Well, except for maybe near the jawline - again, just so I can sleep at night.

How do you bite?

Make no mistake - in reality Corrin cannot actually bite anything if he tried! A bite requires a scissoring of teeth, and Corrin doesn’t even have molars/carnassials - if he did, he could at least apply pressure from his head/neck and force it over the teeth but no... If he had an upper jaw, he could use a hatchet-style bite, but as-is the only effective bite would be more like a toothy uppercut. Note: both sm4sh and cutscene corrin detail the outline of teeth! however, heroes and game-model corrin do not.

the top of the ‘eye’ is longer than the bottom of the eye! This is true for every model of corrin. However, the actual size of the ‘eyehole’ is variable. Heroes corrin has a massive eyehole, sm4sh corrin has a very very tiny one. The actual antlers are a story for another day - they’re simpler than they look, but tough to explain.

I’m hopefully going to be making reference sheets for corrin! There needs to be more corrin in the world, and if i gotta pave that road… SO BE IT.

I mean maybe this is just a partial dragon form? Because they get jaws in their half-state during crits (from their arms)

GOD. THIS KEEPS ME UP AT NIGHT STILL. I WISH CORRIN HAD ACTUAL JAWS. MAYBE HE DOES? MAYBE HE’S JUST HIDING THEM? LIKE I WANT THIS TO BE REAL SO BADLY. WHERE DOES THAT MOUTH COME FROM CORRIN!?? YOUR WHOLE DRAGON IS BASED ON BEING ENTIRELY UNNATURAL AND WRONG WHERE DID YOU GET THAT MOUTH??

#corrin #dragon!corrin #dragon corrin #dragon!kamui #dragon kamui #i try so hard not to spam the actual corrin tag with my dragon garbage but i mean??#can you love the man and not the beast?

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