#and when I just did that action animation of him

[creamflix]

happiness is a butterfly — sukuna x female reader   content warnings: fluff, wholesome crack, arranged marriage, yapper reader, implied heinen!era sukuna   — masterlist here ☆

it was a rather silly sight, truly. a queen pacing her chambers, speaking aloud to herself as if carrying on a conversation with another. 

but it wasn’t uncommon for you, especially on days when even the estate’s servants — those with whom you’d built a steady rapport — weren’t in a position to entertain your musings.

you often spoke of the little things that caught your interest: the peculiar patterns on a foreign tapestry that had arrived earlier in the week, the way the evening sun cast golden streaks across the estate’s garden, or a particularly intriguing passage you’d read about distant lands and their customs. then, of course, there were your personal passions — musings on literature, art, or even the intricacies of floral arrangements you wished to try your hand at.

tonight was no different. pacing back and forth across the polished floor of your chambers, you animatedly discussed the potential arrangement of a rose and lavender bouquet, occasionally breaking into thoughts on how such combinations symbolized both passion and serenity.

your voice was lively, your gestures animated as you imagined the possibilities, oblivious to the passage of time. 

it wasn’t until the faint creak of the door broke your reverie that you froze mid-sentence.

turning sharply, your heart leapt into your throat when you saw sukuna standing in the doorway. his crimson gaze swept the room before landing on you, a single brow arched in mild curiosity.

“who is it you’re speaking to?” he asked, his tone neutral yet laced with an edge of command.

heat rushed to your face, mortification settling in as you clasped your hands together, suddenly acutely aware of how unqueenly your actions had been. “no one, my lord,” you said hurriedly, bowing your head in shame. “just... my own thoughts.”

he stepped further into the room, the door closing with a soft thud behind him. you braced yourself for some scolding remark about dignity and decorum, but instead, he simply observed you in silence for a moment, his expression unreadable.

“you seemed quite invested in the subject,” he said finally, moving toward the edge of the chamber where his robes awaited removal.

“it was nothing of importance,” you murmured, your voice barely above a whisper.

he scoffed softly, unfastening the heavy belt at his waist. “then why did you speak of it with such passion?”

you hesitated, unsure if his words were meant to mock or if he truly sought an answer. when his gaze flicked to you, sharper and more expectant now, you relented. “i didn’t think anyone would hear me. it is... embarrassing, my lord, to prattle on about trivial matters aloud.”

“trivial?” his tone hardened, and he set the belt aside with deliberate care. “if it was so trivial, would it compel you to pace about like a court philosopher delivering some grand discourse?”

your lips parted in protest, but no words came. he sighed, turning back to you fully now, his arms crossing over his chest.

“continue,” he said simply.

your brow furrowed in confusion. “my lord?”

“whatever it was you were discussing — continue. i’m listening,” he clarified, already reaching to undo the clasps of his outer robe.

“but...” you faltered, glancing down at your hands. “it’s hardly fitting of a queen to...”

“enough,” he interrupted, his voice firm but lacking any true menace. “do you think i’d demand such a thing if i didn’t intend to listen?”

the room was quiet save for the faint rustle of fabric as he removed his robe, setting it aside with practiced precision. his gaze returned to you, expectant but patient.

tentatively, you began to speak again, your words slower now, less animated than before. but as you continued, weaving through the intricate details of floral arrangements and their symbolic meanings, his steady presence eased your nerves.

sukuna said little, merely nodding here and there or humming faintly in acknowledgment. his sharp gaze, however, remained fixed on you, betraying a level of attention you hadn’t anticipated.

when he finally moved to sit at the edge of the bed, his tunic undone and his posture more relaxed, he gestured for you to come closer.

“you’ve more knowledge on the matter than i gave you credit for,” he remarked, his tone devoid of sarcasm. “and here i thought your talents were limited to courtly affairs.”

your cheeks burned, unsure whether to take his words as praise or something else entirely.

“does it amuse you, my lord?” you asked cautiously, your hands clasping together once more.

his gaze softened, though his expression remained impassive. “amuse? no. intrigue? perhaps. you’ve a mind for such things — a pity you keep it to yourself.”

his words struck something within you, a mixture of validation and guilt swirling in your chest. you bowed your head again, this time not in shame but in gratitude. “thank you, my lord.”

“enough of that,” he said gruffly, leaning back against the bedpost. “if you have more to say, then say it. and next time you find yourself pacing this chamber, don’t wait for me to step in.”

a small smile tugged at your lips despite yourself, and as you continued speaking, sukuna closed his eyes — not in disinterest, but in quiet appreciation of the sound of your voice filling the room.

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[creatingblackcharacters]

hi there; first, thank you for making this blog and all the lessons you do, i really appreciate them as a Black person because it highlights a lot of struggles i face with fandoms in general, and why i dont interact more in certain spaces. it makes me feel seen

with regards to your questions, i'd also like answers to them from nonblack fans, especially nonblack anime fans. i don't even mean consuming anime with overtly racist caricatures of black characters (because numerous anime fans pirate their anime and never send a cent to the creators anyway), i mean how can they make fanworks of it?

how can they look at something that they are told is wildly offensive, but then defend with "well, this is how it looks in canon"? where is the line drawn between what's okay and what isn't? as long as it's slow and gradual, is there no line at all?

these are probably just rehashings of your own followup questions, so please excuse that, but i do have an anecdote

i joined a casual anime server the other day and a lot of folks were lamenting one Black character's racist design and how often those on social media will replicate it without thinking/caring. The thing that struck me is that, I've checked this character's tumblr tag regularly for a long time. There are always people who will post art/fanworks of this character with his racist design. Yet hardly ever, if ever, (outside of Black fans) have I seen any of these folks- the ones in the discord server- try to talk to artists/writers/fan creators/etc via asks/replies/etc. There's a notable amount of people in that server and a notable amount that agreed the design was outright racist and that they'll never make fanworks like that, and yet still silence

i'm not entirely sure what would be the line, or the "okay, that's enough" moment to spur any of these folks into action. i'm not sure if there is one. the only reason i don't make my own "hey what is wrong with all of you" post and blow up is because I've made a wonderful little friend group in this fandom who get it, and I don't want them to get caught up in whatever happens if I were to make a post like that

And this is just for getting people to stop using the canon design of the character, i.e., to stop drawing him as a racist caricature. This isn't touching on the people who 1) lighten his skintone [he's been horribly whitewashed over time, which has been reflected in some fanarts and fan merch], or 2) give him a looser hair/straight hair texture, rather than his type 4 hair (there's also #3, which is fanfiction with straight up slurs, and horribly racist writing in it that my friend heavily warned me not to read, but that was more of a one-off case and I've had the creator blocked a long time now).

my point being, we (Black fans) can't even get folks to stop with the caricatures, which we have to start with, and then there's even more of an annoying uphill battle with the other stuff. I'm just so tired of all of this; it makes me want delete my own works and turn away from fandom all together because i can't stand it.

trying for polite and assuming ignorance hardly ever works, speaking bluntly doesnt work at all, making public posts hardly goes anywhere (partly because of how rarely people reblog things anymore, partly because it makes people 'uncomfortable' to share this information with others). Black fans so obviously need help to combat this, and yet it's like sitting at a tea party and hearing all these pretty words in this one setting, yet nobody does anything different/better when the party's over/outside this setting.

sorry for dooming a bit, but like, genuinely i would like to know where the line is for nonblack folks? what is the point/are the points where you would speak up against antiblack racism? have you ever considered speaking up? if there's ever a moment you recognized antiblack racism and didn't say anything, why didn't you? did you consider how your lack of speaking up might affect your fellow Black fans? or how Black fans may be interpret this as silent agreement with the racists/with the racist 'norm'?

..those could maybe be alternative ways of asking your last followup question?

(if i've made any blunders or overstepped here, please let me know!)

No, I'm glad you spoke up! I too would like to see answers!

[arttsuka]

I wanted to talk about Toothless and how his design and personality changed for the worst throughout the 3 animated movies (I won't be tackling any of the shows because I haven't watched them)

In the first movie he's at his best. His design is actually amazing, from the overall model structure to the patterns on his skin (which are visible in every shot, especially the ones taking place during the day, without ruining the 'illusion' of his black skin. It actually feels like it's resembling a panther aka black leopard in which the fur patterns are still visible). His face has a more aerodynamic shape, more sharp, a big curve.

His snarky but intelligent personality was really fitting for him. And we got to see more of it as the movie was progressing and he was getting more comfortable with humans.

In the second movie the patterns on his skin are still mostly there, way less prominent but still visible. His face got squashed down (a problem which only because stronger in the 3rd movie) but as a whole he still looks presentable, kinda. His posture changed too (but I'm too lazy to find evidence, you'll have to take my word for it).

I remember not having a problem with his personality in the second movie which is why I was surprised to see that this was only half true. He acts more domesticated, that's to be expected, but only around humans? When he interacts with other dragons it's like he's a completely different character, closer to what he became in httyd 3 than 1. He's still quite intelligent and more used to human equipment and people in general. In the first part of the film (especially this scene with Hiccup) he acts like how I'd imagine he should be in the 3rd movie, here it should have been a 'middle' ground, not 100% domesticated but not movie 1 feral either.

In the third movie he suffered the worst. Gone are the patterns on his skin, he's solid black now. His face got weirder too.

His personality got reduced to this stupid, slobbering 'dog'. His pupils are always dilated and his tongue almost constantly out. He acts unintelligent and he doesn't have that snarky personality he had in the first and even the second movie. He's basically a different character altogether. (That scene where he tries to 'woo' the light fury is embarrassing at best and shows exactly what's wrong with his character now).

They did it to make him more 'likable' to younger audiences + to make a good visual contrast to the light fury (who has an undercooked personality AND awful design as well), which is weird because they gave the light fury patterns on her wings?

The light fury looks like a beluga whale in the worst way possible. She has almost nothing going on visually to the point it doesn't even make sense. Her skin looks fragile, she's so weirdly smooth for no reason. It would legit be better if they took a night fury model and painted it white.

They gave her a 'cat' personality and took it away from Toothless (why couldn't both be 'cats'?). Also she's the 'girl' character, her only purpose is to be the romantic interest. She adds nothing to the film.

No comment in the live action design. Just ugly. Atrocious even.

Also something else that's been bothering me from the live action remake is this scene.

They've basically recreated every scene exactly as it was in the original so far (which is a bad thing) but the slight hesitation Toothless showed before touching Hiccups hand was the one thing they chose not to include? (I know the scene wasn't meant to have that in the beginning and it was an error in animation which they decided to keep because it gave the scene more personality so, why not include it in the live action?)

[babe-a-yaga]

What was done to Isseya is one of my personal biggest upsets with this game. I loved her in Last Flight. She's a genuinely interesting, complex character, and given the themes of mistakes and regret present through Veilguard, it makes TOTAL sense for her to make an appearance! What makes no sense at all is for her to be reduced to a two dimensional villain with no clear motivation who's just...doing exactly the thing she fucked up in life? Except worse? I'm gonna summarize the events of last flight for the folks who haven't read it;

The first griffin Isseya put through the joining was already blighted in battle, and dying from it. Quickly. Griffins are extra sensitive to the Blight and any attempts made to join them resulted in the animals going berserk and tearing themselves, and anyone else in range, to pieces to get away from what was now in their veins.

In a well meaning, but misguided effort to save one of the animals she loved, she used blood magic to alter the griffon's mind, to convince it the Blight in it's system was just a regular cold, and it didn't need to fight it, then put it through the joining.

It worked, but it changed the griffon. Made it stronger, fight harder. More difficult to handle. The griffon ultimately went out in a spectacular blaze of glory, and people didn't know what she did, just that she did SOMETHING, and that griffon did ten griffons worth of damage on it's way out.

The fourth blight was far worse, far longer than any of the blights we have witnessed first hand. I think it lasted like 15 years? And it was going badly for Thedas. They ordered Isseya to do what she had done to the first griffon again as a last ditch to stand a chance at I *think* Starkhaven (it's been a little bit since I read last flight, so I'm sketchy on dates and what battles were fought specifically when). She hated doing this, but it was orders, and it was exploit this handful of griffons or watch the world die. She's a warden, she signed up to stop the blight at any cost. In war, victory. In death, sacrifice.

By the time her brother Garahel slays Andoral, she's had to blight a number of griffons, and the constant blood magic use has massively accelerated the blight in her own body. Her brother garahel is this golden haired pretty boy beloved by everyone who looks upon him, and Isseya looks so much like a ghoul at this point people are uncomfortable being in the same room as her. Even though this is completely due to her service to the wardens.

Then, the remaining joined griffons start going mad. And then it starts to spread to the other, non-joined griffons. In using blood magic to convince the griffons the blight was just a disease, she had caused it to become one. A contagious one.

It's one of the most interesting examples of how dangerous blood magic actually is we ever see. We're just told over and over "blood magic bad, slippery slope to killing people. Bad. Even if you use your own." And we never really see explicitly why it's an inherently dangerous form of magic until this.

Back to Isseya though. Garahel's lover's Griffon had a clutch of eggs sired by Garahel's Crookytail. Isseya, knowing there was no stopping what was now in motion with the griffons, set out to do her one last act of penance. She took, and purified those eggs, hid them in a ward that kept them in stasis, so that they might only hatch once the griffons were gone, and this disease had died with them, so they might have a chance. And then she hid the clues to their location, and begged that whoever find them not let them be used by the wardens again.

And then she went on her calling.

These are not the actions of a villain. Isseya EMBODIES the warden principal of sacrifice. But it isn't glorious battle rewarded by a quick death alongside an archdemon for her. It's death by inches, by blight, knowingly and willingly accelerated in her own body to stop it from consuming the world. Sacrificing her ideals, the animals she loves, her brother, Garahel. Isseya gives it all for the wardens, to end the blight, and is not thanked for it or remembered kindly.

And she did everything she could to seed the slightest bit of hope, that both in spite of her and because of her, griffons might return to the world, as free creatures.

Her Veilguard arc feels like really egregious character assassination, and I wish she had been given an ounce of the sympathy that other characters had been given. It made sense for her to be here, thematically, mistakes and regret, and good intentions still leading to bad ends, but she deserved the same opportunity for forgiveness and/or redemption that Solas, Mythal, Cyrian, even Illario got.

Isseya was done dirty by Veilguard.

[the-bad-guys-2-reportage]

🟢Interview: Director Pierre Perifel talks The Bad Guys 2

"The Bad Guys 2 is James Bond meets Mission Impossible animated action" -director Pierre Perifel & producer Damon Ross

About the opportunity the first movie left: “We leave the bad guys as they’re trying to be good. They’ve paid their debt to society, and they’re about to be released from prison, and there’s a whole arc after that where they’re ready to be accepted by society.” -Pierre Perifel

About pushing things further:"This new one is really all about opening the universe of ‘The Bad Guys,’ – both story-wise, where we’re going to just explore the new set pieces and characters, just leave the centralized cities, and explore different locations – and more cinematic sets, which is super exciting. We’re pushing the visual style. We reshaped our characters a little bit. We are going to add special effects that feel a bit more like hand-drawn. There’s definitely more line work in the texturing and brush strokes. We’re pushing a bit more stylized. We’re not going too crazy. It’s still going to feel like ‘The Bad Guys” with that very painterly, illustrative look.” -Pierre Perifel

About the Sequel: “They’re struggling a little bit, going from job interviews to try and pay bills that they can’t afford, until they get captured by this trio of super villains, and forced to do one last job. The movie is about testing Wolf’s determination to be a good guy. Did he make the right choice? That really is the big philosophical argument for him.” -Pierre Perifel

"It’s one thing to go good, it’s quite another to stay good” - Damon Ross

About Kitty Kat: "She's Wolf 2.0. She’s super smart, super strong, cooler and younger than Mr. Wolf. Her second-in-command is a Boar. She’s the opposite of Kitty, this bigger-than-life character with a soft heart, but has childish energy. “ He continues, “The last character is a raven. She’s super dry and sarcastic, and her humor is on point.” -Pierre Perifel

About what they're excited fans to see: "What I love about Marvel movies is the opening of this universe where you start with one superhero and just slowly build up a world around it. For us, it was really important to open the world and give the audience something that you can see could have more movies behind that one. For me, it really is a fun ride, but on a much bigger scale and higher octane than the first film. And I think that’s what I’m excited to see how audience react to this.” -Pierre Perifel

"We established our characters in the first movie. Now we get a chance to expand and deepen those characters, the hard work (done) of just introducing them, as in the past. Now we can add the different dimensions and layers and get to know them even better" -Damon Ross

"The books genre hop and he [Australian author Aaron Blabey] spends a little time in one genre. Jumps to another. played in the ‘Ocean’s Eleven’ space. Now we get to ratchet things up; action wise, stake wise and set piece wise, and lean into ‘Mission: Impossible. Even when we were starting the first movie, we thought, if we had a chance to make a second, a third, more movies, we would love to do the same, not just do heist movies in different locations. Nobody does set pieces better than the ‘Mission: Impossible’ franchise. We have a pretty, not-so-subtle nod to that.” -Damon Ross

Interview from Variety & The Warp. Based on the books by Aaron Blabey.

[guhamun]

OF COURSE JIYAN WOULDN’T understand why it’s embarrassing. Calcharo had long since come to the conclusion that he was fond of things that were classified as ‘cute’. Gulpuff, to some people (for whatever reason) were considered adorable, and as a result, there was a plethora of merchandise to reflect the people’s fascination with that vacant-eyed beast. It was a ridiculous thought to have, but for some reason, he had a feeling that the general must have a few items related to that fish in his room. Either they were in plain sight or inconspicuous – whichever one. ❝Heh, I bet they didn’t complain. They wouldn’t get that kind of pampering at headquarters, and so was probably taking advantage of it.❞ The thought amused him a bit more than it probably should have. Did Jiyan cut up little rabbits out of apples for them as well? Probably. There wasn’t even a point in asking when Calcharo could pretty much guess that his train of thought was correct. Making others comfortable and ensuring they were comfortable was something he knew for a fact that the other man would do without fail. The fact that his mercenaries felt at ease in his presence spoke volumes in itself.

     ❝Anyway, hopefully they thanked you properly for looking after them.❞ Brushing that thought aside, though, he was much more interested in whatever excuse Jiyan would come up with in regards to his dragon’s actions as well as his own. More than likely something atrocious. He was already struggling as is. And just as he had thought, the words that passed the other’s lips was dismissive – terrible in a way that would just make someone want to prod even more. To be honest, Calcharo was rather tempted to do just that, and might have decided to follow that train of thought if not for the fact that Jiyan steered the conversation elsewhere. A thin brow rose, his head tilting a little. ❝Maybe a little.❞ He wasn’t even going to attempt to deny that he took some form of enjoyment out of catching the other unawares. Their reactions were so…unexpected, that how could he not want to see more? It was like catching sight of an aurora dancing across the sky in all its rarity.

     He enjoyed what he saw.

     ❝I guess that will just be a secret among my other secrets.❞ He chuckled softly, glancing away towards the horizon once again. ❝Never would have thought that the famous general could turn so red in the face. You can be surprisingly…endearing.❞ He wasn’t intending on teasing at the moment, more or less speaking his thoughts aloud in the same manner that Jiyan often did. Even so, words like ‘endearing’ were not often in his vocabulary. One could count on one hand the times that thought ever came to mind, and it tended to always involve animals like stray dogs and cats. Maybe Encore’s little stories she made up. It was hardly ever attached to a person.

Perhaps it was because of his own love for cute things, but the general was of the idea that cute things were meant to be enjoyed by everyone. "But I don't see why it should be an embarrassing affair in the first place." After all, it was only natural to want to do things that will cheer up the person you care about. Fluffing up the pillows, paying a visit just to talk, bringing things that make one feel more at ease during their stay, surprising one with gifts like fruit, flowers or even balloons, as small as these gestures were, he had noted they did wonders in improving the mood of the patient and, therefore, speed up the healing process.

Maybe... was it because of the other mercenaries? Was Calcharo worried what they would think if they saw their leader being looked after? Well, that made little sense, as he was certain all ghost hounds not only looked up to Calcharo, but wished for the man's wellbeing as well. Besides... "When I had the opportunity to look after one of your men, I heard no complaints. Even hard-boiled mercenaries deserve to be 'pampered'." It happened so long ago he nearly forgot, but it happened when one of the ghost hounds were found injured and passed out near Camp Overwatch. He could tell they were distrustful of him at first, but then relaxed when it became obvious that all he wanted was to know if they were comfortable.

His face reddened, enough for the tips of his ears to feel warmer than before but, at least, those traitorous temporary scales didn't appear. "I promise that Qinglong wants the same things as I and, right now, I want you to pretend you didn't see that." Perhaps not the best argument, considering such was admitting that he too wished to cling to the mercenary leader. "And I'm afraid I don't follow. I have yet to wrap my arms around your waist, nor am I clinging to you," he argued, unaware of the fact that he was pretty much doing the latter. But, even if it was pointed out, he would argue that it was different, as he was doing it out of embarrassment, because Calcharo's shoulder was very comfortable, and nothing else.

After his embarrassment lessened, the general lifted his head and looked at the other man, a small frown adorning his features. "It's come to my attention that you enjoy teasing me." Even if Calcharo denied it again and again, they couldn't deceive his eyes. "The times I have seen you smile and laugh are mostly related to that in one way or another. Hm, is this how you usually treat your close acquaintances? I'll be forced to form a support group with them if that's the case." And yet, he wasn't complaining.

[deoidesign]

Hi, how did you learn to draw Steve's physique?

Ohh what a complicated thing to answer...

When it comes to how I learned to draw anything, it's hard to say anything too specific since it's always a culmination of many years of assorted study and practice... but I can try to do my best to explain some of the biggest things that helped me learn, some tips I keep in mind, and maybe at least some places to start/delve further.

(just a little disclaimer it's not like my drawings here are going to be 100% medically accurate.. they're just to illustrate concepts!)

The main thing about learning various physiques is understanding anatomy. Which feels obvious, but I don't mean proportions; these are important, but perhaps more important is understanding the skeleton and how it moves and learning where muscles connect to bones and where fat grows on the body. When you understand how these function on a more mechanical level, depicting form and movement in a way that feels natural comes in tow.

For instance, understanding things like the pronation and supination of the radius and ulna, as well as the fact that muscles can ONLY contract or relax, will help you understand a bit better which muscles will be flexed and which will not while someone moves. It's inherent to the positioning based on the structural makeup of the body... It's not like you NEED to memorize all the muscles and bones, of course, but understanding and gaining at least a passive familiarity with the concepts really helps.

In tandem with this concept is the way parts of the body flow into eachother. Muscles ALWAYS come in groups because they can only contract. Whatever muscle is there to lift something, there is a muscle on the other side to pull that bone back down. What this results in is a series of straight edges next to curves, which gives us a lot of really lovely "s curves" and dents and folds and so on and so forth just naturally occurring.

I would suggest at least learning the "bony landmarks", which are bones (usually) visible on the surface of the body. things like the iliac crest, the great trochanter, the 7th vertabrae, the acromion process... These can be used to help you understand the parts of the body as angles and relationships, rather than trying to remember lengths and sizes, which vary immensely... (since you asked about steve, he can be our model... also study these on your own don't just take my word for it haha, these are the ones I personally keep in mind)

I've done the same thing with body hair... learning where it grows and in which directions... It helps me make up variations without needing reference, because I have a set of rules I can follow.

The biggest thing that helped me understand all this on a much deeper level was my ecorche course. I sculpted this guy. We started by sculpting the entire skeleton to understand the bones, and then we added muscles on top. Not every single muscle, of course, but the "artistic muscles" AKA the ones which directly affect the surface of the body. Doing this let us see where muscles connect, because we would make a shape, put it on the bone where it actually goes, and then you get to see how other muscles overlap that.

This helped me, perhaps, more than anything else. But I also didn't just start with this course, I had been drawing for years before I even took it. I had been in school for years before I took it. Not that I think it wouldn't be helpful to someone just starting out, but I do think that the more you know going in, the better an in-depth course like this will help you and stick with you. Classes are also expensive, though so I'm not really like... recommending you pay potentially thousands of dollars to take one... But it did help me a lot, personally.

I also, of course, have done many figure, gesture, and master studies...

These just help you quickly gain a stronger understanding of generalized anatomy, and gives you real life examples of and practice with of how people move and balance.

What all this does when combined, is gives me a very solid ability to depict movement and form in a way that feels relatively natural from my subconscious without the need for reference.

The rest of how I've learned to draw his physique is honestly mostly just stylization. I understand the body, and this is how I am depicting it for his level of musculature.

And as I move into depicting him in other ways, either moving in comics or in animation, realistically rendered, or extra stylized, these concepts inform every step of that process for me! When he keeps the same/similar relationships between parts, he gets to still look like himself.

It ALSO really helps when putting clothes on, because the way cloth falls and bunches and lifts is all directly related to the form it is on... So the more you understand that form, the more you can depict clothing and movement in a way that feels natural.

This is all, of course, true when I draw anyone, you asked about Steve so I'm trying to mostly show with him! But because I'm just drawing from raw information of general anatomy rather than trying to study one body type at a time, it allows a lot more "give," I think!

Like, here's most of the cast from TTA so far... actually, they're not as varied as I thought they were nevermind LMAO ignore this part

But, it also makes monster and alien design much easier! It's a lot easier to come up with non-human anatomy when I understand human anatomy, because I can manipulate the knowledge I have...

There is infinite more to study in the world of anatomy... The complexity of the human body goes extremely deep. For our purposes as artists, we need only depict a fraction of it, but more information rarely hurts the process.

I'm sure there's something in here that's wrong on a technical level, I'm mostly going off of memory. But that's kind of my point - I understand enough generally and conceptually that when I am missing something and need to find reference for it, I understand what I'm looking at. It's much easier than trying to learn AND draw at the same time.

I hope even one thing in here helped you! Sorry it's so long.

[hypervoxel]

Oh, so, like, the entire first season's establishment of the characters and their interactions don't actually matter in Helluva Boss. Okay, cool.

Like, I get that characterization develops over time and the writers come up with new ideas and places they want to take the story, but. So much of the Stolas/Blitzø stuff recently isn't character development: it's retconning.

[infriga]

I convinced my mom to try the live action One Piece, because she's the type to like this style of show even though she isn't into animation and would never read manga, but I didn't think I'd be able to convince my dad because he's usually a stickler for more grounded and realistic stories (his favourite genre is war movies, his favourite movie is Saving Private Ryan, for reference). But, when I brought up with him how I figured it probably wouldn't be his thing because it was fantasy, he mentioned to me that he does enjoy some fantastical stuff if it has like an internal universe logic, like Star Wars, and the more I thought about it, the more I remembered that he also enjoys campy fun action adventure stuff that doesn't take itself too seriously like Indiana Jones or Pirates of the Carribean.

And One Piece has both that internal logic for why people can perform crazy feats (even if it isn't explained right away) which I mentioned to him (just that there is a reason why people can do crazy things in this world), as well as the campy fun action adventure thing going for it, especially in the Live Action (the fight against Morgan's base even has a major Indiana Jones vibes ngl). So I explained that to him and asked if he wanted to try it, and he agreed to watching the first episode with me to decide if he'd watch it with my mom and me.

AND HE ACTUALLY SAID IT WAS INTERESTING SO FAR!! Like, he is NOT the kinda guy to enjoy anime or manga or even western cartoons, always refuses to watch anything anime and doesn't show any interest when I talk about it (I've managed to convince him to watch a few movies like Sword of the Stranger but it's obvious that even when he's not bored or doesn't hate it, it still doesn't catch or keep his interest), and he's really picky about anything fantasy or SciFi, if it like sets off his bullshit meter too much he starts nitpicking the logic behind certain abilities, or decisions, or explanations, etc. I once tried to get him to try Gravity Falls and he wanted to stop after the first episode. He's THAT picky.

So the fact that he actually laughed several times while watching the first episode of OPLA with me, commented about Luffy's character positively several times (he seems to think Luffy is really funny which surprised me cause I thought he'd be the most entertained by Zoro but I mean I can't blame him it is Luffy after all), never cringed or criticised or said anything about how ridiculous it was, means a lot coming from him cause he's always really blunt and honest about his opinion on this sort of stuff (which is fine I don't want him to pretend to enjoy stuff when he doesn't). He actually watched the whole first episode without it losing his attention, and seemed to have fun! And he agreed to watch the rest with my mom and me!

This sort of thing is one of the reasons why I dislike when people just dismiss the idea of live action adaptations entirely. I get that people are jaded with past failures, and don't like when live action is treated like a replacement for or improvement from animation when it isn't. But it is a valid medium just as much as animation or comics or writing are, and can be used to produce some amazing things. And the fact is, there are people who have a hard time connecting with other mediums who will otherwise never engage with this media in its original forms. Live Action, when done well and done right, can reach new audiences and welcome them into the fold in ways the original formats never can.

One Piece didn't need the live action to be popular, obviously, and the live action cannot and will not replace the original, nor should it. But I love that we get to have it alongside the manga and anime. It's just more of what we love, it's the cherry on top of an already stellar multi-layered cake. It complements the original rather than taking anything away from it. And for the first time in over a decade I might be able to share One Piece with my parents, who would only ever have a chance of experiencing it and enjoying it in live action. There's just something so awesome about that for me personally. I just wish more live action adaptations would understand what the One Piece live action understood about the adaptation process, and that's how to keep the heart of the story in-tact, so more people from more fandoms could have a chance to share something they love with more people who it would otherwise not reach.

Anyway, thank you Oda and the OPLA cast and crew for doing live action right for once!

[shannonsketches]

he's so important to me

[spinnysocks]

kiburi x ushari but specifically doomed kiburi x ushari. more than anyone else in the army they believe with full sincerity that scar's plan HAS to work because they can't succeed without him

[fleshdyk3]

god i fucking hate my dad

[griff-chatters]

Everyone talking about the Minecraft new trailer and yapping GUYS LOOK AT WHAT ELSE DROPPED

I have sooooooooo many feelings about it and god only knows if any of them is positive

[hellogoodbyeitsme]

Finally found time to finish one piece live action,,,, why did they change Nami's backstory like that?? Bruhh

[listen-to-the-inner-walrus]

.

[fellhellion]

I’m sorry I have to speak my truth lmao it’s a little bit hilarious that kingpin is stylistically offered such flourish and creativity, when writing wise he’s so fucking generic.