#but I figure that the original is still fitting.

[valtsv]

please tell us more about the VALshrue wedding AU

okay <3 yay <3 so basically me and my wonderful friend sacha @unbloodiedmartyr have put our sicko heads together to come up with an au that i originally devised, but which sacha did a lot of the hard work of actually plotting out a rough storyboard for, where shrue got arrested by carson after beating the shit out of him, which initially was going to end with them simply being made a rhetorical saint to shill tranquilitea - but then VAL takes the CLS, and the withermark still happens as a kind of consolation prize set off by the faulknerians when it becomes clear their assassination plot is a bust in a last-ditch attempt to prevent legalisation (it does not work, faulkner is having the worst time of his life still), so carson needs to spin something up to placate the peninsulan populace, who just won the war, but at a horrific cost to human life and infrastructure which has put a pretty massive dent in people's faith in their government and the corporate gods. his solution? a wedding! because everyone loves a wedding, right? it's the perfect distraction, a great opportunity for marketing, and symbolically fitting for the start of a new regime - and he has two perfect candidates lined up to make the sacrifice of being forced into an arranged political marriage. so shrue is given some alterations to make them a love saint, specifically a stand-in for their alternate wartime propaganda version of the promised bride who gave her life to become something that could help her people win the war (which ties nicely into legalising the parish of tide and flesh), utterly loyal and devoted to VAL - who is wandering around shellshocked and despondent until she's captured and tranquilised by god hunters and brought back "home", where she wakes up in a cell to carson gleefully telling her that he has a surprise for her. she is understandably less than thrilled to be one of the new figureheads for the exact kind of regime she came to the conclusion she wants no part in, not to mention being shackled to another saint whose sole remaining desire is to worship her unconditionally, but she has little choice - if she refuses, they'll purge her, and recreate the processes they used to make her to hallow another girl in her place. and then shrue begins to regain some of their memories, and shockingly isn't exactly okay with all this either. meanwhile the clock is ticking for them to figure out a way to stop the wedding of the century from taking place and officiating a literal marriage of '''true''' romantic love to the unconditionally selfless love of serving as a patriot to one's country, ushering in a new age of sacrifice and wanton cruelty.

it's got toxic mutually abusive failmarriage! it's got politicial intrigue!it's got the state commodification of the body vs. the right to personal bodily autonomy! it's got the hideousness of gender essentialism! it's got examinations of how propaganda enables the rise of fascism! it's got aromantic perspectives on the institution of marriage! it's got tragedy! it's got drama! it's got the two worst living dead people alive being forced to learn to care about each other because they're the only people they can rely on! if we ever write it i can't wait for you all to see it

[quibbs126]

Maybe I’m just being lazy but screw it, I don’t have much else to add to this page, or that I will add, so page now

As stated prior, this AU now has the name of Transformers X, and this page is pretty much just me trying to make various designs for characters

I say try because while I got Jazz and a design for Bumblebee, I kind of gave up by the Starscream design, or I just didn’t know how to finish it

I guess let’s just go through what’s here

So first we have Bumblebee. I gave him a visor, but I don’t know if I want to keep it, because honestly I’m giving too many characters visors at this rate

I do like how round he is though, and I like his horns

I also decided I need to give characters other gem shapes, which I did here with Bee. I gave him the two on his chest to mimic headlights, and one on his head because why not

I have no clue what his role in the AU is. I know he’s an Autobot, and he probably has some connection with Optimus, but I don’t know what specifically he does? Originally I was planning on him being Optimus’ support bot, but I ended up finding Jazz a better pick, so I don’t know what to do with him now

Speaking of which, on to Jazz. I already explained stuff about him prior, how he’s semi based on his TFA design. The red circle gem is supposed to be where his Autobot symbol is, but honestly I might change the shape. I don’t know how much I like the circle on him. The circle shoulders can stay though

By Jazz I realized I should probably be more elaborate with the arms, but I still need more time to figure out how specifically to go about that

And as for his role, as stated he is Optimus and usually Megatron’s support bot. By which I mean, guy in the HQ that’s giving the bot out field and opponent data, as well as helping with strategies

I said he has a casual thing going with both Optimus and Megatron, but honestly, I might take it out. I thought it was funny, but I’m not sure how much I like it genuinely. Not that I don’t think the ship could work, it’s just that maybe I’ll shelve it here. I do kind of like it though still, at least on Optimus’ end. The polyamory’s so there’s no cheating, because I’ve decided megop is official here

And then we get to the unfinished designs

So with Starscream, I didn’t really know how to translate his helmet design into Mega Man-esque format. So I went looking for characters to maybe get some pointers on how to do so, and I ended up finding Gate, who basically became my main inspiration for this Starscream

I just thought the helm design really fit Starscream, and I mean I can use the flashback Gate for scientist Starscream too

But then during my sketching I was like “does that really look like Starscream?” Like he looks like a Mega Man character, but to me I’m not sure he’s recognizable as Starscream

I also didn’t know what to do for his body, since the gem was supposed to be in place of his cockpit, nor was I sure on his arms or how his wings work

So I decided he’s to be shelved for now, maybe I can make a better design later

Then I decided to do a small head design for Skyfire. As is he isn’t really going to be in the AU, since he’s currently in stasis, but might as well

He’s fine, I just have to figure out his body

Then we have a semi-sketch of Soundwave, who’s mainly based on Vile because I feel like the shapes work for him

I was trying to add something to his head to make him look more Soundwave, but they didn’t turn out right. Maybe my issue here is leaning too much into the Vile helm style

All I know is he is very square

And I think that’s mainly it on this round of AU stuff. It really isn’t that much, I’ll be honest, but this is from like, the past few days where I’ve been doing a lot of work, and I haven’t had much creative juice. Hopefully by Thursday or Friday I have more substance

Honestly I just want to keep drawing Megatron and Optimus, but I know I should expand the cast. But maybe I should just do what I want instead, since all of this is self indulgent anyways. I do need to modify Megs’ design now since I’ve decided he has circle shoulders now

[novelmonger]

Continuing with the Production/Post-Production audio commentary for TTT, with Barrie Osbourne (producer), Mark Ordesky (executive producer), Andrew Lesnie (director of photography), Mike Horton (editor), Jabez Olssen (additional editor), Rick Porras (co-producer), Howard Shore (composer), and Jim Rygiel (visual effects supervisor). Here are my notes for things that were new to me:

There's actually very little CG involved in the transition from the aerial shot of the mountains in that first scene to the inside of Moria with the Balrog. The mountains were obviously shot from a helicopter, and then they built a little tunnel set that they moved the camera through, and then they just slapped them together so it would look like you're basically going through a crack in the rock to get to the cavern where the scene is happening.

Originally, Sam's knot in the Elven rope untying was going to be a CG shot, but someone on set on the day figured out how to tie the right kind of knot that they could just pull apart like that and make it look believable.

Okay, this is why I love what Howard Shore did with the soundtrack so much. When talking about coming up with Gollum's theme, he said he wanted to take an instrument that's used in the Shire music and incorporate it into Gollum's music, because Gollum was once something like a Hobbit. He ended up choosing the hammered dulcimer, because it has a very tremolo quality to it that seemed to fit Gollum's character. But there's still an echo of what he once was.

In that beautiful shot going up Barad-dur, they shot this huge miniature they'd made that was 166th scale and stood almost 7 meters tall. Even though it was so huge, they had to get the camera very close to capture the detail; it was never more than three or four inches away from the surface. The main challenge was keeping the lighting consistent, because you'll notice the camera moves almost 180 degrees around the tower. So they actually had to move the light source with the camera as they twisted around the tower.

The Wild Men are played by a biker gang! XD

It was a little confusing how this was said, but I think this is what he means: Almost all of the dialogue in these movies was rerecorded, because the nature of the action going on or the conditions of the location or having to speak through prosthetics and whatnot made the dialogue recorded on the day unusable. The only characters they never bothered recording ADR for were the mother who sends her children to Edoras on the horse, and the girl. The conditions that day were good enough, and the girl's performance was so good on the day, they knew they would never be able to recreate it in a recording booth, so they used what they recorded on the day. But everybody else had to rerecord lines. That doesn't mean all the dialogue you hear is necessarily ADR, but something like 85% of it is. I think they did a really good job of not making it sound like it's all recorded in a booth!

Something you sort of unconsciously notice but maybe don't consciously think about it is how the lighting in Edoras reflects Theoden's mental state. In the beginning, when he's completely under Saruman's control and is on the verge of an unnatural death, the hall is kept very dark, and the colors are all muted, with lots of yellowish and greenish tints to make you feel slightly sick. But then once Gandalf comes and releases him from Saruman's control, there's much more light and vibrant color in the hall.

Three of the times Viggo kicked the infamous helmet, it hit Andrew Lesnie's leg XD He says he winced every time it went past, and it's a wonder he didn't jiggle the camera when it happened.

They mentioned it's really difficult to get a horse to stomp on top of a camera underneath plexiglass. You can train them to do it for days, and it's kind of a toss-up whether they'll actually do it on the day, because they really don't like doing it. So I guess it's pretty cool that they managed to get that shot of a horse almost stomping Pippin!

I have trouble identifying the voices, but someone said, "You've got to throw out preconceived notions of how to make movies when you're working with - either with Peter, or with a giant tree guy holding a couple of Hobbits."

They talked about the importance of foley for selling Gollum as a real character who was really there in the same place as the other actors. At first, the foley guys performed him the way he looks, with very light movements since he's so skeletal. But then they went back and made the movements sound heavier after all, because it just made him feel more real. Another thing they did sometimes was make the movements of Gollum's hands with wet hands or putting their hands on wet rock. They had some samples to enhance the vocal work, what they call "sweeteners" (another example of which would be putting animal growls in with the orc voices). But actually, Andy Serkis did most of the sounds so well with his own voice, they didn't really need any sweeteners for Gollum.

Gandalf's battle with the Balrog was originally going to be longer. You would see not just them crashing into the water, but then they would come out of some kind of lake, and the Balrog's flames would be extinguished, leaving behind just a slimy black monster. You would also see several Watchers like the one in the pool outside Moria from FotR, scuttling away because they're afraid of the Balrog. Personally, I'm glad they didn't bother doing all of that, not least because it would have probably dragged on too long.

For the scene where the Black Gate opens, naturally the mountain trolls that open it were CG, but they had little foam-rubber models there while filming the miniature. At one point, someone set them up so they were playing chess while they waited for the signal XD

They put a lot of thought into how much sunlight they should have in and around Mordor. For the story, Orodruin is sort of belching out these unnatural clouds to hide the sun so the orcs can be outside, and then there's also the symbolic significance of the encroaching darkness. But the problem is that, if everything is always dark all the time, the darkness actually either becomes distracting (hello, all movies and TV shows these days where you can't even see what's happening!) or you become so desensitized to it that you don't notice it anymore. So they often made the decision to have some sunlight breaking through the clouds despite everything, just to provide some contrast so you'd really feel how dark the darkness is, so to speak.

Somebody said: "On some level, we're used to looking at movies and seeing real photography. We know what it is. We may not be able to define it, but we know it when we see it. And so if you're looking at a film and you don't see what we perceive as real photography, we start to worry at some level. We start to wonder, 'How did they do that?' or 'Why does this look the way it does?' or 'Why do I not feel that this is quite right?' When that happens, you've lost the audience, because you're not doing good storytelling. Our job is to tell a story. It's just to tell a story. It's not to show off and show how cool we are at making a digital image or how cool we are at making miniature shots. It's to tell a story and then walk away and erase our tracks."

Uma Thurman was once thought of for the role of Eowyn and Ethan Hawke was going to be Faramir?????? ఠ ͟ಠ

Bernard Hill told one of them that it really mattered that they bothered to go the extra mile and actually construct things when they could have done it digitally. He said it informed his and the other actors' performances, because if they thought it was worth the trouble of going out to some remote location and spending 5-6 months building an actual Edoras when they could have done it all on a set with bluescreen, then it must be worth the actors giving their performances every bit of effort they possibly could.

Sometimes they had to digitally fix the color of Gandalf's nose, because it was a prosthetic, and sometimes it would react differently to the light and would be really obvious that it wasn't his real nose XD

It took 98 takes to get the simbelmyne falling to the ground just right!

All the fires in the Golden Hall, including the one in the center, were gas fires so they could be completely controlled. Not a detail I ever considered before!

Apparently there was some friction between Peter Jackson and Viggo Mortensen about how he played the scene in the stables where he calms Brego. I guess Peter wanted the scene to be more about Aragorn and Eowyn's relationship, while Viggo felt (and played the scene) that the focus should be on Aragorn and Brego. 100% horse girlie behavior XD

During the storyboard stage for the warg battle, one guy was sketching out some ideas for beats in the scene, and at one point he had Aragorn's horse get killed, not knowing the plans for emphasizing the bond between Aragorn and Brego. And Peter Jackson just kind of looked at him and went, "You're going to kill Brego?!" Obviously, they didn't go with that idea.

Apparently they often struggled to keep Orlando Bloom in focus, because he does a lot of "intense Elvish staring," as they described it XD So basically, Orlando's feet would hit the right mark, but then because he's supposed to be giving a sharp glare or looking intently farther than the human eye can see, he would often sort of lean forward, making it difficult for the camera operators to anticipate exactly where he would be so they could keep him in focus.

An interesting observation that the Uruk-Hai's pikes give you more of a sense of how many there are than the actual orcs themselves.

Peter Jackson got the idea for the lamps the Elves hold when they leave Rivendell the day before they were going to film that scene, so the props department worked overnight and made them all in time for the shoot! @_@

Most of the sets were built from foam - specifically, a kind of blue foam that is used to insulate refrigerated trucks. It's very dense and firm material that is easy to carve and also very light, which makes it easier to transport pieces of the set if necessary. Most of the miniatures were also carved from foam, except for the Barad-dur miniature, because it had to be at such a small scale. If they tried to carve the miniature at the level of detail they needed, the foam would have just fallen apart, so they had to work with a harder material (he didn't say what).

An interesting issue that cropped up in the Helm's Deep battle I never would have thought of is the part at the beginning where all the Uruk-Hai are banging their pikes against the ground. Most of them are CG, created by the Massive program that was developed for the army movements so they wouldn't have to be individually animated. So they could program Massive to make the Uruk-Hai bash their spears against the ground, but it was the program that would choose the rhythm in which they did it. It makes for a realistic shot, as anyone who's tried to get a crowd to clap along in time with some music can tell you, but it led to some headaches for the sound team when the rhythms Massive chose were different from what the actual extras did on the day. They had to overlap the sounds of the rattling spears in such a way that it would sound believable with what you see.

They added in a lot of digital arrows to the battle of Helm's Deep, as you might imagine. But some of the arrows were practical ones that were really there, light ones that were blunt and wouldn't hurt anyone - which is great, but unfortunately that means they don't necessarily fly as well as sturdier arrows meant to kill things. One of the difficult things the editing team had to do was choose takes where none of the practical arrows flew astray, so the digital arrows could be added in without having to do the extra work of painting out arrows that weren't going where they were supposed to.

They made a weird comment about that part where Aragorn's like, "How long do you need?" and Theoden responds, "As long as you can give me." Apparently, it was originally "How much time do you need?" but they thought that would be...anachronistic? Like people in Middle Earth, with a more or less medieval level of technology, would have no concept of time itself? People were keeping track of time by sundials and candles and things (not to mention just looking up in the sky and noting the position of the sun) in the Middle Ages, so I have no idea what they're talking about.

Massive and motion capture footage worked really well together. They could motion capture an orc climbing up a ladder, for example, then put that movement into the Massive program, and it would have the other figures react to it like any other Massive figure. I imagine that made things a lot easier for directing the battle the way they wanted it to go.

The part where Legolas shoots down one of the ladders was completely made in the editing/post-production stage. They just found a clip of Legolas shooting, painted out whoever he was shooting at, and instead put in the digital shot of the Uruk-Hai on the ladder.

They shot a whole storyline of Eowyn helping Morwen (the mother of the two children who run away from the burning village) give birth in the caves, and because of this they have to stay behind while all the other civilians escape out the back way. Then some Uruks come, and Eowyn has to fight them off. Uhhh...I wanna see that!!! I totally get why they cut it out of the movie, but...still!

Some of the close-up footage of Aragorn during the final charge was actually originally from the warg battle.

I think I noted this from one of the previous commentaries, but I still marvel over it. For Sam's speech at the end that ties the three climaxes together, all they had of that in the original shoot was the parts where you actually see Sam looking through the window. The part where it's just voiceover while you see the montage of everything else that's happening? All of that was added in later, with just Sean in a recording booth. And, as Mark Ordesky put it as he was talking about it, now you can't imagine it any other way.

[cheeseandcake-from-ao3]

No one:

Absolutely no one:

Not a single soul:

Not even The Princess or Voice of The Hero:

Voice of The Smitten:

[poorly-drawn-mdzs]

True love is possible only in the next world. For new people. It it too late for us.

(Redraw for @pakhnokh's DTIYS post!)

[seventh-district]

Figured I'd try my hand at some Redacted character post/text edits!

[ 1 / ? ]

Credit to @/sainthowlzon for all the Listener icons, and to @/elisacaleisa for their google drive with all the canon icons!

(slightly alternative version of the Solaires' GC edit below the cut bc i had a lil too much fun with what Vincent would name his contacts)

[psychomusic]

oc time again! + her town & culture (heavily inspired by pre-roman italic populations)

she is suri sauthon. her story is linked to my swtor imperial agent, tar'x, but most of her life except for the one year away where she meets him, is spent in a town in the mountains of mirial.

despite mirial being cold and desert, and many cities developing underground, her town flourishes thanks to a force nexus, venerated in the form of an ancient, sacred, alive crystal. the ecosystem of that mountain depended on what "the horned crystal" was capable of giving them, but mirialans couldn't live off of that alone, so they developed trade and some rudimental technology, even if oftentimes it was bought thanks to the highly profitable trade of a plant used to make medicines that slowed down aging and had overall healing properties.

note: everything that's generated by this nexus has these healing properties BUT they have to be processed, except for those who bathed in the waters of the cavity under the crystal - the "real" nexus, but not the worshipped one. the waters were sacred but they were not thought to be miraculous, unlike the crystal, who instead was thought of as the keystone of the ecosystem: without it, everything would fall apart (and that is partially true: the cavity was the "real" nexus but thanks to the crystal, also strong in the force, the properties were spread all over the mountains). those who bathed in the cavity's waters - so, all of the town, who had a sort of baptism there - could eat the plant, make whatever food with it, and not only that plant, but everything generated by the nexus, that, again, had similar properties. this allowed people to live up to normal life-spans without advanced medicines or, much, really. to those who didn't live there, though, after the processing, had incredible effects, slowing down aging - for those who took it regularly - and making people able to live up to half a century more than the average]

originally, there were four tribes of nomads that lived thanks to horned farm animals that decided to settle down into one bigger town and other smaller settlements, to live off of transhumance. this division of the tribes stayed into the political and social organization: every person belonged to one tribe specifically, and had slightly different rituals and culture. for examples, each tribe had their own priests and healers, with different techniques and traditions. the town, tho, was guided by a group of people in the high priesthood, a position you could reach only by having earned the trust of all tribes. those high priests had many roles: they guided the people into sacred processions common to all the tribes, they managed the trading with outsiders, they did the maintenance of the temple of the summit (the one that functioned as casket to the crystal) and created a special liquid to offer the crystal that helps it grow.

this particular temple was important because 1. it was very visible, from every angle of the town, and it became an important identity symbol; 2. it stored the venerated horned crystal; 3. it had the altar where sacrifices were made for the crystals. that altar had a hole connected to the cavity, that allowed the liquids to reach the underground; 4. it had various symbols: statues representing each tribe + the high priesthood, and typical mirialan tattoos carved into the wood of the trees that served as columns for the temple, symbolizing 8 values that who dared to enter HAD to have; 5. it was on the way to an important lake (called "mother lake" because the lake the town was built around to depended on the waters of that other lake) where they traveled to in important processions; 6. it was said that a the wizard who unified the tribes made it with its magic, making the plant grow to hold the temple's roof. this wizard was, actually, a force user, obv.

BACK TO HER THOUGH: she's daughter of one of the high priests, who was in charge of managing the trades with outsiders, and lives in a house on the mountains with her mother and him. her parents are from different tribes (that's one of the things that earned him trust from the 4 tribes): when a child is born from two different tribes, they don't pick one to allign to, but they're usually linked automatically to the one with more relatives in it (in her case, the father's tribe: she had many uncles and aunts on his side while her mom only had one sister).

later, though, she got quite tied to her mother's tribe due to a mysterious illness that only her mother's tribe healer was able to cure. she spent 4 years (from 10 to 14 years old) living with the healer and learned her secrets. to better study, she wrote them down. when she returned home, she studied to become a priestess with her father. at 22 (the average age: you can't become priest before your 20s), she was supposed to take a test and become a priestess, but the healer of her mother's tribe died and the tribe asked her to take her place. she couldn't technically do that, but both tribes estimated both her and her parents and she was allowed to become both. she then decided to try to become a high priestess, and became one at 25 (a quite young age). being part of the council, she tried to convince the various tribe healers to unite their knowledges and write them down, and eventually made it. healers still remained tribe based but they now had an "upper, inter-tribe level" similar to high priesthood.

years later, the sacred horned crystal is stolen from the temple by some Hutt mercenaries looking for a profit. given the trust she has earned from all the tribes and the fact that her father is the high priest that deals with outsiders (and she's been hearing stories and advice about it since she was little), she is the one tasked with getting it back. without the growing crystal, the keystone to their ecosystem, the village would have lasted only a few years. in hrr quest, she meets imperial intelligence agent tar'x laran and, as they "solve the mystery" and fight to have it back, they get closer. they'll get married and have a daughter, Vegoia (who's the only one who actually will get to the plot of my story. this was all background)

[leeayzonn]

everyone talks about v2 being a protector and a guardian for humans before humanitys extinction, but i don’t think that that’s backed up by the games lore. based on the terminal data, V2 was developed during the New Peace, yes, but it doesnt say anything about any sort of protection. the first line of the data says ‘The V model was built for war’ which includes V2. the only update stated between v1 and v2 is the more durable plating. the data says that v2 was never produced because there was no demand due to the end of wars.

though, we can only hypothesize what the v models were doing during the New Peace. i guess the terminals don’t really make it clear either. v2s second terminal data says that v1 is ‘more experienced’ but how did it get this experience if it was only a prototype and never saw war? the first data says ‘during times of peace, when no bloodshed was necessary.’ If no bloodshed was necessary, why do you need a robot with guns?

all im saying is i don’t think v2 was any sort of guardian. it either sat wherever v1 was during the New Peace because it never sold, or v2 was more like a cop and the New Peace was not as peaceful as the game wants us to believe

[postaldouche]

utterly soulless postal dude dancing to some song i found on tiktok

[codgod]

i am selfish, i am broken, i am cruel

i am all the things they might’ve said to you

[al-luviec]

still haven't moved on from zane in this episode (aka I hit tag limit again and am unhappy about it)

[thats-a-lot-of-cortisol]

Shadowheart, in the style of "The Sorrowing Soul Between Doubt and Faith" by Elihu Vedder (aka one of my absolute favorite paintings)

Other Classical Tadfools: Lae'zel, Wyll

[shenaniganeryfromtheabyss]

i think they match each other's freak

[giddydelphiresearcher]

Multi-stage operation! Once you clear one organ, it's on to the next! Also, a multi-stage tumor; laser it first, then you can extract it.

I also accidentally showed off a bit of the scalpel tool; the tool itself is complete, now I just need to make something that reacts to it.

[attleboy]

Why do u draw?

oooooooo [rubs hands together] a fun one that probably isn't that deep but i'm going to take way too seriously!

so the short answer is fun, but i can never just say one sentence and be done with it soooo i elaborated and wrote a whole essay below. sorry not sorry

anyway if you didn't want my origin story no shame in that, it's not gonna be on the quiz, just keep scrolling :P

to cover all my bases let me start from the beginning and work my way forward...

i think pretty much all kids draw at least a little just because they can, but the thing that really inspired me to take art seriously was the great abundance of cat animations on youtube in the early 2010s... warrior cats amvs mostly, but also artists like bani the kitty and splashkittyartist! you can really see these inspirations in my early digital art hehehe (see below by attle b. age 8)

from then until about age 14 art was just... my thing? i did it pretty much everyday, probably couldn't have imagined life without it... i think back then my motivations were more inline with your typical social media artist motivations... get better, be seen, and maybe make a career out of it? never made it that far though because ehhhh life has different plans i guess

i fell into an art slump in the middle of high school for a variety of personal reasons i won't get into, and as such i had to give up my dreams of creating art as a job

as sad as that was in the moment, it forced me to change my outlook on the whole ordeal in a way that i think was ultimately healthier for me.

that brought me to where i am now! since i have no goals beyond keeping at it as a hobby, i do it simply because i enjoy the process, the product, and i feel like it lets me connect with my interests in a way i otherwise couldn't.

it's a fun way to express love for the things i care about, and while i still enjoy honing my skills i don't feel the same pressure to be perfect that i used to which is really freeing!!

so in that sense it's intrinsic motivation that makes me draw what i draw... however, the amount of art i put out and the polish i give it is definitely motivated by the eyes i have on me... while i'd still be drawing the same things if no one was watching, i would not be putting nearly as much effort into it, nor would i be doing it as regularly, so i do thank you guys for keeping me on track there <3

that's it i think? i could get into the philosophy of it, but i'll spare you that... okay thank you for letting me yap!!! ^-^

[alangdorf]

Finally, my (min qty: 1) requisite Funky Yabusame Drawing. Like with the Tsubakura pic, you don’t gotta read too hard into the symbolism; I was mostly just doing whatever looked cool lol