#I've drawn diagrams

[humandisastersquad]

me explaining the star trek prodigy timeline/s to my mum

[animoogus]

Just me playing with Simple Rectangles of Fabric.

You will note that it's extremely important to me that Karkat gets to wear a blanket.

[walterdecourceys]

or frankenstein i would also love to direct frankenstein but idk what the licensing on that looks like

[supercantaloupe]

so fucking itchy

[ilydeku]

teacher izuku has a girlfriend??

Regardless of the joy and spur he expelled towards the students, Izuku knew how to maintain the steady hand of keeping the class under set composure. Nothing but the intent to teach and the will to learn, an equitable relationship between the two—and it was no question. Being the most loved and favored teacher had its perks, and grandiose respect was one of them.

But no matter how mature a student has grown, having fun will always reign somewhere along their focal point. Even if that fun means encouraging their teacher in his love life.

"...-because a good relationship between your teammates makes for optimal communication, conduct, and cooperation," explained Izuku, pointing from one spot on the board to another, well immersed in his lesson. "Now, considering quirk-"

"Speaking of relationships, are you in a relationship, sir?" A student, a frivolous girl, teasingly pipes in sudden interest. Plenty of students amongst the grade claimed a crush on Deku-sensei. Of course they did: he's sweet, very tentative and understanding to all his students individually, and takes his time to really help and engrave the knowledge he possessed for them to become the best future heroes they could be. That, and mostly his physical charms. So wouldn't it be in his best interest to have a girlfriend?

Little did Izuku know that this inquiry marked the beginning of his first uncontrollable havoc.

For a moment, he hesitated, pausing midway on the convoluted diagrams drawn on the whiteboard. A strange question, but he thought nothing much of it. He turned around and crossed his arms, lazily pointing the expo marker to the girl.

"I'm gonna pretend I didn't hear that. Unrelevant, didn't see a hand raised-"

"Aw, but sir!" She draws out, slumping back in her seat. "Are you?"

Some students began to look at each other and exchange a few grins until the room began to slowly increase in volume and erupt into unintelligible chatter.

"Ahem."

The room fell into silence accordingly, but he could clearly read the expression on everyone's faces. The class was still waiting for his answer, the way they stared and leaned over their desks in anticipation. Izuku sighs and turns back to the board.

"...no, I'm not in a relationship. Moving on, the information I've drawn-"

"Really?" The girl cuts in matter of factly with a tilt of her head. "But aren't you and y/n talking??"

A chorus of engrossed 'oohs' echoed across the room and a very subtle, but defined shade of pink dusted his cheeks at the mention of you. He turned around again and attempted to regain composure of the class.

"Everyone settle down-"

"Y/n L/n? Isn't that (hero name)?? I think she's in the top 20's now."

"Yeah! I've seen her drop by the school a couple times during lunch!"

"Now that I think about it, Deku-sensei does have her come in as a guest speaker a lot..."

It was just one after another, the addition of suspicions and theories now bringing the truth to the surface. Izuku swallowed.

A loose black band around Izuku's wrist caught another student's eye and they stood up and pointed in excitement. "Look!! Deku-sensei has hair ties on his wrist!! Hair ties!!"

"Kids, please...-"

"Wow..I've never seen your class this rowdy before, Izuku!!" That voice. His head snapped toward you in surprised, totally flustered about the situation. The entire class went dead silent and turned to you, standing at the entrance of the classroom. You wave at his kids with a smile and stroll over to Izuku's desk, dropping off a bag of some sort. He watches you endearingly.

"You forgot your lunch at home, silly."

"O-Oh did I? Haha, sorry y/n. Thank you. You're on break right now, right?"

The students watched you both like a show, taking in the interaction, the body language, the words. There's no doubt you two were a thing right? Deku-sensei and (hero name)!!

And just then, you confirmed it with simple kiss on his cheek.

"Bye, Izuku! Be nice to the kids, hm?"

"You know I always am!!"

As soon as the classroom door clicked, the class burst into awe.

"WHY DIDN'T YOU TELL US???"

[doublegoblin]

The Lonesome Town

[Oh magnanimous leader, it has been a time! These…people, we are maintaining good relations with have been a delight to be sure. A little slow on the pickup but this is to be expected I suppose. Let me be the first to say how refreshing it is not to use a proxy for once in our damn life! I’m sure D is just happy to get his hands dirty, the brute. Nevertheless, this is not a message for complaining but of delivering unto you the fruits of our labor. Please enjoy! -X]

Description: Collection of files: research notes, transcriptions of audio files, transcriptions of video files from both internal and external resources, personnel files, and other such documentations. As per the agreement outline, the commissioning body will henceforth be referred to in text as [CLIENT] and the focus as [SUBJECT]. Such classification will be used also when necessary. Corrections and clarifications will be noted by * and the full correction and/or clarification can be found at the end of the document packet address in numerical order via a denotation system of [A-Z, 1-10]. 

Where applicable dates and times will be provided. Some material has been expunged due to long standing agreements with [CLIENT] and the sensitive nature of [SUBJECT]. Upper management is able to request access to all expunged material. But due to the same agreements, this expunged data can not be provided via non-auditory methods such as: text, images, video files, etc. All requests are subject to [CLIENT] review before approval, regardless of hierarchical standing. In the event expunged data is required to facilitate work [CLIENT] maintains primary authority for the delivery and handling of such material. For other concerns please speak with your management. 

Points of interest within [SUBJECT] are fitted with CCTV and recordings are compiled at the end of each 24hr period. Such logs are then stored in a proprietary data storage system and held on file for five years. These CCTV systems are outfitted with high-resolution cameras, long range microphones, night vision, and thermal imaging capabilities. As to cut down on the data requirements most of these systems run off of detection based initiation. In addition to these units are lower end motion activated trail-cams. These are checked on a weekly basis by on site staff. A non-exhaustive list of such POI* are as follows: Well, Cabins, School House, Creek North, Creek South, Infirmary. As to better monitor activity within [SUBJECT] each standing structure also maintains a low end CCTV system in each room when possible.

[CLIENT] has provided a sizable amount of recordings, so as to establish a baseline activity level. Included are recordings prior to [EXPUNGED] of what an average day's recordings could be considered. Unimportant data has been excluded from the report. Not every location will be covered in this report as not all are necessary at this time. As locations and cameras are referenced a brief but thorough description of where the camera is located and what view it provides will be placed before any description of the relevant recording.

Camera: Town Center 

Date: 05-22-15 

Time: 0600 

Activation Cause: Sound

Recording: This particular camera is set high up on a spruce tree. The lens of which is able to capture the entirety of [SUBJECT]. The sun is visible to the right of the frame just now peeking above the mountain ridge. Along with [SUBJECT] being seen this camera also captures the trail that leads towards the town and the trail that branches off towards the mines. The trail that leads into town runs between two housing units. To the left of the path is also the school house, and to the right is the infirmary. The well is not visible in frame as the housing unit on the right covers it completely. What can be seen in frame is the camera and the pole on which it sets that captures the well. A high pitch and sharp barking noise can be heard near the camera. The source of this sound is known: a red squirrel, agitated by some kind of predator, obscures the view of said camera and repeatedly calls. Recording ceases once the squirrel has moved away from the unit and it falls back into stand-by.

Camera: Firewatch (1)

Date: 05-22-15

Time: 0645

Activation Cause: Movement

Recording: Camera is set in the upper left corner of the inside of said tower, the top cross of the town church* is visible through the south-east facing window. While no longer officially in use; [CLIENT] employees maintain such a structure and perform inspection on a semi-regular basis. Correspondence with [CLIENT] confirms that this particular camera is not necessarily in use for surveillance of [SUBJECT] but more for a double verification that scheduled maintenance and inspections are occurring. It should be considered a tertiary means of monitoring. This recording was trigger by the trap door in near the East wall opening as an employee* entered to conduct such an inspection. The remainder of this recording has not been found to be of any importance.

Camera: Campfire circle

Date: 05-22-15

Time: 0832

Activation Cause: Unclear*

Recording: The location of [EXPUNGED]. A deep pit has been dug into the topsoil, the edge of which is encircled with local stone of various sizes. Around the fire pit are four large oak logs that have been carved into rustic benches for campers to use. A thin line of white smoke trails from the very center of the pit, white ash and orange embers are evidence of a recent fire. Through the trees the graveyard and back of the schoolhouse can be spotted, along with the covered bridge that runs across Pinelog Creek and the associated Bridge Trail. To the right of the bridge the spruce tree in which the Town Center camera sets can be identified by the large burl. In this particular moment several small native birds have taken this chance to use the warmth of the early morning sun and loose dust to bathe. They are scattered as a heavily pregnant Mule deer wanders into frame. She stops and inspects the smoldering embers. A branch snapping causes her to flee as a low growl can be heard off screen. The source of this noise is not seen, and soon the camera returns to stand-by mode.

Camera: Covered Bridge (1) (2)

Date: 05-22-15

Time: 0837

Activation Cause: Sound and Motion

Recording: The covered bridge houses two cameras. (1) is pointed away from the city center and towards the path leading up to the covered bridge, towards the fire pit, the start of the path towards the old mill, and the end of the Stag Trail*. (2) points towards the city center, the bridge in its entirety is visible from this camera along with a small section of the path that leads out to the town center. A pair of Barn Swallows is in the process of constructing a nest in the upper rafters of the covering. As they fly in and out of cover the camera is unable to enter back into stand-by. [CLIENT] has made note that during this time of year Covered Bridge 2 makes up a majority of the information load for that given season. As the recording proceeds the mule deer from the campfire circle* crosses by and stops for a drink of water along the creek. Despite being within the frame of camera 2 the deer is outside of the range of activation. The swallows had been away for long enough the camera was entering into stand-by mode, so we only have a single frame of a large black mass bearing down on the mule deer. When next activated there is no sign that the deer had ever been there. [CLIENT] has noted this is normal.

Camera: School House

Date: 05-22-15

Time: 1017

Activation Cause: Motion

Recording: As with most of the town prior to [EXPUNGED] the school house is little more than an amateur museum. Being made of organic material and being left exposed to the elements until [CLIENT] inherited the land*, most of the original equipment of this location has been lost to time. What does remain has gone through restoration processes. What can not be maintained and allowed to sit out in the open air have been placed inside climate controlled display cases. The public is able to walk around the building and sit in recreated furniture. Original pieces are cordoned off via ropes and colorful signs. Along with the items themselves are little placards with descriptions and histories of the town and the housing building. Similar setups and informational pieces can be found in all publicly accessible buildings and locations of special interest. This particular camera was originally installed by [CLIENT] as a means of monitoring the public around these “fragile artifacts”. This was prior to their discovery of [SUBJECT]. Once [SUBJECT] was discovered, this camera was the first to be upgraded to what is now commonplace along the grounds. An employee* is giving a tour of the location to a small group of five trail hikers*. As the group leaves the employee turns and waves to the camera.

Camera: Campfire circle

Date: 05-22-15

Time: 1405

Activation Cause: Thermal Irregularity

Recording: The group of six* hikers are sitting around a roaring fire. They have doffed their gear and are setting down with the employee for a light lunch. The employee is making idle chit chat while sticking skewered hotdogs near the fire to slowly roast. As he starts to pass them out to the hikers he is more quick to hand one to the hiker sitting by themselves. The employee is startled when one of the hikers opens a can of beer. The group then teases the employee before returning to their own conversations. As the camera is heading back into stand-by the lone hiker can be spotted moving their jaw and mouthing words with exaggeration.

Camera: Trail Cam: Creek South

Date: 05-22-15

Time: 1514

Activation Cause: Motion

Recording: A long angle shot parallel with the shore of the creek. In the image the covered bridge is visible and off-center to the right. A small mustelid with a short brown coat bounds into the view of the camera. Followed shortly by a second of what is assumed to be the same species. It is hard to tell due to low resolution but the second looks to have a scar of some sort on it’s right flank, the hair in this region has not grown back correctly. The two animals take defensive postures before the scarred individual runs the first away. Victorious the scarred creature is able to make a quick meal of a leopard frog that had pulled itself from the water. Meal dangling in mouth it makes a quick retreat as the group of hikers comes up the trail. Tour guide leading the six.

Camera: Cabins 1-6

Date: 05-22-15

Time: 1800

Activation Cause: Motion and Sound

Recording: The internals of the cabins are uniform. A single large room comprises a majority of the cabin, with a restroom/bathroom that is not monitored. Shape-wise the cabins are much like a plump L. The restroom/bathroom is set in the upper left corner of the L shape fitted with modern plumbing and large enough to house a single toilet, shower/bathtub bathing unit, and a sink. In the main area the lower left corner houses the cooking area with a gas powered stove, small ice box, and a modest counter space. Across from the bathroom/restroom area is the sleeping area: a firm mattress set atop a hand carved bed frame, the feet of which are styled after various animal feet. To the left of the head of the bed is an oak dresser, also hand carved, where visitors can set their belongings. Down from the bed is a table and four chairs, also carved. Windows with white curtains are set into the walls at regular intervals. What makes each cabin stand out in recordings are the colors or patterns used in decorating the remaining space. In a clockwise rotation that begins to the left of the infirmary: Red, Blue, Green, Indigo, Checkered, Floral. The hikers are setting their equipment down and setting up for the evening. Individuals or small groups come in and out of each cabin, inspecting and commenting on the decor of each in relation to their own. The hiker in the indigo cabin has not moved since taking a seat on the bed and staring out the window to the others. Likewise, no other hikers enter or interact with his cabin. He does leave as the others move on to other activities.

Camera: Cabin 3

Date: 05-22-15

Time: 1823

Activation Cause: Sound

Recording: The door to the bathroom/restroom shakes and shudders before the door is violently pushed open from inside. The lighting fixture within flickers before going dark once more.* Before the camera is turned off a hazy white cloud drifts from the bathroom before leaving via the open window across from the bed.

Camera: Well

Date: 05-22-15

Time: 2130

Activation Cause: Motion

Recording: Being pointed directly at the well from a high vantage point the camera keeps the well in shot at a five degree tilt from directly on. The ground around the well is barren of most plant life other than some very aggressive weeds. With the majority of plant life missing the ground surrounding the well is tightly packed dirt and stones. Around the well are the six hikers, a couple leaning against the structure with their forearms resting on the stone. The rest are milling about in idle chit chat. One of the hikers leaning digs into his pocket and pulls out a large coin*. He motions for the others to join him at the well's edge before pressing this coin to his lips and dropping it down into the well. Several moments of silence and confusion from the hikers before a wet splash is heard. Seemingly pleased they returned to their cabins for the evening.

Camera: Cabin 4

Date: 05-22-15

Time: 2131

Activation Cause: Sound

Recording: Coming from near the window nearest the bed, almost out of frame, the side profile of the sixth hiker’s face moves at the same time as the loud splash.

Camera: Well

Date: 05-22-15

Time: 2346

Activation Cause: [EXPUNGED].

Recording: [EXPUNGED], until the body is no longer visible due to distance.

A1: Points of interest.

A2: Some structures were omitted from the initial description of the town as they were not at the time relevant.

A3: Cross-referenced to the employee listing as a Ms. Dorothy Jones, age 43, employment of [EXPUNGED] years.

A4: Multiple causes were observed so one can not be stated for certain.

A5: An intermediate trail that is roughly 24km(15 miles) with easy to moderate slope inclines and walkability in inclement weather conditions. Several scenic overlooks can be reached while on this trail. It is mostly dirt with some loose gravel in sections.

A6: Upon inheritance [CLIENT] was able to reestablish the landmark status of [SUBJECT] via an agreement with the Department of the Interior. [SUBJECT] still remains off the public record however there are no longer attempts to shepherd people away. [CLIENT] states that this “keeps both parties happy”, in short, it allows [SUBJECT] to operate via “word of mouth” thus keeping exposure to a minimum. This information was not fully understood while creating the previously submitted document. 

A7: Identity was verified via comparison of an identification tag.

A8: A Mr. Markus Lancaster, age 24, employment of 1 year.

A9: Prior to [EXPUNGED] the general public could obtain guided tours if [CLIENT] was contacted directly. These tours were more in-depth than a self-guided tour and the funds collected were put towards maintaining the grounds.

A10: [EXPUNGED]

B1: At the time no human occupants were present.

B2: Most likely an American Silver Dollar.

[It is also great to hear from you as well X. I feel I must stress however that we are to maintain good relations with our guests. Do not cause any undue hostility. -T]

[the-fuck-was-i-thinking-when-i]

my dad, seeing my unshaven and very hairy legs: wow

me (started process of trying to get prescribed testosterone):

[u3pxx]

ah, dungeon food... delicious in dungeon!

1 | 2 | 3 | one out of three dungeon meshi illustrations i did for a class! 🍲🐲

id in alt text | like this art? it's a print, here! | like what i do? support me on ko-fi!

hi there! this is actually the first illustration i finished out of the three but i decided to post the falin one first because it seemed fitting when the dragon episode came out pftt

and since a while has passed, i'm very happy to say that i got a high grade for the mock covers i did! which i'm really happy for since ngl, the venn diagram of "drawings for school that i got a high grade for" and "drawings for school that i'm actually proud of" is very, very small lmao

to save time, i had to forgo coloring in the lines for this drawing which gives it a fair amount of contrast, while i still enjoy looking at it, i wonder what it would look like if i softened it with colored lineart.

i used a different pen for inking this and i was actually surprised at how quick i was! if you don't know, i love doing lineart but i usually am terribly slow at it, inking this one was a pretty fast ordeal!

i streamed this over on the klapollomb server as i was drawing it and i just distinctly remember that after the flats stage and onto shading it: i paused, pen in my hand, looking at the screen with a blank look before i typed into voice chat in all caps, "I FORGOT HOW I RENDER" ASKSKSK

it's been a while since i've actually drawn anything digital that's like, a fullass piece, so yeah 😭 i can forget sometimes. i've been doing trad art for school for like 2 years straight now so the moment i got the opportunity to do digital art i went all out lol

[cripplecharacters]

Hello, I hope you are all doing well. I have a question about image descriptions. I’ve seen people say they should be simple and direct to the point, often pointing out that overly detailed or descriptive language defeats the purpose of accessibility, but this advice seems to focus on non-art images. If I am describing art piece, would it be okay to describe things more? — ⚡️

Hello!

In general, the best practices with image descriptions is to describe the most important parts of the image. Of course, what's "important" about an image might differ depending on the type of image and the context.

When describing a diagram of a tow truck, for example, the colour of the tow truck would be irrelevant. The important parts of the image are the labels and the relevant parts of the truck.

For a piece of art, however, that may depend. With art, it can be a bit more difficult because, as they say, beauty is in the eye of the beholder. What one person sees as important may be entirely irrelevant to another person. Generally speaking, however, image descriptions/alt text for art is generally longer and more detailed than for other images.

When describing art, I find that a lot of people will go into great detail about the colour or shape or appearance of the piece of but not mention anything about the techniques of the piece itself. It may just be the arts major in me but I find that describing the feeling of a piece of art is just as important as describing the content of it.

For example, take this description:

A physical painting of a field of sunflowers. There are multiple rows and the flowers are grown tightly together. They are all turning to the back to face the sun. It is a cloudless day.

Now, consider this one:

A physical painting of a field of sunflowers. The painting is drawn with large, loose strokes and has very little detail. There are multiple rows and the flowers are grown tightly together to the point where the paint of their petals blends into each other. They are all turning to the back to face the sun. It is a cloudless day.

Remember that the goal with image descriptions/alt text is always equal access. While a sighted person can see the content of a painting, they can also generally get a feeling of it too. It may just be my personal preference but I find that conveying this feeling is also important.

Of course, context also matters here. If the image of the painting is posted to debate and discuss the craft of it, then yes, you would be expected to go into much more detail about it. If it's posted just to comment on how many people paint sunflowers, then you wouldn't need to go into much detail at all. You could literally just put "A physical painting of a field of sunflowers during the day." and that would be fine.

One thing to keep in mind is that the "right" way to write image descriptions/alt text will vary from person to person. I've seen posts that condemn one way of doing it while other posts say that said way is the only way to do it. It's all just personal preference, really, and the most important thing is that you're helping to make the post more accessible.

Cheers,

~ Mod Icarus

[ph-cutie]

why is evrart's portrait so weird? a visual and written analysis.

Most of us on this website have warm sentiments towards him, but I feel confident in saying that his portrait art looks, or has looked, somewhat off-putting to a lot of people, and that this fact was intentional. So if you've always felt a little strange looking at him, but couldn't put your finger on why, I've got you! This is a remake of a 1k word, 12 paragraph post I've made on reddit this same day, but tweaked to be in a more tumblr cadence :3

FORENOTE: This post is solely about the portrait art. Not the man portrayed in the model and concept art, or his general features. Just making that clear.

BACK TO BUSINESS: I've made a little diagram circling out and numbering the most jarring parts of this image.

TLDR: this piece draws on mild anatomical distortions and body language discrepancies to catch the viewer offguard. if you want to know more you're a VERY lucky person, because i've got nearly 800 words explaining each point for you, under the readmore.

UNUSUALLY LONG&WIDE LOWER FACE: Probably the thing most people actually notice. Even compared to other images of him, his jaw is quite exaggerated. wouldn't stand out had the rest of him been unremarkable, however he is *very* remarkable.

STRAINED SMILE - MUSCLE TENSION: I'm not super into the "true and genuine good person smile" vs "deceitful scary smile" dichotomy, I myself am cursed with a jimmy donaldson smile. However, his smile does not look restful/easy-going. It's very horizontal. Corner 1 is pushing excessively into his cheek, corner 2 isn't even angled up. Lower lip is stuck out. CONCLUSION: looks forceful and a little painful on his end. Not the weirdest part of the image, but it creates problems later down the line with his other features.

FOGGY GLASSES: They say that eyes are the windows of the souls, and his design messes with that by fogging up his glasses. But even that has another layer to it, so let's peel it! His right eye (to the right of the image) is looking at the viewer, however, the glass obstructs it to such a degree that we do not get any functional information from it beyond the knowledge that it exists. His left eye is drawn much clearer, however, it's not looking at us. It can't tell us anything about what it's owner is feeling, it has nothing to do with us. For people who care about eye contact, this part of the drawing was made to be frustrating. The connection is juust out of reach :)

LACK OF VISIBLE EYEBROWS: Eyebrows are one of the most expressive parts of the face, and he's lacking them for whatever reason. Not much more to say on that for now.

NONSENSICAL PLACEMENT OF HEAD ON BODY: Compared to the concept art, where his shoulder is a little below his earlobe, the portrait's shoulder is portrayed as above THE ear. Basically, there is no neck/separation between his head and body. The rest of the drawing doesn't give a clear explanation on why this is (such as if he were clearly portrayed as sticking his head forward), so I deem this to be a genuine anatomic perversion. (AFTERNOTE: APPROXIMATELY 20 PEOPLE ON REDDIT HAVE TOLD ME "no that's actually the back of his chair you can tell from this slight hue shift" MAYBE IT IS. BUT I DO NOT BELIEVE THAT ANYONE REALLY NOTICED THAT LITTLE PIXEL LINE, AT THE SIZE OF THE PORTRAIT WHICH IS PORTRAYED INGAME. THE PAINTER KNEW WHAT IT LOOKED LIKE. SO DONT BOTHER ME ABOUT IT )

ARCHED CURVATURE OF THE SHOULDER- MUSCLE TENSION AGAIN: But I'm not done with his shoulders! His shoulder have an arched shape, which means he's hiking them up. Much like with his smile, it's a forceful posture, associated typically with some kind of discomfort. (SAME AFTERNOTE AS POINT 5)

LACK OF DETAIL IN THE CLOTHES: While we can choose what we look at, the human eye will always be drawn to the most striking or detailed parts of images. Artists know this. Often-times, we wish for the viewer to look at the face of a character- hence the popularity of anime girls with glossy, candy-colored eyes. Claire's zone of maximum detail density starts at his nose and ends at the bottom of his double chin. His clothes, meanwhile, are basically just flat shapes. His background is very simple too. SO basically, the remainder of the image is a graphical desert, and his jowls are the oasis your eyes will always wander back to :D.

THESIS: Claire's anatomy is mildly distorted in points 1 and 5, which immediately throws off the audience. His body language is strained, borderline convulsive in points 2 and 6, while his features at 3 and 4, which we look at for information (is he happy? angry? in pain?), are left blank. This discrepancy leaves us emotionally confused and unsatisfied. Thus, the vague sense of something being wrong with no further information. Point 7 is just a little garnish to maximize the above effects. Tada! that's it.

WHY DID I WRITE THIS?: People usually focus on beautiful art and what makes it as such- I've seen many brilliant analyses of Lieutenant Kitsuragi's portrait and why it comforts us. But I find it equally interesting to break apart pieces that just don't emotionally click with us, that feel off, and I also love Evrart Claire, and find him to be a good example of this that nobody seems to have previously discussed. So I took on the challenge! I find his portrait art actually really cute now so this is mostly drawn on from the feelings of Ghost of ph-cutie Past. I genuinely doubt anyone will read all of this so if u have, I thank u from the bottom of my heart <3.

[8-dermestid]

Hello, I hope you are well! Recently I read a fanfic of yours on Ao3 about Ticci Toby and I fell in love with your writing!! I loved the way you develop the characters and their feelings!! 🤧💕✨

I would like to know if you write for Creepypasta X Virus, it is one of my favorites but there is almost no content online about it 🥹👉🏻👈🏻

Anyway, I saw your requests are open! If the idea pleases you, I would like to ask for headcanons of X Virus and Toby (or just Toby) with a reader who practices magic and has somewhat "dark" tastes (interest in poisonous animals/plants and the supernatural as a whole, in short, just a scary and adorable nerd at the same time!)

Thanks!! 💚

ahh! hello-hello!! i read x-virus' story and took notes for these, i really enjoyed writing Cody, so thank you very much for the request :-]

i rlly liked this request, and this is actually the first time i've ever done headcanon-ish things, i hope you enjoy these (bc i enjoyed writing them a lot)

x-virus & ticci toby: reader with macabre interests

relationships: ticci toby x reader, x-virus x reader

word count: 1.5k

links: available on ao3

x-virus warnings: animal death (off-screen, animal body shown) animal dissection, taxidermy, canon-typical violence

ticci toby warnings: canon-typical violence

��︎ X-Virus | Cody _____ ☣︎

You let it slip one day that you wanted to try taxidermy, an embarrassing guilty pleasure you were confident you could keep under wraps, but Cody’s just been so nice about your eccentricities and you couldn’t help yourself.

“They use bugs in the process, lots of museums have them to clean the bones because they’re better than the best person with the best tools—” You pace back and forth as Cody watches you from your bed, “—Because that’s all they do, all they do is eat rotting flesh off the bone. The bones last much longer when cleaned by any Dermes—”

You stop yourself from mentioning the insects by their scientific name, embarrassed that you let your ramblings slip away like that.

Cody leaves the next day and you’re left alone with your thoughts. Maybe there’s another mansion full of serial killers so you can start fresh, your ears burn recalling how excited you got talking about flesh-eating bugs.

A few days later, Cody returns to the mansion with a limp raccoon and some things it stole from the local morgue.

You spend the entire night together trying to preserve this creature’s hide, you take it apart with precise motions, expertly moving the scalpel along the skin and parting flesh and sinew. You soak the skin in salts, rubbing it into the bloody underside until you smell like copper and the salt mines.

The whole room smells like formaldehyde, too.

✸ ☣︎ ​​✸

Cody is so excited to share its books with you, all of them. You spend long evenings together curled over a battery-powered lantern and ten-pound textbooks, occasionally mentioning an interesting tidbit when you come across one. Your books are filled with flattened foliage from the surrounding woods, poisonous plants and flowers, plastic baggies filled with poison ivy leaves, and hand-drawn diagrams of each plant’s internal structures in a ballpoint pen. It flips through each page carefully, examining each specimen, complimenting each note and observation.

“You should open a museum,” It says, running a finger over a pressed Conium maculatum. That snaps you out of your science headspace.

You should, but you can’t. “Besides, who would enjoy a museum like that?” You argue.

“Think about the Mütter Museum,” It quips back, “If people frequent a museum full of pickled people-guts and spines, I’m sure people would go to yours. People like flowers.”

In another universe where violence wasn’t at the forefront of your mind, maybe you’d be the curator of a weird little museum full of oddities.

​​✸ ☣︎ ​​✸

“Toby comes here all the time to burn CDs, don’t worry, the cameras stopped working years ago and they never bothered to fix them,” Cody pushes open a window and climbs into the air-conditioned computer lab of the local library, “Just don’t knock anything over, I guess.” It jokes.

You drop through the window and feel goosebumps form on your arms, you haven’t felt air conditioning in years.

Cody unlocks the door leading to the rest of the facility, you walk side-by-side, dragging your fingers over the spines of dozens of books.

“You know the Dewey Decimal System, right?” Cody asks, there’s a thrill with breaking in, especially for pleasure (rather than worrying about killing every occupant in a house, you both can focus on finding a specific edition of a book you were dying to read).

“By heart.” You joke, guiding it to the 500s: Natural Sciences.

You spend five hours squished up together reading from the same book. It points to a diagram and you explain every minute detail, Cody listens eagerly to your explanations, wanting to ingrain every word that comes out of your brilliant, perfect brain, and memorize the way you describe the venom sacs of the Hydrophis schistosus.

 The way it rolls off your tongue—Hydrophis schistosus—Cody wants that to be the last sound it ever hears, the sound echoing forever in its brain until the heat death of the universe.

You creep down to the 200s and find a few textbooks about niche religious practices. You tell Cody about the rarity of cannibalistic religious practices, and the prevalence of cannibalism in some movies ticks you off.

“Cannibalism isn’t that common,” You scoff, “It’s more than socially taboo, it’s biologically taboo. Ever heard of Kuru?”

“Tell me.” It begs.

✸ ☣︎ ​​✸

⦻ Ticci Toby | Tobias Erin Rogers ⦻

Every word that comes out of you flies over his head. Even though he doesn't know a thing about what you’re telling him about, he’s completely and utterly enamored. Toby never graduated high school, and—for the most part—he’s glad he didn’t have to spend any more time around high-school people. 

He misses learning. Sometimes Toby thinks he’s stupid, Tim and Brian went to university, and they have high school diplomas with their names on them somewhere, Toby has nothing except an honor roll card from the eighth grade. You’re so brilliant, maybe part of him thinks he’s weighing you down by stopping your ramblings to ask for clarification. He’s so deep in thought he hasn't been paying attention to your talks about the Ghent Altarpiece’s connection to ancient practices of animal sacrifice.

“Does it bother you when I do that—when I don’t know things a-and you gotta explain it to me?”

You’re sitting on the porch together looking out over the rolling fog, he sucks in a breath, the tip of a Marlboro lighting up orange-hot.

“I like it, actually.” You say matter-of-factly

Toby’s diaphragm sputters as smoke spills from his nose, and he coughs hard into his elbow. “...Doesn’t it—But I’m interrupting you because I’m too stupid to get it the first time—”

That word gives you pause, and Toby tosses away the cigarette butt and curls into himself, shame burning hot on his face.

“I don’t think—”

“E-Everyone does,” He cries, “I-I can’t help it, I couldn’t even finish high school. Tim and Brian made it to college, at least.”

You push yourself into his personal space, knocking your knee into his as you lean over to share a secret.

“I can teach you if you’d like.”

Toby’s red-hot shame melts into a giddy flush as your warm breath lands on his ear.

✸ ⦻ ​​✸

The next victim that comes Toby’s way—a family of three with a prying-eyed teenager getting too close to discovering the mansion—grants you both access to the internet for a time.

You start with Wikipedia, it’s good practice to get bare-bones information that starts the deep dive. Marine Biology is the starting topic because the random article Wikipedia spat out at you was about the bigfin squid.

Toby mumbles aloud as he scrolls through the article, the picture on the right left the hairs on his arms standing on end. Little is known about it because it dwells so deep, and scientists aren’t entirely sure why its distinct long arms are there.

“Nobody knows how it feeds?”

“We know more about space than our oceans,” You say, “We have pictures of the Big Bang.”

Toby rolls back on the wheeled chair and pushes the keyboard to you.

You open a new tab and open the search bar.

COSMIC MICROWAVE BACKGROUND.

He pulls back in, opening the third link that pops up. You sit quietly as he devours an entire article explaining the picture’s existence, he’s vibrating in his chair. Toby continues the search without your input, googling words and finding plenty of pictures of smattered space dust orbiting tiny, dense stars.

The pictures of the black hole shake him to his core, nebulae give him chills, beautiful planets and star systems and moons and—

Alpha Centauri grabs a hold of Toby’s body and keeps him there. He pushes the monitor towards you and you read along with him, he’s shaking with excitement, free hand flapping excitedly as he scrolls through the academic journal.

He prints out a few pictures before the police show up, the cosmic microwave background bathing the room in greens and blues and smatterings of yellows and reds.

✸ ⦻ ​​✸

He starts stealing books from the library, as do you. You take turns showing and telling. He shows you astronomy books and you show him textbooks about the history of taxonomy; you spend hours sitting across from each other on the floor exchanging knowledge.

“I’m—I’m glad we did this. Thanks for doing all of—of that.” 

You peek over an academic journal you’ve read at least seven times, smiling softly as Toby puts his new collection of literature into a box and pushes it into the closet. He piles a few flannels and shirts over the box to camouflage it amongst his dirt laundry.

“Why’re you doing that?”

Toby turns to you and turns away meekly, “...It’s our special thing, you get it? I don’t want anyone getting into our business. This is our thing. Our special thing.”

A warmth creeps up your neck as Toby holds your gaze. You close your journals.

“Babies have more bones than adults.” You whisper, your hand splayed over his shoulder blades, “About three hundred.”

Toby’s breath hitches as your hands warm the spot where his cervical vertebrae end and the thoracic meet.

“H-How many are—” He covers his mouth to cover a shaky breath, “—i-in the spine?”

“There are thirty-three vertebrae. Seven cervical,” You and trails down his back, “Twelve thoracic,” you creep further, “Five lumbar,” Lower and lower you go, “Five sacral,” You’re getting bold now, “...And four coccygeals.”

You hold your hands there, Toby enjoys the warmth radiating from your fingers, he wants to melt into you like watered-down clay (you would call it slip since you know everything). He wants to read books with you for the rest of his life and not do anything else.

He wants you to count every rib, every tooth in his mouth, every bone in his hands and feet—counting and counting and counting until he's dizzy.

✸ ⦻ ​​✸

[stevelieber]

Thoughts on giving critiques to comics artists.

Seeing lots of discussion from students about sour experiences with an unhelpful art teacher, so here's a long, long post about giving critiques.

NB: I have no formal training as a teacher, but I was a student, and I've spent decades giving artists feedback on their work.

When someone brings me a portfolio, I like to establish my limitations & clarify my perspective. My work is firmly rooted in traditional US comics storytelling (i.e., not manga or art-comics.) I can give feedback on other approaches but they should know where I’m coming from.

“We've only got a little time for this, so I'm going to spend that time focusing on things to correct. That doesn't mean you're doing everything wrong, or that there’s nothing good here, but it’ll be more helpful if I identify some problems and show you how to fix them.”

Why? Because for many young artists their entire sense of self worth is wrapped up in being good at what they do. (It was for me!) In school they were probably the best artist in their peer group. But now if they're hoping to turn pro, they’re at the bottom.

Sometimes you know what’s up when you see page 1, but try to keep an open mind. Some build their portfolios by sticking new pages at the back & don’t weed out the old stuff up front, so the work gets better as you go. When it’s like that I ask: “Show me your best 8 pages.”

I ask questions: "What's the goal? Do you want to be hired to work on someone else's project, or to get the story you're showing me here published?"

If 1, I steer towards a portfolio that'll showcase hirable skills. If 2, I look for what tweaks will make that particular story more effective.

"Do you have teachers giving you regular feedback? What are they telling you?" Sometimes a student is getting bad advice. In cases like that, I'll do my best to be extra clear WHY I'm giving them advice that's 180 degrees from what they've been hearing.

“What artists are you looking at? Is there someone you admire or try to emulate?” This often helps me understand choices they're making, and I can sometimes incorporate things those artists do into my suggestions.

I ask myself questions about what I’m seeing. First: Is there a narrative? If not, I make it 100% clear I'm not speaking as any sort of expert. I'm good at critiquing storytelling, but don't have anywhere near as much to offer illustrators or designers.

Can I follow the story? Or am I confused about what's going on? Are the characters and settings drawn consistently? If not, is the artist at least making use of tags (distinctive clothing, hair etc.) to keep the characters recognizable?

Does the artist demonstrate a good command of basic academic drawing? If not, Do I think they need it? Do I focus on "how to draw" or on "what to do when you can't draw?" Is the artist putting the viewer’s eye where it needs to be to tell the story effectively?

(At this point I’m usually doing little doodles to go with my instructions. I scribble out ugly little 5 second diagrams that I hope will clarify what I’m talking about. Or they might make me seem demented. Hard to say!)

Is the artist making choices that are creating more work than necessary? Is there a particular weakness? I once spoke to an artist with a portfolio full of great work when he was drawing animals and monsters, but his humans were amateurish in comparison. I spent that critique talking about drawing people.

A crit can be a grab bag. In addition to big-picture advice, I'll point out tangencies, violations of the 180-degree rule, wonky anatomy, weird perspective, places where the artist neglected to do important research, odd choices in how they spotted black, whatever catches my eye.

I also try to make a point of defining the terms, so that jargon like “tangency,” “180-degree rule,” and “spotting black” don't go over their heads. Find simple, concrete ways to talk about these things, & clarify why it's a problem when they aren't done correctly. Draw diagrams!

Recognize that even a perfectly phrased explanation might not sink in. Some lessons can only be learned when a student is ready, and it might take a year or two of work before they can understand what you were saying. It's good to plant seeds.

Are there other artists who are particularly good at solving the problems the student is trying to solve? I steer them towards that artist's work. And I always recommend life drawing & the use of reference to give work specificity, variety, and authority.

Despite what I said earlier about focusing on what's wrong, I try at the end to find something encouraging to say. And if I’ve really piled on the criticism, I emphasize that I only spent the time and energy to do so because I take their efforts seriously.

If I've done my job right, they'll leave my table with tools to make their work better. And maybe in a few years they'll be looking at some younger artist's work, surprised to discover just how much you can learn when you're asked to teach.

[copperbadge]

A while ago @shirokou sent me a really cool dice divination set called the Publishing Goblin Oracle Dice, which looked awesome but took me a while to get comfortable with; I've never really done what I think of as "bones" divination where you cast objects into a field and divine based on where they fall (dice, runes, i ching, etc).

I did a first few readings this past month, though, and while they were difficult they were also really fun! I don't know why this form of divination is so much more complex for me -- I read card pretty fluidly, although moreso when I'm working with my own deck where the cards have the meanings printed on. But like, this 14-dice reading on a mat was way more complicated than the big 78-card spread I usually do a few times a year.

That said, I have to admit, it does look properly wizardly. Look at that diagram I did and tell me it would look out of place done in red ink on parchment, lying near a skull with a dribbly candle on it. (It's mostly about change and relationships, I'm still decoding what it might mean.)

[ID: Three images; first image is a set of the oracle dice, featuring arcane and interesting symbols including scales, a butterfly, and a skull with a keyhole jaw. The second image shows the mat, lying on my carpet, with the dice lying on it. The third image is a hand-drawn chart of the mat, with the dice drawn in and numbered; between and around the dice are all kinds of notes I've made in a different color of pen, making it look like a sports playbook or a wizard's chart.]

[taxesguy]

I realized that every not-sasha design is just heterosexual-ised Sasha

I've drawn a helpful diagram:

[periprose]

Ps5 Peter Parker x reader inspired by this?

It's one of my favorite MerDer moments on Grey's anatomy 🙈😭

Peter explains something about physics or an idea for a gagdet...

🤣 this image really cracked me up lol thanks for the ask!! I've set the fic to take place in the first game, Peter and Reader are Otto's assistants at Octavius Industries. Please ignore the science mumbo jumbo in this fic.

/

Otto's lab was really cold this time of year. He barely had the funds to make rent in Manhattan, let alone provide optimal heating and other luxuries.

Still, you shiver, searching through your locker for your comfy, oversized jumper. You're just pulling it on when Peter pops up from behind you.

"Hey."

"Jesus!" You flinch and then rub your eyes. "Hey, Peter. How do you get behind me so fast? That's the third time this month I didn't even see you come in."

"Uh... I just have good reflexes, I think." Peter's mouth twists a little, as he tries not to laugh at your jumper. "Are you sure that's up to lab standards? Where's your lab coat?"

"Ah, Otto doesn't mind. He knows I'm cold." You explain, and Peter sighs.

"Well, he never gives me special treatment."

"Probably because you're not as cute as I am." You joke, but Peter nods and you feel a callous level of attraction towards him for being so nonchalant in terms of flirting.

You never really know where you stand with the guy. He's a naturally witty person and you refuse to read into anything any deeper, just for self preservation.

"Hey, I can't disagree with that." Peter laughs that quiet, soft laugh that makes you smile on your own. "Here, I got you a cup of coffee. That should help warm you up."

You look down and see, sure enough, Peter's holding a coffee cup tray, loaded with three cups, surely your usual orders- for you, extra black espresso to stay awake, for Peter, usually some kind of healthy tea hybrid, and for Otto, a large, creamy Italian coffee blend that's particularly expensive (Peter always jokes that Otto wastes funding on things like this).

"Oh, I'll pay you back." You reach back into your locker for your wallet, but Peter stops you with a raise of his hand.

"It's free of charge. No worries." He hands you the cup gently, and your hand skirts across his. You think for a moment.

"Nothing is ever really 'free of charge', Peter." You give him a side glance. In the last couple of months you've known this guy, you've figured out when he has an ulterior motive.

"... Alright, alright. You got me." Peter starts pulling you along by the hand, towards one of Otto's offices filled with white-boards and desks and equipment. You take a sip of your coffee and notice that it's still quite hot- Peter must've been really fast to make it so.

Not that you're complaining, and now that you're warmer you do feel more inclined to listen to him.

"Okay. You know how Otto's neural interface for the experimental arms have been glitching out?" Peter's got a firm look on his face, as you sit and listen.

"Yeah. It's a poor prototype, I think he asked us to leave it alone? He said he'd deal with it." You shrug. "I've moved on to his requests for a tighter, stronger arm. You know I deal with hardware."

"Yes, but even so, the neural interface problem still persists. Otto's lying." Peter looks at the whiteboard, and sees that half of it is covered all over with erratically drawn diagrams and equations. It's fine, he knows he can write what he needs in that space.

"Okay, look." Peter begins drawing a diagram of the neural interface's circuitry. "See how the voltage is really high?"

"Yeah- but isn't that what Doc wanted?" You grimace. "Last time I brought up the voltage issue, he told me to mind my business and continue with soldering. He wants so much power for some reason."

"Right, that's what I'm talking about. Notice how Otto keeps having those outbursts?" Peter sighs, a deeply upsetting look overtaking him. "He's getting a bit aggressive as of late, and I think it's because he can't figure this out."

"You're telling me. Just yesterday he chewed me out for clocking in a bit late." You sniff. "Okay, I was fifteen minutes late, but still."

"I've been there, you don't even have to justify it." Peter laughs, and begins drawing squiggly lines. You can't help but notice how his strangely muscular arms are tense and visible through his lab coat as he scrawls, and you take a sip of your coffee, savoring the view. Looking isn't illegal, you try to rationalize, but you quickly banish these thoughts as Peter looks back with a sly glance, to make sure you're paying attention.

"This is the electricity flow... and it should be heading this way, but the neural interface is made incorrectly and the flow of energy is heading back this way... towards the-"

"The battery of the arms, not the interface." You suddenly realize, and take a scrap piece of paper off the desk, scribbling down notes. "Hmm... maybe the wiring used for the arms is absorbing too much energy? Or the batteries are too big?"

"Maybe, but neural interfaces are tricky business." Peter winces as Otto yells at something in the background of the lab. "I told Otto not to get too involved with it- it's far too easy to accidentally mess with your brain, and then suddenly you've got anger issues or worse-"

"Dementia." You finish his sentence with an equally grim expression. "Okay. I hear you, but how are we supposed to fix it, exactly? I can only think of using different, smaller wires, or a less cost heavy battery- but then it won't move at the speed Otto wants it to."

"Yeah." Peter's shoulders slump a little, and you feel bad. He's always just one dude trying to take on the entire world's problems.

"Peter, it's not your problem, really. You can only do so much- the man has made up his mind, he's going to have to take the brunt of the problem." You try to console him, but Peter has that determined Parker Pride you've seen far too often, and you know he's not going to let it go.

"Wait, wait. Okay..." Peter starts frantically drawing on the board, and seeing that he's running out of space, without missing a beat, begins to draw on the wall.

"Peter! You're drawing on the wall!" You admonish him, and to your shock and utter horror, but not to your surprise, he keeps going. "Now you've completely lost it- it'll take two seconds to erase the board-"

But Peter isn't listening, in that overly stubborn, inventor way that you know you've done before. He's too lost in his own thoughts, and you know that spark will disappear if he takes a moment to stop drawing.

"I'll clean it. It's fine. We got to get a move on." Peter points to the new diagram on the wall. "Look at this."

Peter's drawn a rudimentary depiction of the robotic arm prototypes you've built for Otto, but the battery pack has been split up into several, smaller batteries that extend over the course of the arms. Something about the way the arms move in Peter's drawings look a lot more... smooth, silky, like a cephalopod.

An octopus.

But you are amazed at Peter's capabilities, either way. "Using multiple different batteries, so the energy isn't drawn away from the neural interface in a great capacity?" You blink, a bit amused at Peter's eager expression. "It would work, I think, but only if Otto is willing for a slight decrease in power."

"Ah, but that's where you're wrong. We don't need to sacrifice power at all." Peter draws a set of gears, interlocking through the squiddy looking arm, and you clap your hands, clambering up out of your seat, finally enthused by his idea.

"Peter Parker, you genius!" You shake his arm excitedly, and he turns a bit pinker as he watches you, grinning. "Otto wanted the arm to be almost entirely synthetic material- but if it has rotating gears, the less it will jerk around. It'll be faster, smoother-"

"Thus requiring less power anyways, and less power will be redirected into his neural interface. And, hypothetically, no more angry Otto." Peter grins, and you smile up at him. "I mean, it'll still take some tinkering to figure out, but incremental improvements are still improvements, right?"

"Definitely. Plus we can always try to convince him about solar power again." You joke as Peter snickers.

Peter opens his mouth, about to say something to you, but he stares for a moment too long and hesitates, especially because in the nerdy excitement, he had gotten so close to you, and he was a liar if he said he had never checked out his cute co-worker. Any second now, you should be teasing as you usually do- but your eyes are wide and Peter gets the sense you've been swept up in this too.

He's never been so... close. He can make out individual eyelashes, tiny scars, imperceptible to normal people, but not to him.

And his phone buzzes with some kind of alert. He looks it over with bright, concerned eyes, while you take a moment to step back, much to Peter's mild irritation.

"Ah... must be MJ?" You ask, trying so very hard not to sound like a jealous girlfriend, just a curious colleague. You have nothing against MJ- you just feel that she and Peter are so meant for each other, and this is exactly why you've been trying to protect yourself.

Who are you kidding? You and Peter are both so busy- you'd never have time to be his doting, adoring girlfriend. You just have to remember him as a friend.

Already you feel the walls coming into place, your expression turning neutral, your heart becoming steely, when Peter looks at you again, surprised.

He can tell you're holding yourself back- and he doesn't like that. He wants you to come back to him, to be close with him again, and it drives him nuts that it has to be your choice, but he respects that.

"Not MJ. We broke up a while ago." Peter swallows, hoping he's saying the right things. "Uh... I don't think we're going to get back together. She's dating someone else now."

"Oh." You squeeze Peter's shoulder as comfortingly as you can. "Peter, I'm sorry. I would've been less of an ass if I'd known."

"No, don't be." Peter fixes a firm, kindhearted glance at you, taking your hands, the warmth of his own making you feel especially treasured. "You're great."

There's a teeny bit of hope working it's way into you, into your silly, girly heart despite all the steel around it, and Peter has a soft smile reserved just for you- you know that smile, you've seen it before when he comforts you when an experiment goes poorly, or when you've had a Eureka moment.

He rubs your hands. "Jeez, you're cold! I know women are usually freezing in the workplace- different body temperatures on average and all that- but I'm going to have to talk to Otto about making it warmer in here."

"Lest I die of hypothermia, right." You snort, and Peter snickers, but he still stays close, as if he's using this as an excuse. "Well, at least I have your hands."

Peter's phone buzzes again, another alert, which he apologetically takes a moment to read after letting go of you. Something about Fisk's thugs making their way through Grand Central Station- he shouldn't leave right now, but he can see your curiosity is piqued.

"Just a news alert. Nothing big." Peter lies, and you don't quite buy it, but you don't want to pry at this moment after he's complimented you and been so nice to warm up your hands.

Otto bursts through the entrance of the room, sighing.

"Will you two lovebirds stop canoodling with each other and test out the circuitry? You know, like I'm paying you to do so with very limited funds?" He barks, and then inhales. "Sorry. Just... try to stay on task. And I know you're young and all... but stop drawing on the walls!"

He leaves, grumbling about youth being too romantic and wishing they would understand sensibility.

You're about to refute whatever Otto said, so Peter doesn't feel uncomfortable, when he speaks first.

"I take it he isn't a romantic." Peter jokes as he grabs some paper towels, and you laugh, feeling that Peter's flirting was more genuine than you thought.

[manasurge]

Your custom fanspec... tell me about it 👀

:BLUSHYSMILEYCATEMOJI: hehehe well, it is mostly done, it just needs the polishing up for proper posting display with the accompanied drawn diagrams and colour coding (also it's quite old at this point, started working on it a year ago and wanted to work on lore stuff so I put it on hold, so the doodles look kinda bad but oh well alsjdfsdfj). The one main thing I just have to make her Reformed Mordrem minions to display the rest with the little visual diagrams, but I can post what I have done here so far <3 (this is actually the first time I've posted the updated state of this WIP since I last talked about it last year lskjfs. So sorry in advance if some of this seems janky as I haven't gone over it in a hot minute) Note: I also wanna redo the icon thing to be more of an eye instead of the lotus since it makes more sense literally and thematically and to just try to make it look better in general. For context my OC Mourynn/Vallotash (same person kinda) is Mordremoth's (parasitic) Scion in a weird imposter (syndrome) situation (leaving that bit out for now), and her whole thing was inspired by the ??? area in Jahai bluffs with the one quote that inspired her existence "Are you a dragon dreaming that it's a hero? If you were, how would you know?", where the area also matches her colours thematically too, and why her Mesmer abilities all revolve around hallucinations and tapping into the "Dragon of mind/plant, roots/madness, etc." where the spec also evolves slowly over time as she develops, but it does get amped up during LS1 with Scarlet being responsible for kickstarting it (as she brainwashed Mourynn to help cultivate the Dreamthistle into the Toxic Offshoots, and from there with HoT and so on as things got worse and this just evolved into it's own thing, haha). Super abridging explanations (and badly lol) since I feel that part with the Toxic Alliance and those spores were an important step towards this becoming what it is. Also I still need to decide on names for some things, but oh well ;w; ANYWAYS! Mourynn's custom Mesmer elite spec (WIP):