#and get writing examples for commissions

[jpivot]

do u ever take commissions?? i’m just rly obsessed with your deadlock art especially lash 😭💙

theoretically yes but practically no, lol... ive been entertaining the idea of "opening commissions" for years but the planets rarely align for me to do so*.

i also have that disease where i can only do 0% or 120% amounts of effort, with no inbetween. the former is not worth it for customers and the latter is not worth it for me. alas

*tbh i guess you could just ask and we can work something out. the last time i did a commission someone asked me about it and then waited a whole year for me to finally have a window of time appear to work on it. so. thats the type of inconvenient geological time scale i function on

[phightingconfessions]

Biograft is the only closest thing to ai i will ever support

tbf theres a difference in the kind of ai biograft is and generative ai

[mortalityplays]

This is a dangerous sentiment for me to express, as an editor who spends most of my working life telling writers to knock it off with the 45-word sentences and the adverbs and tortured metaphors, but I do think we're living through a period of weird pragmatic puritanism in mainstream literary taste.

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

And it's risky, because unmeasurables come with the possibility of rejection or failure. Drop in too many allegorical descriptions of the rose garden and someone will decide your prose is 'purple' and unserious. A lot of online audiences seem to be terrified of being considered pretentious in their tastes. That creates a real unwillingness to step out into discursive spaces where you 🫵 are expected to develop and explore a personal relationship with each element of a work. No guard rails, no right answers. Word of god is shit to us out here. But fear of getting that kind of analysis wrong makes people hove to work that slavishly explains itself on every page. And I'm left wondering, what's the point of art that leads every single participant to the same conclusion? See Spot run. Run, Spot, run. Down the rollforth land, yonder horizonways. I just want to read more weird stuff.

[ma7moudgaza2]

Are banks operational in Gaza? And how do we deal with cash flow?

The targeting of the occupation against the banking and financial systems in the Gaza Strip, the destruction of dozens of exchange offices and ATMs, the prohibition of financial transfers to Gazans, and the absence of regulatory oversight from the relevant authorities have led to chaos and the dominance of banks and exchange offices, resulting in an increase in the financial discount as commissions on the amounts that Palestinians there seek to obtain in cash.

So as not to get away from the main topic of this post, let's focus on answering these two questions directly.

Yes and no.

How is that, Mahmoud? Explain.

Yes, all banks in Gaza have shut down their headquarters since the war broke out, and it's not possible to contact their employees to complete certain transactions.

But banks operate digitally through some official apps, mainly Bank of Palestine since its headquarters is in Ramallah and not Gaza, so it operates normally.

So you're saying the banks are closed does that mean ATMs are, too? How do you withdraw your money?

Through traders in Gaza.

How does that work?

Let's say Mahmoud needs to withdraw 100 dollars in cash. He goes to one of the known traders in Gaza and says "I need 100 dollars in cash, how much is commission?"

How much is commission?

Commission differs from one trader to another. It comes down to their personal desire. For example on the day of writing this post, dated 4/12/2024, commission for cash withdrawal has reached 30% of the amount withdrawn.

In other words, if I had 100 dollars in my bank account, I need to pay 30 dollars to the trader, and receive 70 dollars in cash. So, the price of converting bank credit to cash is 30% of that amount.

Meaning if I had 1000 dollars, I receive 700 dollars instead. Imagine that level of injustice, despair, and despotism.

When you receive money from outside of Palestine, the trader also keeps 30%.

But there's nothing we can do. We have no choice but to accept these terms, just to be able to eat and drink and go on with our daily needs.

On the other hand, prices of goods are astronomical. I am not exaggerating when I say that if a person in Gaza has unlimited money it still wouldn't be enough.

The smallest of families need 100 dollars a day just to get by with the bare minimum.

Help us to provide food for today and feed our children in the midst of this famine.

Only $350 left to reach the short-term goal of $22,000

@appsa @tsaricides @schoolhater @buttercuparry @feluka

@el-shab-hussein @wherethatoldtraingoes2 @nabulsi @sayruq @sar-soor

@tiredguyswag @gothhabiba @slydiddledeedee @kingskrazzyart @a-shade-of-blue

[booksinmythorax]

Some tips from a librarian for today and the future:

Go to the library. Get a card. Borrow things. Buying books is neat, but the books the fascists want to ban are still there, on the shelf, at your local library, and if they aren't, you can request them. While book bans can happen and are happening in public libraries, the vast majority of "successful" challenges are happening in school libraries. You can still get books from your public library, and getting the books from the library tells your library they should keep them on the shelf. Borrowing anything, walking in the door, and/or attending programs all help get your library more funding. Fighting censorship in this way is effective and costs you $0.

Pay attention to local government. Read your local newspaper, or the local-est paper you can find. (You wanna know who can probably help you read your local paper for free? Your local library.) Look up your representatives in your state and local governments, not just federal. Read their biographies online. Find out what they stand for.

When something divisive is happening in your local community (a book ban, a school board ruling on bathrooms or sports, a change in curriculum), show up. No, literally. Show up to the school board meeting, the library board meeting, the county commission meeting. If you can't show up, make a phone call. If you can't make a phone call, write an email. Your voice has the most effect on the local and state level.

Now, counterintuitively, is a really good time to get to know your neighbors. Do not self isolate out of suspicion. We are stronger together. If you need suggestions for ways to get to know those neighbors, your local library probably has groups you can join, or will start them if you ask nicely and promise to show up. Hand to the gods, a once-monthly book club or gardening club or crochet circle might be your difference between total despair and feeling maybe pretty okay.

Only talk about your personal identities and experiences if you think you will be physically safe doing so. Consider limiting your social media posting. Buy a paper diary. Talk to people in person or via secure direct message if you really want to grow relationships and make an impact. Educating others is great and important. It's also most effective when you have an existing personal relationship with the person involved in the conversation with you. Consider starting new accounts without your face or name if you choose to continue using social media.

Avoid talking about others' personal identities and experiences, particularly without their consent. Your friends, family members, children, and partners are not tools you should use to win an argument. Point to the lives of writers, activists, educators, and artists who are out if you need an illustrative example in a teaching moment with someone you know. Others' religious beliefs, immigration statuses, queer identities, and pregnancy statuses are nobody's fucking business but their own, unless they choose to tell others for their own reasons.

[quarterlifekitty]

Birthday presents:

Gaz plans out an entire day. From the moment you wake up to when you go to bed. Doing all of your favorite things, going to your favorite places, punctuated by snacks and meals at your favorite restaurants and cafes. And you get a teddy bear, that’s the rule. Every major gift occasion must come with a teddy bear.

Soap buys you something you had no idea you needed. Something you end up using every day. Something perfect. And on top of that, he makes you in insanely complex card. He’s one of those freaks who feel down the card making rabbit hole, so now he has a die cutter, embossing folders, about a million stamps and colors of ink, embossing powder in every color, etc.

Ghost becomes your personal chef for the day. Literally anything you want. As long as it doesn’t contain anything endangered, he will cook it. And he’ll take you with him to get all the ingredients— have a nice drive, buy you all your special snacks you can’t get at your usual store. He does require that if you want a stew or slow cooked meal, or something with marinade, you do have to notify him 24 hours in advance. He also gets you a children’s birthday card and crosses out the number on it with marker and writes your age. “Congratulations birthday girl, you’re 6 25!”

Price gets you a new charm for your charm bracelet, and a nice classy piece of jewelry. Something simple, beautiful, and personal. Engraved, of course. And a beautiful cake from the nicest bakery you know— even if it’s in another country (Nik owes him).

König gets you, first of all, an enormous assortment of chocolate. I think he takes a lot of pride in the quality of Austrian and German chocolate. Probably also commissions a custom medallion from his favored chocolatier. Besides that, he plans a getaway. Somewhere you can go and just not be bothered for a week or so. He often feels guilty about how much time you spend apart, so he takes every opportunity to try to make it up.

Nikolai just gives you a good old fashioned shopping spree. Anything for his gorgeous darling malýshka. And in any country you want as long as it has non-hostile airspace. You really can go shopping in Milan, Paris, and New York City in the same day if you want. That’s what you get for dating a pilot!

Rudy gets you the nicest version whatever it is that you use. If you like nail polish or lipstick, he’ll get you Charlotte Tillbury. If you like silver (in jewelry or houseware) he’ll get Tiffany. If you like pewter he’ll get Royal Selangor. It’s always something very nicely made and/or something that will last a very long time.

Nikto will get you something impossibly sentimental. Say, for example, that you lamented to him about your favorite childhood stuffed animal that had been lost when you’d had a small house fire, or when you’d cut ties with your family. You will wake up on your birthday to that exact make and model of stuffed animal, no longer how long ago you lost it, doesn’t matter if it’s no longer produced. He will perform minor miracles for you.

[renthony]

In Defense of Shitty Queer Art

Queer art has a long history of being censored and sidelined. In 1895, Oscar Wilde’s novel The Picture of Dorian Gray was used as evidence in the author’s sodomy trials. From the 1930s to the 1960s, the American Hays Code prohibited depictions of queerness in film, defining it as “sex perversion.” In 2020, the book Steven Universe: End of an Era by Chris McDonnell confirmed that Rebecca Sugar’s insistence on including a sapphic wedding in the show is what triggered its cancellation by Cartoon Network. According to the American Library Association, of the top ten most challenged books in 2023, seven were targeted for their queer content. Across time, place, and medium, queer art has been ruthlessly targeted by censors and protesters, and at times it seems there might be no end in sight.

So why, then, are queer spaces so viciously critical of queer art?

Name any piece of moderately-well-known queer media, and you can find immense, vitriolic discourse surrounding it. Audiences debate whether queer media is good representation, bad representation, or whether it’s otherwise too problematic to engage with. Artists are picked apart under a microscope to make sure their morals are pure enough and their identities queer enough. Every minor fault—real or perceived—is compiled in discourse dossiers and spread around online. Lines are drawn, and callout posts are made against those who get too close to “problematic art.”

Modern examples abound, such as the TV show Steven Universe, the video game Dream Daddy, or the webcomic Boyfriends, but it’s far from a new phenomenon. In his book Hi Honey, I’m Homo!, queer pop culture analyst Matt Baume writes about an example from the 1970s, where the ABC sitcom titled Soap was protested by homophobes and queer audiences alike—before a single episode of the show ever aired. Audiences didn’t wait to actually watch the show before passing judgment and writing protest letters.

After so many years starved for positive representation, it’s understandable for queer audiences to crave depictions where we’re treated well. It’s exhausting to only ever see the same tired gay tropes and subtext, and queer audiences deserve more. Yet the way to more, better, varied representation is not to insist on perfection. The pursuit of perfection is poison in art, and it’s no different when that art happens to be queer.

When the pool of queer art is so limited, it feels horrible when a piece of queer art doesn’t live up to expectations. Even if the representation is technically good, it’s disappointing to get excited for a queer story only for that story to underwhelm and frustrate you.

But the world needs that disappointing art. It needs mediocre art. It even needs the bad art. The world needs to reach a point where queer artists can fearlessly make a mess, because if queer artists can only strive for perfection, the less art they can make. They may eventually produce a masterpiece, but a single masterpiece is still a drop in the bucket compared to the oceans of censorship. The only way to drown out bigotry and offensive stereotypes created by bigots is to allow queer artists the ability to experiment, learn through making mistakes, and represent their queer truth even if it clashes with someone else’s.

If queer artists aren’t allowed to make garbage, we can never make those masterpieces everyone craves. If queer artists are terrified at all times that their art will be targeted both by bigots and their own queer communities, queer art cannot thrive.

Let queer artists make shitty art. Let allies to queer people try their hand at representation, even if they miss the mark. Let queer art be messy, and let the artists screw up without fear of overblown retribution.

It’s the only way we’ll ever get more queer art.

_

Like this essay? Tip me on Ko-Fi, pledge to my Patreon, or commission an essay on the topic of your choice!

[lazyleafeon]

[image description: Text says: commissions for Palestine. there is an image of the artist on their drawing tablet. all commission information shows art examples.

Commission info text says: $1-$7 Lined Chibi. $1 lines, $5 monochrome rendering, $7 full color rendering.

$15 lined fullbody. +$7 for full color. +half price per extra character (up to 3 characters total).

Comics. Sketch comics: $25 full page. $12 half page. Up to 4 pages. Fully lined: $50 for full page. $25 for half. Up to 3 pages.

will draw: furries, mecha, OCs. won't draw: nsfw, real people without permissionwill draw: furries, mecha, OCs. won't draw: nsfw, real people without permission. End ID]

I'm reopening commissions for Palestine. I will draw you something if you donate to any of these (note that gofundmes require you to donate at least 5 of whichever currency the fund is using):

The Gofundme's and other fundraisers on this masterlist

Helpgazachildren's Gofundme

Esims for Gaza (or this crowdfund to donate money for esims)

The Municipality of Gaza's life for Gaza campaign

Any of the fundraisers I've reblogged on this account

I'll also draw you something if you donate to other verified fundraisers for Palestine or funds for people on the ground, or to verified fundraisers for Sudan or Congo.

guidelines/other info:

personal use only

Turnaround of around 1 month for chibis, 2 months for fullbodies, and 4-6 months for comics. I will update you as soon as I have a sketch or if there are any delays.

Please include a visual reference or text description of the character(s) you want drawn. If you don't i'll go off of google or my own design for them

For comics I can work with prose or a script. if i know the characters i can try writing a script myself based on a prompt, though it will take me longer

I reserve the right to refuse a commission and may ask you to choose something else.

To get a commission, DM me on this account or email me at desklamprey @ gmail.com with a receipt of your donation made after this post was made (8/11/24 at 9:30 PST), a link to where you donated if its not from the 4 i listed above, and the details about your request.

[oc-ology]

How to OC post without being an artist (or spending money)!

As much as I yelled about OC-posting, some people said that they struggled to know what exactly they should be posting. Obviously the answer is whatever you feel like but if you’re already aimless, that answer isn’t very helpful. Additionally, not everyone knows how to draw (which I think is an obvious method of OC-posting) so I wanted to give some ideas for what people could post for their OC! This will be split up into different sections.

Creating visual representations of your OC

Disclaimer: I will not suggest nor support the usage of generative AI. OCs are about creating something yourself, not allowing a computer to do it for you.

Outside of commissioning someone else for art, it can be disappointing and frustrating to not have any visual representation for your character. An easy way to get a representation of your character is to use Picrew, Meiker and other similar sites. There’s a large number of art styles, types of fashion, species, that can all be used to make your OC and that amount only grows by the day. Many of these websites can be accessed on PC and mobile and take very little processing power.

However, this can be limiting at times since you might not find exactly what you’re looking for, especially if your OC has a unique combination of features. For something with more customisation, you can use video games with character creation to make a version of your character. I personally would recommend games like The Sims or Skyrim as both have very active modding communities. This way, if a certain type of clothing or facial feature isn’t present in the base game then you can often find someone who has created a mod that adds it in instead. This does require you to have access to a computer that can run not only the game but the mods as well.

Another option would be using a program like Vroid Studio to make your character from a base model. This has both a mobile and PC version, although I will primarily be speaking from a PC perspective. The mobile app, while able to create a character from scratch, is a lot more limited than the PC version. The great thing about Vroid is that there’s a lot of user-made content that you can often get for free through websites like Booth, as well as many tutorials for beginners to follow along with. Again, this requires a computer that is able to run it. I would recommend against using Vroid on a laptop as it will likely be too intensive for it.

My final suggestion for character visuals is to take a character from anime or cartoons and simply edit them. This was actually how I first got into making original characters! You can recolour their hair or outfits with an editing program (with some free examples being FireAlpaca, Krita or GIMP) and even edit different images together to create something more unique. Please only do this with characters from existing media and avoid using fanart for this.

Other OC visuals

Other than just what your OC looks like, there are other ways to visually put together your OC. Moodboards are the most obvious example of this, but you can also edit other things such as putting together outfits for them or finding pictures of items they would keep in their bag.

If you have multiple OCs, you can create fake text conversations between them using a number of websites. These can be as silly or as serious as you like!

Finally, you can always build them a pinterest board. I am a massive pinterest enjoyer and not only can you use pins that others have posted to pinterest, you can add your own from off the site. 

Writing

Beyond writing out your characters’ story, there are numerous other things you can write. Keeping in line with what you’ve already written, you can re-write scenes from alternative perspectives. These can add context to what is seen in the main story, as well as flesh out background or side characters and their relationship to your other OCs.

Another fun thing to write is non-canon scenes. Write a beach episode! Write about a character getting sick and someone else having to take care of them! There are countless ways to draw your OCs interacting with their world or other characters that wouldn’t necessarily ever fit into the “main” story.

Next is genre changes. If you had to categorise the genre of your OCs’ current story, what would it be? Now image what if the genre was something completely different? Romance to mystery… Slice of life to horror… Part of the challenge is figuring out what story beats remain the same and what gets changed, including character dynamics! And of course… Alternate Universes. There are too many types of AUs to list but some of my favourites are superpowers, mafia, zombies, time loops and time-travel-fix-its. These are similar to genre-changes but often include a number of AU specific tropes. If you’re struggling to figure out the staples of a certain AU or what kind of AUs exist, there’s a really good page about alternate universes on Fanlore.org!

Other ideas

These are ideas that didn’t quite fit into the other categories.

First is music playlists! There are two types of these. The first is a playlist of songs that describe a character and their story while the second is a playlist of songs that the character would listen to. Some people like to combine the two as well! There are no rules to this, simply have fun listening to music and picking out songs that remind you of your OCs.

Second is incorrect quotes. I remember these used to be beloved by fandom and now they can be beloved by you and your OCs! The concept of incorrect quotes is that well-known and funny quotes from pop culture (such as memes or movies) get written out and your characters are assigned a line of dialogue. While there’s a website that’ll generate these incorrect quotes for you, I personally find more fun in coming across quotes organically while scrolling social media and realising that they fit my OCs almost perfectly.

Finally, ask games. These typically take the form of lists of questions or prompts with emojis or numbers next to them. People can send in the relevant emoji or number and you then answer the corresponding prompt. There used to be a kind of “ask game etiquette” where if you reblogged an ask game from someone, you sent an ask from the list to them as well. This way, it allows the game to continue circulating and you can spread the joy of OC-posting with others! It can also lead you to making friends within the community.

And that’s it for my post! If you have other suggestions for kinds of OC-posting then I would love to see them!

[theshitpostcalligrapher]

Spring Cleaning Listings - Selling Original Calligraphy Paintings/Designs!

heyo yall just making a new post for this since I sold out of the larger sized originals and I'm more or less out of the cue cards in funky colours

But yeah! I've been generating a giant 50+ pile of original pieces/original designs for prints that just sit in a drawer so I'm selling these guys to clear up my storage space

etsy only lets me do ten variants on a single listing at a time so we're gonna do this restock styles - whenever the listing's running low on available items i'll upload more variants of original pieces for sale. There's a little under fifty to clear out and I anticipate some of these getting snapped up way faster than others.

I've priced them approximately how much they'd cost if someone commissioned me to make 'em

the listing for smaller paintings, there are a LOT of them

here's the current roster of originals in the listing:

the other thing that's sort of a cleanout listing is:

the listing for mystery card bundles! They're significantly cheaper

than the custom cue card listing just because I'm not making them to order/they already exist and this listing's more to clear out storage space more than anything else. There's dozens and dozens of cards in the backlog of nonsense that I've made over the years, I've just provided a small handful of examples for the etsy listing's image requirements.

Yall already bought so many of the cards that aren't related to requests that I've literally run out of them, so your mystery cards are now only in black and white til I get around to writing stuff in funkier colours when I get a free afternoon

[jonnywaistcoat]

Hey, Horrormaster Sims. I have a wildly different question that barely relates to TMA (Sorry about that) but its about your own process. Please, if you could, can you tell me how your first drafts made you feel? I'm on the fence about writing my own thing (not a podcast, and again, not Magnus related, though I have a million little aus for that delightful tragedy you wrote, thank you for that!) But I'm discouraged by the collective notion that first drafts are always terrible, because there's no ... examples I can solidly use to help the dumb anxiety beast in my brain that tells me everyone who is in any way popular popped out a golden turd and not, well, you know. One of my friends said 'Oh I bet Jonathan Sims's first draft was nothing like what he wanted' and I got the bright idea to just. Send you an ask, since you're trapped on this hellsite like I am. Anyway, thanks for reading this (if you do) and if you'd rather ask it privately, I am cool with that. Alternatively, you're a hella busy man with Protocol (you and Alex are making me rabid, i hope you know) and you can just ignore this! Cheers, man, and good words.

To my mind all writing advice, especially stuff that's dispensed as truisms (like "first drafts are always garbage") are only useful inasmuch as such advice prompts you to pay attention to how you write best: what helps your workflow, what inspires you, what keeps you going through the rough bits. There are as many different ways to write (and write well) as there are people who write and so always consider this sort of thing a jumping off point to try out or keep in mind as you gradually figure out your own ways of writing.

On first drafts specifically, I think the wisdom "all first drafts are bad" is a bit of unhelpful oversimplification of the fact that, deadlines notwithstanding, no piece of writing goes out until you decide its ready, so don't get too hung up on your first draft of a thing, because a lot of writers find it much easier to edit a complete work than to try and redraft as they go. It's also important to not let perfectionism or the fact your initial draft isn't coming out exactly how you want stop you from actually finishing the thing, as it's always better to have something decent and done than to have something perfect and abandoned.

But the idea of a "first draft" is also kind of a fluid one. The "first draft" you submit to someone who's commissioned you will probably be one you've already done a bunch of tweaks and edits to, as opposed to the "first draft" you pump out in a frenzy in an over-caffeinated weekend. For my part, my first drafts tend to end up a bit more polished than most, because I'm in the habit of reading my sentences out loud as I write them (a habit picked up from years of audio writing) so I'll often write and re-write a particular sentence or paragraph a few times to get the rhythm right before moving to the next one. This means my first drafts tend to take longer, but are a bit less messy. I'm also a big-time planner and pretty good at sticking to the structures I lay out so, again, tend to front load a lot of stuff so I get a better but slower first draft.

At the end of the day, though, the important thing is to get in your head about it in a good way (How do I write best? what helps me make writing I enjoy and value? What keeps me motivated?) and not in a bad way (What if it's not good enough? What if everyone hates it? What if it doesn't make sense?) so that you actually get it done.

As for how my first drafts made me feel? Terrible, every one of 'em No idea if that's reflective of their quality, though, tbh - I hate reading my own writing until I've had a chance to forget it's mine (I can only ever see the flaws). I suppose there's theoretically a none-zero chance they were pure fragments of True Art and creative perfection, but Alex's editing notes make that seem unlikely.

[leidensygdom]

Commission scams: A guide on how to avoid them and find legit artists

Hello! I am writing this guide in order to hopefully help people spot scammers and art thieves, to teach people how to deal with them and to give people ways to actually get real artists for commission work.

For those who do not know, there is a recurring, extremely widespread type of scam where someone will advertise their commissions using stolen artwork, or (sometimes) traced or AI-generated pictures. This started (as far as I know) on Twitter, but it is currently in all sorts of social media (I have found them in Twitter, Instagram, Bluesky and Tumblr) and also on Discord servers, often large Discord servers requiring no invites or that are easy to find through Discord advertisement places.

These do obviously hurt both, the people seeking to buy a commission (who will either get their money stolen, or given a product that is not of the quality that was advertised), and the artists whose work is being stolen, who are not getting the work themselves. It is important for people to learn how to identify these people, and to quickly take action when possible. This post is kind of lengthy, so please press the Keep reading button below for the full guide! (And please do share this post around if possible- This is a very common scam and I have met far too many people who have fallen to it or have got their art stolen due to it, including friends and myself.)

So, how do they work? (in Social media)

In my experience, a lot of these scammers either run multiple accounts or are part of a larger scheme, operating in organized groups that follow similar tactics. They will very often use automated means to advertise en masse. Those in social media will make accounts that post some example artwork, often with a myriad of tags, in styles that do not match (see first example, featuring my stolen art :'')). They very rarely post anything that isn't stolen artwork, or have any actual real following they interact with properly. They will then very often spam heavily through replies (such as it happens in Twitter), posting hundreds of really similar messages in a short period of time. In the second example, you can see an account from one of these scammers that is using automated posts to garner attention, which are shared by similar accounts (notice the same exact wording between the first and third post). The third example (in the Replies tab) shows how one of this accounts replies "Hi" to every single message they get.

They will often seek posts from people who are searching for commissions, answering them (often with a "I do commissions, DM me") or other variants of that. (They often only share their "art" on DMs to not be caught stealing by the original authors.) You can see an example of that on the first screenshot below. On Twitter, Instagram and pretty much any place where you can DM people, they may also come to your DMs, often starting with a "Hello" or something so you answer to them, and then they will suddenly share their commission information (as seen in the second picture).

In any case, they rarely have publicly available commission sheets, and will only disclose their prices on DMs. They may share more stolen artwork in there. From there on, they will often speak in fairly broken English, and try to lead you to commission them. They will haggle the prices if they can- But they tend to be fairly steep, with them going up to $300 a fullbody, which tends to be unusual in people without a fairly established following or popularity.

They will often give you a payment method that does not allow for refunds- Such as sending the money to "Friends and Family" in Paypal. This is actually illegal for commercial work, so if you get an artist telling you to pay them through such a method, please do be incredibly wary: Professionals will use methods that do have an option for refunds.

2. How do they work? (on Discord)

On Discord, they will often enter in servers where there may be a place for them to advertise, or servers available through Disboard and other Discord-community searchable sites. Then, they will often not interact at all with the community itself, but they will jump to advertising channels and post about "seeking for work". I have found out that scammers operating on Discord do only very rarely also have socials, so look out for that. Do reverse searches if you can. Legit artists don't tend to join Discords solely to advertise, so look up "from: [name]" on Discord and check how they have interacted in the server, if they have done that in any way. See the first and second example for an example on how they behave. First example has art from @ydteus (in the second message, the dragonborn's source is unknown.) Second example is from one of these accounts who entered on a Streamers' Discord. Streamers and VTubers are very popular targets for these scammers. Third example (with art from absent_lambeth on instagram, and unknown for the second picture) shows another important point, which I'll explain below.

Many of these scammers do not have solid commission sheets showing examples and prices for them. The third one even mentions "it is under construction", fully knowing a commission sheet is expected. Not every professional artist has them, but most do. It is often expected that people who do commissions will have some sort of Terms of Service at the very least, even if they do not have a commission sheet.

3. What do they do?

They scam you. You may never get any art from them. You may get traced art, or art that is not of the quality they advertised, because the art they used for promotion wasn't theirs on the first place. Or you may get an AI-generated picture, too. In either way: You will find yourself with +$200 less in your pocket and no way to seek a refund. So, it's very important you know how to spot them BEFORE they scam you. I have known people who have lost their money

4. How do I actually spot them?

Simply put, they do not act like normal artists would. Let's make a handy list of suspicious behaviours to look for, though.

Most people who draw commissions won't directly DM you unprompted to ask you to pay them for work. If you get such a DM- Report as spam and block.

Most of them don't act like bots, either. If you're on Twitter or similar pages, seek for extremely repetitive posts, hundreds of Replies in their Replies tab that are copypasted or very similar. If you see that, report as spam and block.

Reverse search is sadly very unreliable nowadays, but it does not hurt to try. A lot of them will modify the picture so it doesn't show in reverse search, but try it- And seek if it links to a different account with a different name.

As an ESL, I hate to say this, but the grand majority of them have really broken English, so look out for that. Not every person with broken English is a scammer, but it is something common amidst them. You will notice they fail to communicate general information. Try to ask them for Terms of Service, for example: They will probably be unable to provide you anything (if they do even understand you.)

You will rarely find them on your own unless you frequent specific tags, such as "commission" or "openforcommission". Or even using completely unrelated tags in their posts. I found one of them using a tag about someone's death to cop violence on their anime art. These people mostly only interact with their fellow scammers, but not with artists you'd find through other means.

As mentioned above, they won't provide you a payment method that allows for refunds the grand majority of the time. If someone tells you to send them money "as friends and family" in Paypal, or through something life Ko-fi's donations (although this one is rare), do not pay them. This is a general advice: Do not use payment methods that do not allow refunds for people you don't know.

Ask them for a commission sheet, a webpage, their Terms of Service and other things. Professionals should be able to provide at least one of these, usually.

5. What do I do if I find out they have stolen art/if my art has been stolen?

If you have found stolen art, let the original artist known ASAP if you can find them. Ask for help from friends if you cannot find them.

If you're the artist, DMCA claim. Every page has it, it is required for them to have it. If you search "dmca form (and the website's name)", it should show up. Bsky only has it in mail form right now, but it's there. A DMCA claim is a Copyright claim, and as long as you can show that you posted your picture somewhere before they did, you can do it. The form may seem scary, but it is not all that much. They will ask for your legal full name, address, a mail + a telephone, the url of the post stealing your art, an url to where you posted it first, and to sign/agree to some terms. DMCA claims tend to be processed swiftly (in about a day) because websites can get in trouble if they allow for copyrighted content to be stolen. And you actually do have rights to any picture you have created without needing to trademark it or anything.

You may also want to ask your friends to help you report the account and/or posts. Often, reporting it for spam will give you the best results. DMCA claims will take down the offending posts, but sadly, reports in most major places are rarely taken seriously, but they may limit an accounts' reach or auto-flag it as spam in DMs, so it is still a fairly effortless option to follow. DO still DMCA claim them though.

6. Where do I actually find real people to commission?

Your best bet is through other real people. Let me explain some good methods for this.

Do you have friends who are artists? Ask them if they have commissions open, or if they know other people who take them. Artists almost always know other artists, and they can quickly find you someone you can trust.

Did a friend of yours get a commission? Ask them who was it from if you like the style, and they may be able to get you a link to their social media!

Do you follow artists for any sort of content you're interested in? (General art, fanart/fandom stuff, people you look up to, etc). You can check their work first and see if they have commissions, or if they share art from other people, and then check those.

Scammers really don't partake in fandoms or have art-related posts go viral (some get some follower-begging bait going viral, but that's it). Chances are that, if you found a cool art in your dashboard or timeline, it is from a real artist.

I think places such as VGen need verification for artists and have ratings. I am not personally experienced with it, but you may want to check that out.

You can always ask people to double check with you if you found someone but are doubtful about them being legit. If you are part of any community, do ask there! If you have artist friends, tell them! A lot of artists are acquittanced with the scam issue.

I have seen people do lists of artists available for commissions in places such as bsky, too. These can be an option, but always do verify that the people doing the list in the first place do seem like an actual person.

Ending notes

This is a very long post, but I really wanted it to be very thorough. I would greatly appreciate if you could share it around, as it is a very widespread issue that not many know how to identify. If you do find out scammers in Discords, please DM the servers' admins and link them to this post so they can get banned, in order to prevent scamming and art theft.

If you have any question or you need someone to help you verify an artist being legit or a scammer, my DMs are open for that too. I have talked about this a bunch in other places and I am fairly experienced with these cases, and I would be very happy to be able to lend a hand and find you an artist, if you do need the help. Thank you for reading!

[drawing-you-as-a-critter]

Hi, yes, do you want to have a doodled drawing of a character, animal, object or other being as some kind of creature? Some sort of beast? Some crawling little thing?

You're in luck! I am opening up the sign to my silly business! For the low low price of NOTHING I will doodle a creature for you based on a concept or design you bring forward. Based on fantastic blogs like @making-you-in-spore or @making-your-fave-in-fr, now you get to have all of the fun with infinitely more possibilities! Who knows what my brain will come up with? I certainly don't!

The only things I ask are that we avoid NSFW, violent or offensive content, and that we do not end up sending in extremely specific requests. If you start listing off design elements you want, it becomes less of a fun doodle design for fun and more something I have to really work to make happen, so to avoid burn out I have decided not to take these kinds of requests. I will, however, take these sorts of prompts for a discounted price on my commissions! For any other stipulations, feel free to ask, or you can check my FAQ down below.

To tempt you, I have left below a few examples of my past experiments. Feast your eyes on what you could have and consider following for more juicy monster beast content delivered right to your door step with a pretty bow.

If you've looked this far you are seeing older art! Isn't that cool? Also, here's a cookie. 🍪

Frequently Asked Questions:

Can I use these creatures as inspiration for my own characters or designs? Yes! I am not overly attached to any of these designs, however I will ask that you not just take the exact design I do and call it your own. Change it to make it your own instead! Add or remove elements! Go crazy, go wild!

Can I color and/or line these designs? Yes! Just make sure not to do so in a way that perpetuates hatred or hurts others, and don't claim the design itself as yours.

Can I use these creatures as icons, banners, or emojis? Yes, so long as you don't claim that they are yours!

Can you add (insert design element here) or change the design to be a certain way? No! These are supposed to be done as a fun quick exercise for me. If you want a design you can have changed and made the way you like exactly, then you'll have to go to my commissions as linked above.

Can I write lore or make stories based on the critters? Yes! Absolutely! Please share them with me!

[interact-if]

Our fourth edition of the Black History Month Author Spotlight series, features Becky (@losergames)!

(I’ve been in awe of Becky’s multi-talents (art, writing, coding, excuse me??) for a long time now, and am super excited to get to interview her and introduce her awesome game, Chop Shop! The portion on morality and finding a middle-ground between harmful stereotypes of “bad” POC characters and angelic, one-dimensional ones who can do no wrong was a really interesting and insightful take.)

Author: Becky

Hello hello!!! I’m Becky! I am a black bisexual woman from the UK, lover of games, TV and food. I have a Bachelor's degree in Animation & Visual Effects and currently work as a technician at a college 😁

Games: Chop Shop (crime, action, LGBTQ+, meaningful choices)

Short blurb: A crime action interactive fiction game.

Quote from the interview

There are a few main themes I keep in mind about when writing Chop Shop but the big one I think everyone understands is morality. What is right and wrong, and the various shades of grey in between, has been written about a thousand times in a thousand ways but it is continuously interesting to me in a changing world. What does it mean to be a bad person doing good things and a good person doing bad things? Is there a chance for redemption? What are the consequences? Race and class are also massive factors, made all the more complicated when we’re looking at sets of characters on either side of the PC’s life. I want to write black and other characters of colour make bad, questionable, and unredeemable decisions whilst also remaining aware of stereotypes and archetypes. I want them to be loud, messy, and rude, attributes that are always attached to minorities, but I also want them to be smart, calculating, and deceptive. I think a lot of people are scared to do so and we end up with plain, can-do-no-wrongers that lack any depth.

Read on for the full interview!

Can you tell me a bit about what you’re working on right now and your journey into interactive fiction? What inspired the game/story you’re currently writing?

I am currently working on the crime action interactive fiction Chop Shop. There are a mix of inspirations that went into Chop Shop but above all else I’d say the kicker was my circumstances at the time.

During covid I walked away from the WORST job I’ve ever had and moved back home, which I realised a while after was an extremely huge blessing. I had a major burnout and was processing what my ex-managers had put me and my colleagues through. So, in my freetime I was playing a lot of cyoa/ romance games (shoutout Love Island the game) and found a whole fandom that also enjoyed them. 

I made some friends, did art commissions, and wrote some fanfic here and there, yadda yadda. A close friend recommended I try out a very popular COG game at the time (🧛) and it all spiraled from there. I fell in love with the format, endless creativity, and community and never looked back.

I loved the Need For Speed games as a kid, the og Most Wanted, Carbon, and Underground 2 are, in my eyes, amongst the masterpieces of games from the 2000s. It got to the point I was going over to friends houses just to play on their PS2 lmao. I am also a Fast and Furious fiend (shock) and I will defend that god awful series till I die. Fast forward to being a teenager/ young adult I’ve become a massive fan of fictional crime shows. Breaking Bad will always be my first love, but I also love The Sopranos, Fargo, The Wire and more.

How has your identity, heritage/background, upbringing, or personal experiences influenced your storytelling or writing process? OR How does your work feature aspects of your identity / experience?

The real catalyst for Chop Shop was my previous job. A lot of the PC’s experiences are based off my own. A few examples I love sharing are how I had to make breakfast for my boss every morning and had to keep the office freezer stocked with a specific supermarket ice lolly because he ‘needed’ one every day at 3pm. I truly wish I was making this up because people think I’m crazy when I tell them. But I really was catering to a man-child because I was desperately trying to get my foot into a creative industry. Woof!!!

That said, the industry I wanted to work in was and still is extremely competitive. I came out of uni with a tonne of friends, but also a tonne of competition. It stung very badly to see my peers excel and surpass me when it came to careers but that’s just a part of becoming an adult. That life really was not for me and I’m glad I’m out of it now.

My mother is an extremely influential person in my life. Bits and pieces of her stick with me, not just in my writing but my every day. She’s worked in corporate all her life, from the early 80s and still to this day. She laughs about it now but she tells stories about the times she was laughed out of meetings or undermined by subordinates because she was a black woman in positions that were not occupied by minorities. It hurts to think about but I can only dream of having the type of strength she does.

Now that I think about it, Chop Shop is a massive fuck you to the past.

Are there any specific themes or messages you hope players take away from your work?

There are a few main themes I keep in mind about when writing Chop Shop but the big one I think everyone understands is morality. What is right and wrong, and the various shades of grey in between, has been written about a thousand times in a thousand ways but it is continuously interesting to me in a changing world. What does it mean to be a bad person doing good things and a good person doing bad things? Is there a chance for redemption? What are the consequences?

Race and class are also massive factors, made all the more complicated when we’re looking at sets of characters on either side of the PC’s life. I want to write black and other characters of colour make bad, questionable, and unredeemable decisions whilst also remaining aware of stereotypes and archetypes. I want them to be loud, messy, and rude, attributes that are always attached to minorities, but I also want them to be smart, calculating, and deceptive. I think a lot of people are scared to do so and we end up with plain, can-do-no-wrongers that lack any depth.

What does your writing process look like? Any rituals or habits? Any tips, tricks, philosophies or approaches that have worked very well for you?

I write way better outside of my bedroom. I know writing is supposed to be fun and a hobby but sometimes it’s… not. If I get stressed out in my room, it’s all a mess. The brain needs to be away from where I sleep to get work done. Last summer, when all the teachers were on holiday time, I was the only one in my department for weeks and it was the best writing stint I ever had haha.

Oh and I keep a huge spreadsheet. All the episode breakdowns, outlines, character details etc. It looks insane to anyone else but it is my prized baby.

Do you have favourite interactive fiction games, characters, scenes or authors that you’d like to recommend?

My goto game rec is always 180 Files: The Aegis Project. So quick and punchy, more narrative/plot than romance focused. The action sequences are fun and the interactions are so delicious, ugh. I love it. I’ve played it at least 20 times to get the different endings and it’s never not satisfying, just… chefs kiss. I’m also really enjoying Thicker Than right now AAHHH I NEED TO CATCH UP!!! 

Any books, music, movies etc. you’re obsessed with at the moment, or which changed your life (or perspectives on something)?

Not anything specific but I do have some books I’d like to recommend to my fellow black readers:

The Psychosis of Whiteness: Surviving the Insanity of a Racist World by Nicola Rollock

Black Skin, White Masks by Franz Fanon

The Strangers: Five Extraordinary Black Men and the Worlds That Made Them by Ekow Eshun

Black England: A Forgotten Georgian History by Gretchen Gerzina

The Hard Road To Renewal by Stuart Hall

Honestly I’d recommend anything by Stuart Hall lmao. RIP king, you would be shocked at the media literacy today.

This-or-that segment: (bold = Becky's pick)

Coffee or tea?

Early mornings or late nights?

City or countryside?

Angsty or Cozy romances? (Or enemies-to-lovers or best-friends-to-lovers?)  

Steady progress or frenzied binge-writing followed by periods of calm?

Summer or Winter?

First drafts or editing?

Introvert or extrovert?

Plotter or pantser?

Characters or plot first?

Becky’s custom “either-or” pairing: Driver or passenger?

[us3rnam3-r3dact3d]

Pack Behavior and Ritual Headcanons

I have some very specific Headcanons about the ways in which shifter Packs (specifically wolves) traditionally behave, and I just wanted to write those down because I think they're neat. Please enjoy.

When it comes to eating, Packs have, traditionally, fallen under a strict hierarchy. Older, more traditional packs will wait until the Alpha has finished eating to begin. This comes from some animal behaviors in which dominant members of a group have the pick of the food before the rest of the group gets to eat through the scraps. Sometimes, Alphas would appoint certain members of the Pack (often their mate and/or the Beta and their mate) to eat with them.

Gabe did away with this particular tradition when he was Alpha, even through his pack often still waited for his permission to begin eating. It's an innate, instinctive thing that a lot of wolves have, a difference to the hierarchy. David also doesn't follow this tradition very strictly. When the Pack eats together, they will often sit and wait for him to begin eating or give a signal before anybody else touches their food. It kind of creeps David out a bit? But he understands it because he felt the same instinct when his father was Alpha. The only Pack member who is exempt from this show of respect is Darlin', who David wants to eat whenever and whatever they want with no restrictions from him or anybody else.

At the Summit and when around other Packs that the Shaws aren't allied with, they all very strictly follow David's direction when it comes to food. It's a show of respect to their Alpha. They do not want outsiders to see anything that could even be misconstrued as disrespect.

Mates of Alphas have their own special place in a pack. They certainly aren't always part of the pack structure, and don't necessarily have control over the pack because they're mated to the Alpha, but there is an instinctive, base level of respect and difference that packs show to them. It's undeniable for the Shaws that, when both David and Asher are out of commission, Angel has the ability to step into a leadership role very naturally. After the Inversion, when David, Ash, and Milo were all down for the count, Angel and Babe ran the pack. It was only for about twelve hours, but they handled all of the recovery and response efforts for their mates, and revealed themselves to be pretty competent when it came to the pack's care.

I believe that it was @romirola who coined the term "Alpha-Mate" and I really love it. I like that as the official distinction that packs and government agencies use to identify an Alpha's mate. For example, Angel might identify themself to other packs like "I am ____, Alpha-Mate of the Shaw Pack." That term has power behind it, just like "Mate" does.

Tying back to the food HC, Alpha-Mates receive special attention when it comes down to food as well. Most shifters have the instinctive drive to feed their mates. It's an animal instinct to provide, and to make sure that their mates are taken care of. That drive extends to the entire pack when it comes to the Alpha-Mate. Angel often finds themself at pack gatherings with four or five plates of food because, as soon as they've even part way cleared one plate, somebody is bringing them another.

There is a slight magical connection between mates. It's not quite telepathy, but most of the time, mates have a general impression of what their mate is feeling. They also tend to have a sort of sixth sense for when their mate is in danger or hurt, a shiver down the spine or phantom pain. It's not been proven to happen to unempowered mates, or even mates who aren't also shifters, but Angel, Babe, Sam and Sweetheart have all experienced moments that would lend to the theory that it does. Angel was nearly sick with anxiety during the day of the Inversion. Babe gets a shiver up their spine every time Asher shifts, even when they're not with him. Sam can tell when Darlin' is hurt, and gets echos of their pain across his body. Sweetheart could tell you with pretty near accuracy what's on Milo's mind at any given moment, whether that's because they know him so well or because of some sort of Mate-telepathy.

[marksbear2]

Could we get a Peter Parker (Tom holland) x mentor reader? The reader is already an experienced hero and he’s taking care of Peter new injuries and giving him advice.

Peter Parker x Mentor male reader

Tom holland is my favorite Spider-Man so I loved writing this. I also added a title a friend of mine recommended it.

⚠️Warnings — Father figure reader, stitches, patching up, lecturing, canon Peter Parker, mentions of pain and etc.⚠️

Stitches and Lessons

The fluorescent lights buzzed softly above, casting a cold, sterile glow over the cluttered room. Peter Parker sat on the edge of the worn-out couch, his Spider-Man suit peeled down to his waist, revealing a web of fresh cuts and bruises across his torso. He winced as you dabbed at a particularly nasty gash on his shoulder with antiseptic.

"Ow, ow, ow! Could you, like, *not* dig into my soul with that cotton swab?" Peter whined, squirming under your grip.

"Stay still," you said firmly, your voice calm but commanding. You didn't flinch as you pressed the swab deeper into the wound. "If you’d actually dodged instead of playing hero with your face, we wouldn’t be here right now."

Peter huffed, crossing his arms but obediently staying still. "I did dodge! Mostly. I mean, you try avoiding all those guys when their charging at you like a truck with legs."

"That's the point, kid," you said, setting the swab aside and reaching for the needle and thread. "The bad guys you’re fighting are brute. Their predictable. He charges, you move. You don’t have to be faster; you just have to be smarter."

Peter watched as you threaded the needle with practiced ease. His usually chatty demeanor gave way to a rare moment of quiet. "You make it sound so simple."

"It is simple," you replied, though your tone softened. "What’s not simple is you thinking you have to take every hit for everyone else. That’s not how this works, Peter."

You started stitching the gash, your hands steady despite Peter’s occasional flinches. He bit down on his lip, suppressing another yelp. "I can't just let people get hurt," he said after a moment. "Isn’t that the whole point? 'With great power...' and all that?"

You paused, needle hovering mid-air, and looked him in the eye. "That quote doesn’t mean you have to destroy yourself to save everyone else. Great power, great responsibility—it means knowing your limits. Knowing when to fight and when to step back. You’re no good to anyone if you’re out of commission because you thought you could take on everything by yourself."

Peter's shoulders slumped. "Yeah, but... what if stepping back means someone gets hurt? What if—what if I fail?"

You finished the last stitch and tied it off with a firm knot. Setting the needle down, you rested a hand on Peter's uninjured shoulder. "You’re going to fail, Peter. It’s inevitable. No one saves everyone, not even the best of us. But it’s not about how many people you save or how perfectly you do it. It’s about trying your best, learning from your mistakes, and coming back stronger."

Peter looked down at his hands, his fingers playing with a loose thread on his suit. "How do you deal with it? Failing, I mean."

You leaned back, letting out a soft sigh. "You remind yourself why you started. You let the people you save—the ones you can save—be your anchor. And when it gets too heavy, you lean on the people who’ve got your back." You gave him a pointed look. "Like me, for example."

A small, sheepish smile tugged at Peter’s lips. "Thanks... for patching me up. And for the pep talk. Even if it did feel like a lecture.""Anytime, kid," you said, standing and stretching your arms. "But next time, try to get fewer holes punched into you, alright? My stitching skills aren’t for free."

Peter laughed, rubbing the back of his neck. "I’ll try, but no promises. It’s kind of my thing, you know?"

You rolled your eyes, grabbing the first aid kit to clean up. "Yeah, yeah. Just remember: you’re not alone in this. You’ve got a whole team—and me—to help you figure it out."Peter’s grin grew a little wider, a little brighter. "Got it, mentor dude."

You shot him a mock glare, but the warmth in your eyes betrayed you. "Go home and get some rest, Spider-Man. The city can survive a night without you swinging through it."

As Peter slipped his mask back on and headed for the window, he paused. "Hey," he called over his shoulder. "You’re not as scary as you look, you know." Before you could respond, he shot a web at the nearest building and disappeared into the night, leaving you shaking your head with a quiet chuckle.

"Kid’s going to be the death of me," you muttered, though the faint smile on your face said otherwise.

THE END