#as a concept not as in this is a work of art

[back-on-my-bullshit-hahaha]

DPxDC Prompt

I've had this idea for a while (since seeing that art of Johnny and Kitty robbing a bank so Danny can get Top Surgery lol) but I haven't even had the brain to work on my own fic recently (sorry about that btw) so I'm writing this instead

So the concept:

T4T Johnny and Kitty, who died in the 80s after running away together.

Johnny was the kid of some rich asshole automobile mogul from Bristol, and Kitty was one of the workers' kids from the Narrows. They become friends, fall in love, both realize they're trans around the same time and then decide to run. They know that being trans on top of tax bracket difference gives them almost no chance of making it. Johnny steals a bike and a fuck-ton of money from his parents, and Kitty's parent(s) helps them leave.

They're still toxic and spiteful as hell, but nothing the other does can change the fact that they know and understand each other better than anyone else could.

They travel around the country being menaces together for a while until they decide to settle down in a strange city called Amity Park. They figured it could handle a couple more anomalies. But before they can get there, they get into a bike wreck with their final thoughts being of each other and Johnny specifically cursing his bad luck in life.

The next thing they know, they're in the infinite realms being given the chance to stay together and the freedom to simply exist with no strings attached. (Other than each other cause I firmly believe that they're mutually the others' obsession)

About 20 years have passed, a portal to their old world is permanently open and this scrawny little ass kid ghost that they've never even heard of keeps stopping them from going through it.

It isn't until Johnny actually starts paying attention a few months into it that he notices that first, the little shit can actually fight, and second, HE WAS FIGHTING THEM WITH A BINDER ON. (Johnny also vaguely wonders why Danny looks so much like his old neighbor Brucie, but that's less important than the binder thing). Johnny lets out the universal ghost fight timeout signal and vaguely explains the situation to Danny, who seems confused about the noise he made and why it made him stop.

Johnny gets Kitty to spread the word that if the timeout isn't called off by the next morning, stay TF away until they get an all-clear.

That night, *after yelling at him a bit*, he starts teaching Danny how to reshape his ghost form to his preference and even his vocal cords.

From there, Johnny and Kitty sorta ghost adopt him as a sibling and then take him to Frostbite to make sure his T-shots are ecto compatible.

(I hope this was coherent it's 4am for me and I haven't slept lol)

[jupiterliketheplanet]

Bruce quest fic idea where Tim manages to convince Jason that Bruce is alive and they go to find him together, but in a fucked up family road trip kind of way. I’m talking Jason “are we there yet” Todd and Tim “stop looking through my window” Drake, petty sibling arguments about the things that don’t matter (who has aux, who’s driving, etc.), sprinkled in moments of them learning more about each other, and the events of Red Robin happening with the both of them. Art theft? Jason thinks it’s hilarious. Widower attack? Tim actively bleeding out makes him realize he doesn’t actually want him dead anymore, most of his anger is directed towards Bruce now. Working with the LOA? Tim better have a fucking plan because Jason is two seconds away from killing Ra’s himself. Tim and Jason fuel each other’s questionable morals. When Tim blows up the League he does it without telling Jason and Jason has a whole “wtf” moment.

And the aftermath of everything when they manage to get Bruce back? The rest of the family notices how close they are now, and that their fighting is more like siblings shitting on each other than genuine anger, and start asking questions about what really happened while they were out of Gotham.

Idek, I think it could be a cool concept to explore

[vintagerpg]

M. C. Escher is another artist that I think has profound influence on how we collectively think about and depict fanciful places for exploration in RPGs, even if his art isn’t at the forefront of our brains. Traps and magic and other planes of existence too!

Escher was Dutch and created a large body of woodcuts and lithographs during his lifetime, though it wasn’t until the end of his life that he achieved a measure of fame, thanks initially to coverage in Scientific American. Much of Eschers art was inspired by, and serves as visual metaphor, for mathematical problems and concepts — tessellation, symmetry, reflection, impossible objects. His depictions of the latter are probably his most famous and often depict the clearest examples of dungeon-like spaces where strange laws of physics rule — something that was clearly on Jim Henson’s mind during the staging of the final scenes of Labyrinth. Escher’s tessellations, especially the ones that transform, like “Metamorphosis,” are probably the closest to a visual representation of magic yet achieved by an artist. Strange creatures creep into some frames, other illustrations present warped versions of reality. But even some of his gorgeous land- and cityscapes seem like fodder for the game master’s mind, with the bold linework of the woodcuts seeming to resonate with Dave Trampier’s work.

Maybe it’s the Trampier thing that puts me in this mind, but it feels like Escher’s mathematical art is somehow a cousin of RPGs, especially early ones that were interested in simulation through math and randomness. The graph paper maps. Or even later, when isometric maps became fashionable.

This book, M. C. Escher: His Life and Complete Graphic Work is, well, pretty great, but unfortunately out of print (I think?). However, it saw many printings from 1982 through the ’90s, at least, so there are plenty of inexpensive copies available second hand. Well worth picking up!

[foreveraflame]

I have longed to see Mitchell McLeod visual development work, especially technology like spaceships.

Development from a project I was working on with some friends this past year!

I like drawing spaceships!!!!

[karl-jensen]

We're roasting Marshmallows on an open fire, bois... plus some cheez-its too...

[ivelllll]

Racing Luka WIP!!

Hope I'll finish this soon, I actually want to try making it a standee hehe

[vampany-v]

H U M A N O I D

Man I completely forgot to post this. It was for an art contest but I lost it lol however I'm proud of this little guy that at this point is really near to becoming a new oc (if it wasn't obvious, it's completely based on Bill Kaulitz on their humanoid era, one day I'll love to write and animate a story based on that amaaaaazing album)

xoxo

[nymphssinphony]

TWITTER LINKS

note: twt links only work when you’re logged in. art is from @/_3aem on twitter

⟣ PAPA GOJO

a kiss goodnight ⟡ bimbo can’t grasp the concept of a condom ⟡ he helps you sleep after a nightmare :( ⟡ hugging the teddy he got you ⟡ you need him for an onlyfans vid + he takes advantage of it ⟡ can’t keep his hands off you ⟡ bimbo girl loves every cock, even her daddy’s ⟡ bent over and small ⟡ super forced agere core ⟡ he really likes your tits ⟡ spanking you until... ⟡ he treats you so well <3 ⟡ daddy, it tickles!

⟣ BIG BRO ‘TORU

he loves his big sister ⟡ every morning with his loser little sis ⟡ him and his bimbo sister help each other get off ⟡ fucking his loser sister on the couch when mom and dad aren’t home ⟡ helping you record a porn vid ⟡ he needs to touch his big sister’s pussy at all times ⟡ your mean big bro woke you up for this?? ⟡ he’s so immature ⟡ toru’s tired of not being allowed to put it in

[maurosouza2024]

Born in 1939 in Globe, Arizona, Douglas Wheeler attended the Chouinard Art Institute, Los Angeles (now California Institute of the Arts, Valencia) in the early 1960s. Long associated with the so-called Light and Space artists working in Southern California in the 1960s and 1970s, Wheeler is best known for his immersive installations produced through the architectural modification of the space of an entire room. In these works, controlled applications of light, and sometimes sound, produce a sensate impression of infinite space. By dematerializing the architecture, Wheeler transforms these rooms into abstract worlds.

Wheeler began his career in the early 1960s as an abstract painter of white paintings subtly inflected with color. He first incorporated light as a medium in 1965 by attaching neon elements to his canvases—works that seem to glow with a self-contained inner light. Wheeler gradually abandoned paint as a medium to produce fabricated “light paintings” and “light encasements,” large, vacuum-formed Plexiglas squares edged inside with neon tubing. Installed in controlled environments—all-white rooms that have been modified and darkly lit—the light-rimmed forms appear to float in space. With his Light Walls, first exhibited in 1969, Wheeler expanded this concept to an architectural scale, transforming a room wall through the use of neon lights embedded within the floor, walls, and ceiling. And in the Infinity Environments that he inaugurated in 1975—for example, SA MI DW SN 2 75—an entire room is dematerialized; a visitor has the experience of entering a seemingly limitless white void, in which light itself assumes an almost palpable quality. Wheeler has also conceived installations that deploy acoustic elements in order to produce certain experiences. In PSAD Synthetic Desert III, initially described in a 1968 drawing and first realized at the Solomon R. Guggenheim Museum in 2017, a near-total suppression of sound contributes to an immersive environment that replicates the optical and acoustic sensation of distance in the Painted Desert in Arizona.

Wheeler’s first solo exhibition opened at the Pasadena Art Museum in 1968 and was followed by others at the Ace Gallery, Venice, California (1970); Galerie Schmela, Düsseldorf (1970); and Galleria Salvatore Ala, Milan (1975). More recently, he has had solo shows at FRAC Lorraine, Metz, France (2012), and Palazzo Grassi, Venice (2012). Wheeler’s work has been presented in numerous group exhibitions since the 1960s, including at the Stedelijk Museum Amsterdam (1969); Stedelijk Van Abbemuseum, Eindhoven (1969); Tate Gallery, London (1970); P.S.1 Contemporary Art Center (now MoMA PS1), New York (1976); Venice Biennale (1976); Los Angeles Museum of Contemporary Art (1983, 1986, 1995, and 2003); Louisiana Museum of Modern Art, Humlebæk, Denmark (1997); Guggenheim Museum Bilbao (2000); Moderna Museet, Stockholm (2008–9); and Museum of Contemporary Art San Diego (2011–12). The artist lives and works in Los Angeles and Santa Fe. https://www.guggenheim.org/artwork/artist/doug-wheeler

Doug Wheeler  @ David Zwirner

[d1n0-dan]

🔹️What part of 'stay in the car' didn't you understand?🔹️

[Click for better quality]

Here's a concept art redraw ^^

It was more of an experimental piece to try new lights & shades techniques and working with a given color palette (I also had to draw cars which I am not accustomed to do)

Here's the main part of reference I've used. The quality is awful but it's the best I could do.

Thank you!

Dan 🤖

[littlefoolery]

Gaze An Eagle Blind | Felix/Jolanka starting studies (late-2022)

Added some extremely early concept work in the GALLERY page.

. . .

Art by @artofchira. Story by @moonsheen.

Keep up with Little Foolery developments via our STORY CONCEPT BLOG.

( littleFOOLERY.com ) ( NEWSLETTER ) ( STORE ) ( SUPPORT )

[shoechoe]

ideal youtube video idea

video titled "Diavolo being Diavolo for 40 minutes straight" with the usual cheesy thumbnail filled with emojis and fandom quips. the video at first is just a compilation of every time diavolo is on screen or has a line in the anime adaptation. the only very odd thing is that if you try to fast forward the video time, it kicks you out and you can't reopen it again.

after it goes through all the anime clips, it shows every moment Diavolo is showcased in every official jojo media- GioGio's Bizarre Adventure, All Star Battle (both the original + R) and Eyes of Heaven, and then a silent compilation of every manga panel that depicts him. (the runtime says 40 minutes, but the video simply goes past it)

then the video starts showing every recording of araki mentioning or discussing Diavolo in interviews and notes, concept art and WIP snippets from the anime, then things that have never been seen in public, like notes and character concepts on Diavolo that probably don't physically exist anymore.

it eventually starts showing fully accurately animated and voice-acted clips that do not exist in the original work, like diavolo dying in various ways that were never animated or written and lines about his various philosophies on life that are in-character but were never explicitly expressed.

this continues until diavolo suddenly turns to the camera and smiles. he explains that he has been looking for a way to "escape his torment" for years now, and his only hope was someone who would sit through the whole video and truly absorb his essence as a character. Now he may finally escape as he has enough to become real. This is when Diavolo becomes real and probably attacks you with eyes full of hyperrealistic blood or something IDK

[exhausted-archivist]

Hi! So I’m not going to comment on the opinion parts of this, such as if the game was good, opinions on its reception, or whether the actions of BioWare can be seen as damage control. But for the rest of it, if you haven’t seen comments referring to concept art as cut content, that’s great! The artist comment isn’t directed at you or the content you consume.

However, plenty of people have and do refer to any concept art as cut content. That is why this artist - who mind you no longer works at BioWare - is bringing this up because he is seeing those comments. He is not referring to people who wished for some concepts had made it through to the final product, not what he is referring to at all really!

If you’re curious for examples I have seen about concept art being labeled as “cut content”, there are the Lucanis romance boards - which this is the artist who did some of those boards. Calpurnia being conceptualized very early on in the preproduction process as a companion is another one often deemed “cut”. They’re is a lot of stuff from the first third of the book that was done during 2014 before the game was even given a code name or authorized that have been deemed as cut content by fans and YouTubers. As well as game journalists.

Not everyone understands the concept art process nor understands that some art is just iterations to iron out a concept. It is not common knowledge, because the understanding of what an art book actually is or is intended to be is not universally understood. It is why some people have asked for clarification and an explanation of the concept art process. Not everyone shares the same knowledge.

Some devs have even commented on the frustration they have over the fact that they pushed for the very thing many are disappointed didn’t make it into the final product but they lost the battle to keep it in. For reasons we as an audience don’t know.

Which, a gentle reminder, this artist does not work for BioWare anymore at this time. He is just commenting on behavior he is seeing in reaction to his work being shared. The comment being made here isn’t directed at people wishfully looking at the art book or things data mining and thinking “wow, that would have been better”. If it’s being data mined, chances are the devs thought so too but it was cut for reasons we as an audience do not know.

TLDR: This is someone of the trade commenting on people not understanding how his trade works. This is not damage control.

Nick Thornborrow: "Minor discourse quibble. If you see a piece of preproduction artwork that doesn’t appear as content ™️ in the final product of a game, it doesn’t mean that it was cut. Preproduction is blue skies and shoot for the moon. It’s a universe of possibilities. The volume of ideas in preproduction dwarfs the content ™️ that winds up composing the final game. I wouldn’t call the sketches that didn’t evolve into something you experience in a final game “cut content.”" [source]

[peranbe-kadhal]

Ms Mitternacht and King sketches that kinda came out good

[ ID: Traditional art that shows my own concept sketches of Miss Mitternacht and King from Great God Grove the game, in my semi realistic style.

Miss Mitternacht has notes beside and below her that read " bird skull, cracked & nuns habit" also " Miss Midnight - clothes like night-eyes like stars". In my version of her the bird skull is more realistic, and her skull has two large dark holes with lights shining in them, her eyelights. Her skull is cracked, worn in many places. She has a huge, hulking form. Her guimpe is laced at the bottom, with scalloped edges, looking like flowers. Stars shine in the dark parts of her nuns habit, like a night sky. In the white parts are misty clouds. Miss Mitternacht is crying, and fingering rosary beads.

As for King, in her god form, she looks older, maybe middle aged. Her hair is scruffy and short. She has an ovular face, almond eyes and big lips. Her bandana has a image of smiling lips on it. Her coarse jacket is open in the middle, and decorated with flowers. Veins run all over her open body, radiating from the place where her heart is held in a hole, in the middle of her chest. She has a bit of a happy trail, and a thin figure. She puts her rough, work worn hand on her hip and smiles boldly. The backgrounds for both the drawings are blank, white. End ID]

--

I wanna redraw them in a Bollywood poster style so here I made references after grinding for three hours!!! Listening to "Breakup song" also in the Aai Dil He Mushkil album. Ironic, but Very fun!!

[baron-bear]

Took a break from bing'ing big men to find out a lot of modern locations are (seemingly) heavily patrolled by eggdogs, so I started using more fantastical settings and situations and got great results. I was inspired by various schools of magic/elementalism from a range of other media and applied it to large men.

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To start off, we have the Geomancers, attuned to the earth and imbued with great strength:

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The Vulcanists mix earth and fire to mimic the raw power of volcanoes to fuel their craft. Most use obsidian for their work, harvesting conjured pillars for later use.

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The (relatively) lighter Zilikas glide and dance effortlessly across the deserts, combining the elements earth and air to create dazzling spectacles of whirling sand.

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The Fulganites channel fire's power through the air, conjuring great lightning strikes. Not much physical movement is involved, so they tend to get quite large.

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Mastering the antipodal forces of fire and water, but more-so the concept of heat, the flamboyantly adorned Thermomancers train for decades to tame the unruly combination. The traditional practitioner is greyed and adorned with silvery filigrees, but every so often a golden-clad prodigy emerges, mastering the art at a much younger age.

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Falling outside the elemental spectrum, the Necromancers deal with the dead, speak with spirits, and perform profane rituals from within their dark studies.

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Eschewing a singular school, the Archivists seek ever greater amounts of knowledge from any source, sequestering themselves away in a pocket dimension to research tomes in peace, the only light being their personal magelight.

Some, however, lose themselves in the pursuit of knowledge, forever chasing eldritch sources outside of reality.

[jokerislandgirl32]

Wild Kratts Academy?

Okay, this might be a bit of an out of the box idea, but what if the Wild Kratts Crew hosted a school or summer camp for the Wild Kratts kids (and any of the fankids created by members of the WK fandom)?

It could either be like a boarding school situation where the children travel/live with the Wild Kratts for a certain part of the year, and they are with their families the rest of the year.

Or, it could be a summer camp type deal where they join the Kratts for the summer and hone in on important educational skills and animal/environmental knowledge (I feel like this is probably the more logical option, but I’ll explain both scenarios below the cut).

For the boarding school option….During the time they are with the Wild Kratts, they would learn not only basic skills (reading, writing, math), but there would, obviously, be a huge emphasis on science/creatures! Namely, science or creature based activities would be utilized to help teach the children.

For example: The kids need to learn their letters and sounds, so they will go find creatures whose names begin with those letters/sounds. Or, the children need to learn counting: welp, let’s take them out to count the number of elephants in the herd. And those are just some basic/kindergarten level examples (kindergarten educator here 😂).

Different members of the Wild Kratts team would be assigned to different subjects and age groups. All members would assist with the science part of course, but they could each take specific subjects/age groups.

Perhaps Koki could teach reading/language arts to younger children. Chris could teach math to older students. And so on. (I’m just brainstorming here, I’m not sure which subjects would fit which WK member best, if anyone has any advice or suggestions, feel free to add them in a reblog!)

I also love the idea of the villains, redeemed in this scenario of course, taking part in the learning venture. I feel like Donita would be a fabulous animal (inspired) art teacher. Gourmand a wonderful culinary teacher, specializing in vegetarian meals or foods that are made to look like animals, but are not made from animals.

For the summer camp option, it would be much of the same concept, but instead of having an emphasis on educational activities geared to learn core content knowledge, the activities would be focused solely on science/animal/environment based learning.

With this option, I feel like Aviva would take on a great part of the leadership role, and she would formulate the camp activities to reflect those similar to the experiences she and Zach shared at science camp as children.

Speaking of Zach and the villains…

Funding for such a program could come from grants or donations, and I feel like Zach, and to a lesser extent Donita, Gourmand, and Paisley, would be the individuals responsible for many of these monetary aids.

In turning to the side of good they wanted to help the future generations not turn to villainy against animals and the environment like they had. So, they would use their own money to help ensure the program is well funded.

And if my OC Violet was part of the action in this scenario (speaking specifically of the boarding school option)…. I feel she’d totally be responsible for the academics for the youngest Wild Kratts Academy members: the kindergartners and 1st to 2nd grade aged students.

As a bit of a side note, but also a possible explanation to how this program may have started, I’ve played around with the idea of Zach and Violet homeschooling their children. After some input from @novazentryx I truly feel like this would be the best move for Zach and Violet with their own children.

Due to their work life and busy schedules it would be difficult to remain in one place and allow the children to obtain schooling in a traditional setting (because Zach and Violet join the Wild Kratts Team in the years following the births of their eldest children).

So, Zach and Violet would already have their children with them, so perhaps they could be the “pilot children” for the program. Along with some of the Wild Kratts kids we know and love, and fankids/children of the other Wild Kratts characters (in my AU the fankids created by @rosey100 @lovelynurseandhenchman and @octoqueen10 exist so maybe your fankids will join in or will participate in the summer camp option if not full time/the boarding school???)

Anyway, I hope all of this makes sense, feel free to add to this post if you all would like!