#but i hope that answers some questions

[just-null]

Do you ever do requests? If so, do you ever plan on drawing some Yandere with the Hantengu clones? :D hope you have a good day/night!!!

Mentioning an unfamiliar name

yes!! I love yanderes.. and these guys.. these guys are such good material...... nods nods..

I'm not sure about requests..I assume you mean drawing requests? I suppose if it REALLY catches my interest enough, I'd do it, but it'd probably just be line art/sketches.

[tunemyart]

So I've just watched the finale and I'm feeling... Weird. I think part of it is because this show started with everything I like in a story (cool badass ladies, a queer romance, found family, redemption, etc etc) and ended up being... Not all that (most characters die, the romance is doomed, and I guess the redemption mostly happened but wasn't entirely satisfactory to me). Also, I'm someone who as Trauma (tm) with death so, I guess my brain's first reaction is "fuck that I just want them all happy and safe" and it takes me a while to accept when stories take these paths, however well written they might be.

Still, I thought it all went a bit fast in the last 2 eps, with parts of the show ringing just a little bit more hollow than I would have expected? I'm left feeling like the characters of Alice, Mrs Hart and Jen were treated a bit superficially (Lillia's story felt more complete). I also wished we had seen more of Agatha's past because spending centuries just conning witches then killing them is... a bit boring? (maybe we learn more about her in WandaVision, I haven't seen it). And obviously I wished we had seen more of Agatha and Rio. It's like the show couldn't decide if it was about Agatha or about Billy (partly because, I'm guessing it's setting up a 3rd show about him?), and with this short format we ended losing a bit on Agatha's part.

Anyway, curious of what you think of all that because your analysis are always super interesting, and like I said my own brain might be a bit biased towards resistance with this one. And obviously would love to read your fanfic(s) should you write any!

So, I've started and restarted a reply to this a few times, but I think what my answer boils down to is: we're meant to have multilayered responses to this finale. We're meant to sit with it. It's meant to change our experience of the show we've had to this point.

I think the best metaphor for this is the fact the revelation that Rio is Death. Bear with me, because I know this got spoiled for us way early on and we all knew it and were all just waiting for the revelation to drop - but imagine for a second that we didn't know that Rio, Agatha's ex-girlfriend and spooky fun vaguely-a-psychopath as played by the delightful Aubrey Plaza, is death. Your perception of Rio would have been turned on its head. Your perception of Agatha would have been turned on its head. Your perception of the Witches' Road and what we're even doing here with Death walking alongside us as a tourist would have been turned on its head.

Now, we all had an incredibly fun time even with the knowledge that Rio is death before we should have had it. But I think some of the power for what it meant for the story - and our perception of what was really happening - was muted.

Jen, at the beginning of 1.08, says, "She told us who she was from the very beginning."

Sit with that - because the same is true of this story.

---

It turns out that the Road is a metaphor for death. This isn't fully illustrated for us until Nicky, the author of the Ballad, walks down the road with Death's hand in his, and we go, oh. Oh.

Agatha tells us in the beginning that the Road doesn't exist, a rare instance of her giving anyone unbridled truth. And sure - the Road that our coven walked down doesn't exist. The Road that all the witches Agatha lured to the deaths believed in doesn't exist. It's a fiction. But it's significant that Agatha lured them all to the Road and killed them. They wanted to walk the Road. They died. Not "they died instead" - it's a two-fold statement. They wanted to walk the Road and they died. In a gruesome way, Agatha's been taking witches on the Witches' Road since the 1750s.

I don't think the significance of that is lost on Agatha, either, especially where we pick up at the beginning of 1.08. Lilia's dead, and everybody's reeling.

Perhaps Agatha more than anybody.

---

I also want to quickly take a look at Rio's accusation of Agatha regarding Billy.

"The bodies are really piling up." "Did you doubt me?" "Yeah, I did. I thought there'd be a trick in there somewhere. And there was! You were distracting me from him."

Because this is a revelation about Agatha's actions toward not just Rio, but any audience watching her - i.e., us the viewers. She's been distracting us! Not from who Billy is, we know that of course, but with regard to what the Road itself is. Agatha's known the Road isn't real the entire time. She's been protecting Billy from that knowledge. She's been protecting Billy from Rio. She's been protecting the coven itself from disintegrating. And, the biggest con woman move of them all, she's been distracting us - with less and less success as the show goes on - from the fact that she is not even the slightest bit in control.

---

So I definitely want to circle back to what you said about how the show started out with everything you like in a story, because oof, yeah, I felt that. I felt that hard in the finale. Coming off the impact of the incredible storytelling in 1.07, and the queer jokes and campy Wicked cosplay balancing out the sad, I think many of us spent the next week expecting some kind of emotional resolution that probably involved the remaining coven banding together in some more of that found family we've felt them becoming along the way.

Here's where things starts going wrong, right off the bat: they don't. Instead, they splinter. Not only are you aware of just how few of them are left (Jen, Billy, Agatha), but Jen and Agatha can't handle Lilia's death. Jen's distraught. The close up on Agatha running away out of the trial and back onto the Road, alone, shows her looking hunted and wild in her guilt. Everything that follows has its seeds in that moment of rending that began with Lilia's death.

From the beginning, the point has been that Agatha Harkness is a covenless witch. It's something we've seen her revel in - maybe simply because she has no choice but to own it. But the fact is that here, for the first time in centuries, she had a coven. She didn't intend to have one - she intended to kill them all in her basement and not think twice about them again. But events transpired the way they did. They became her coven. And one by one, they all died on the Road.

Rio, of course, has the words to cut right to the quick: "Your coven is shrinking," she teases Agatha cruelly. Agatha looks wild - because she's right. The worst thing is that she killed Alice - and she didn't mean to. She didn't want to. But she did, and in exactly the same way she'd intended to kill her at the beginning, the same way she's been killing witches for hundreds of years. "Your coven is shrinking," and it's Agatha's fault. It's Agatha's coven. It's Agatha's coven.

Hold on to that, too.

---

One of the things that I've been mulling over most is Agatha's character. She's so much fun in the beginning. We're all fucking charmed by her. We also don't have the full context of just how much of a serial killer she is.

So for me, at least, watching 1.08 and not only not getting found family, but getting an Agatha so far away from a "redemption" story that she only just barely is willing to not sacrifice Billy for herself, was kind of a rude awakening. Agatha's a lot more of a villain that I was prepared for. Surprise!

Agatha's so far away from "redemption", in fact, that she's only just barely starting to feel empathy for other witches. She's just starting to be affected by people who aren't #1. And that's a trauma response. And it's so, so, so deeply rooted in her that she's only just starting to be able to conceive of the idea of people who care for her. Of the possibility of being able to live in community. She's not ready for a redemption arc. There was no way that the kind of redemption arc she'd need could fit into nine episodes, because so much of it would for her be predicated on a mental shift that Agatha just hasn't arrived at yet. She's still so angry. She's still so traumatized. She's done almost none of the work. And even at the end, even with the final gesture of sacrificing herself for Billy, that's not a final act of redemption, oh Agatha's now a good person/forgiven/insert word frame of choice.

What this show did in terms of redemption for Agatha was set her up to be in a place where she might want it - where she might want to do and be better for Billy, and someday, for Nicky.

And it's significant that that point comes for Agatha in dying… and after death.

---

This show is about death. The Road is about death. Death is a character on the show.

Like, okay, you're saying. Fine. But what about my gay fun times? What about my queer romance, my found family?

And please know that I'm there with you.

I'm not hugely in touch with what the larger fandom is saying and how they're reacting because I have my little echo chamber here on tumblr and a few friends who have actual social media, but even here I get the sense that we're all kind of :/ for fairly similar reasons. What happened to the show I fell in love with?

And for me, the last few days, I think it's been important to realize that the fact that the show I fell in love with didn't suddenly become a different show. It didn't pull a bait and switch. No twists were in bad faith. Everything has been right here in the text of the show from the very beginning.

And I think it's important to see the story that Jac Schaeffer et al. were actually telling vs. our expectations of what they were telling, or worse, what we wanted them to tell. For just one example, I was convinced we were going to see Alice again - maybe Lorna Wu, too. I wasn't expecting it to be for the sole purpose of recognizing that not only is she dead, but to give Alice herself the space to say that it wasn't fair, that she wasn't ready, that she'd just broken her family's curse, that now she can really do something with her life! Because, ugh, yeah! It's not fair, for all those reasons! But that's also death. Likewise, Sharon's just dead, and worse, her death was pretty much meaningless. Lilia rediscovered herself again, and she chose her death to save everyone else - extremely meaningful. But at the end - she's just dead. We don't see her again. She's gone. She, like the others, walked the Road and away with Death.

I loved these covenless witches. I loved them finding themselves together. I loved them bonding around the campfire and discovering community. I miss them all, so so much. But they told us from the beginning how haunted by death all of them were: Alice and her mom, Lilia and her coven in Sicily, Billy and William Kaplan, Agatha and her son and her ex-lover. And of course, Death herself. Forget haunting these individuals - she came to actually join the temporary coven. Like, fuck. They told us what this show was about.

---

This show is about death, but it's more complicated than that: we'll take our cue from Rio again, who, in being Death, is also the original Green Witch. In short, this show is about Green Craft, "growth and decay in constant flow."

So yes - almost every single witch in the coven dies. Yes, it's permanent. No, the queer romance isn't resolved happily. No, Agatha doesn't have a redemption, satisfying or otherwise. And no, none of it follows what we've come to expect from found family story trajectories.

But the focus shouldn't be solely on the decay. There's a whole cycle of growth coming up after it, even now, and it's being made possible by the death and decay that we just witnessed. And most importantly, it's confirmed that this isn't the end of the story - just the end of "Agatha All Along."

---

I'll finish by actually answering your question - I've been sitting with the finale for a few days, because I also felt weird about it. And I think that's the right word: "Weird." Very spooky season-esque, first of all, but also not tipping all the way right into "bad".

The first thing to acknowledge is that no story is perfect - they were limited by nine episodes by what they had the space to show, and finales are really hard to get just right. The second is that you're allowed to not like any or all of it, especially when something happens that asks you to change your entire understanding of the story thus far, i.e. the Road isn't real, or when you have a particular trauma around death and it turns out that that's what the whole show is about in ways we hadn't fully realized. The third is that it's worth sitting with stories sometimes and seeing how they marinate and develop in your brain and your soul over time. All of these things can and should coexist.

This isn't my first go-round with a series finale that initially made me ???, so I was fortunate in that I felt like I had a cheat sheet. I've still got some marinating to do to see how this continues to change for me. But it's helped me to realize that my ??? reaction is what the story wanted me to have - that the characters are reeling right along with me. Not just Alice in shock about her death, but also Billy at the implications of his creation of the Road regarding his responsiblity for what happened on it. We're meant to feel this way… and then we're meant to reconsider the journey we've been on, the Road we've walked with all of them and the death we've died alongside them, and see it anew for what it really is.

[grey-viridian]

I cannot express to you how much I love your art!!!!!! It’s got like a certain crisp-cleanness that is literally everything what I want my style to be.

Quick question; how long does it take you to make a piece of art? Do you just go for it or do you sketch it out first?

Thank you so much!!!💜💜💜 Hearing this means everything to me!

Thank you for your question! Sorry the answer wasn't so quick.

It usually takes me from a few hours to a few days, depending on the art I'm making. If it's just a detailed sketch, it normally takes an evening (I'm more productive near the end of the day). Full-colored art with background takes at least two days, but I also like to just leave the almost finished drawing be for some time so I can return and finish it later. That helps me see my mistakes that I previously missed and generally take a fresh look at it. As for the process… I always start with a sketch. I might not always have a clear idea of what I wanna do, but it's much easier for me to figure it out as I go.

Also, I was making this art specifically for this ask and intended it to be just a colored sketch, but something went wrong, oops!

So I made this:

[ping-ski]

csp mini guide: edge eraser!

@lunasun hihi!! i tried to make an visual and wrote an explanation i hope this makes sense but if not then i failed LOL i hope you don't mind the tag

Erase Along Edge (Edge Eraser) text version!

1. Sketch or line as normal on one layer. 2. On a separate layer, below the lineart, color as normal. 3. Return to the lineart layer, and set it as the "Reference Layer". (Toggle ON by clicking on the lighthouse icon!) 4. Return to the color layer, select the "Erase Along Edge" tool, and erase the offending overlap! Aaand then you're done! Try stick to the outside of your lineart to avoid accidently erasing what's inside. As long as your brush size is reasonable, it shouldn't erase what's inside too much or at all unless if your cursor is inside of the lineart!

Quick Troubleshoot

"It won't erase properly?" "My lines aren't opaque and/or is too messy." That's OK!! While I do recommend solid lines (few gaps or none) or opaque lines (at 100% opacity), it's NOT necessary! It just makes using the tool easier! Most of the time you can get away with it, so don't worry about having to change your style or anything. If the lines are not solid (have gaps) or aren't opaque (lower than 100% opacity), please refer to the tool properties/settings! You may need to experiment here. Adjust the "Tolerance" and "Area Scaling" settings and repeat the process until you reach your desired result! Please note: If lines intercept (creating small "pockets) or opacity is still an issue you may have to manually erase anyways (sorry lol). By all means, it isn't perfect BUT it is a BIIIGG time saver once you have it down! The creator (pharan) makes more specific points and fixes in their guide that is far more in depth! I just want this to be easy to understand for anyone who's never used it before or is trying it for the first time! :)

[tkachukisms]

long time no post... i've had this shit ready to post for like a week. and should've done it then. but uhhh but uhhhh but uuhhhhhhhh. what's the deal with airplane food am i right. | <- omgggg prev

[yardsards]

i needed to express a sentiment in the creative stylings of @dunmeshiminimumwage

[seiwas]

hello selly my darling!! im sorry its been so long! 🤍🤍 a little snack 🍓🍓

for the ask game, choso + sleeeepy please :)

emu hello 🥺 no need to apologise!! thank you for the little snack, and for sending in a prompt! 💗

contains: best friend's older brother choso, one-sided pining? maybe? it's a crush

choso + sleepy

weekends with yuuji are pretty standard.

he either goes for a morning hike or run, and you join him sometimes, depending on your mood. after that, you grab breakfast at the small cafe down his street, grabbing something for his (hot) older brother, choso, too, while you're at it. then, the rest of the day varies depending on what's needed for the following week.

it's a routine you've built up throughout uni and has been a major constant in your life thus far. your week never feels complete unless you end it with your best friend and coffee.

this weekend, you skip hiking with yuuji and opt to meet him straight back at his apartment when he's finished, which is also something you've done plenty of times before, except―

when you open the door with the spare key you own, you find choso standing right in the middle of their living room, holding a pillow with nothing but his sweatpants on. he only stares at you, eye half-lidded as his hair fans around his face like a disheveled lion's mane.

you freeze, blinking once then twice before squeaking out a small, "sorry!" and stepping out again.

in all your weekends spent with yuuji, this has never happened before.

choso usually sleeps in, only waking up by the time you and yuuji prepare lunch. he's never usually up and about at 8:52 a.m.

the lock clicks as he moves to open the door to welcome you back in. and when he does, he still looks the same―unbothered and completely unaware that he's standing half-naked in front of you.

it takes extra effort for you to keep your gaze up as he greets you, "yuuji is still out."

"y-yeah," you stutter, "i told him i'd meet him here." you catch a glimpse of the room behind him and notice the messy heap of pillows and blankets on the couch then realize, "unless i can't! then—"

he shakes his head, hair swinging around as he rubs at his eyes, still a little sleepy, "feel free." his arm stretches out to motion to the rest of the space, as if to emphasize, "you practically live here."

you chuckle nervously as you step back inside.

"sorry, it's messy," he gestures at the mess of pillows on the couch, "fell asleep watching a movie last night."

this is not the first time you've ever interacted with choso; you're actually normally comfortable around him, albeit a little stuttery from the kind-of mini crush you've developed on him since sophomore year. but he's also almost never like this―lean muscles and bedhead on full display as he talks to you, voice hoarse with the cutest bit of sleepiness still on his face.

you swear, this is a recipe for your own demise.

he passes you a glass of water as he yawns from across the kitchen island, hand going straight to scratch his stomach.

"thanks," you give him a small smile, drinking it immediately in an attempt to conceal how flustered you feel. "will you be joining us for breakfast?"

the sound of his footsteps dragging across the floor accompanies the slight hum he makes while thinking. his fingers run through his hair, ruffling them as he answers, "i can," then another pause before he continues, looking at you straight in the eyes as he asks, "do you want me to?"

[xxplastic-cubexx]

i finished reading krakoa era and comic cherik are amazing SO i wanted to ask do you have any favorite issues/series i still don't really remember how to call it where cherik are also cool?? some iconis comic moments with them maybe??

im FARRR from finishing all of krakoa (ive probably barely even made a dent in this series), though i do think following the HoX + PoX issues themselves are great if we're talkin cherik-focused issues/books. i already said one of my fave aspects of cherik is their moments working together, so having a whole Omnibus dedicated to them Working Together and trusting each other (bonus points for Protective Erik with the Something Sinister bit) is already guaranteeing a sure spot in my Faves collection

one of my fave cool moments i've read so far- which is a moment i wager a lot of people can agree is Sick As Hell Visually if i may be so daring- is ABSOLUTELY this sequence from Inferno #4

any time erik and charles get to do some bamf shit together it is IMMEDIATELY peak to me this cannot be disputed and i'd be lying if i didn't say i bought this run solely for this moment here (ignore the fact they fumble this fight horribly that dont matter they looked cool as hell for five seconds !!!!!!!!!!!)

i can't wait to read more and find even more moments i love and want to tape to my eyelids <3 !!

[wellfine]

HII I love your art so much it's so expressive and it feels like theres so much movement in it! I was wondering if u had any tips or advice to help with that? I practice anatomy and expression so much but it seems like everything I draw on my own is so stiff!! Anyway I hope you have a great week :)) <3

Hi there! Firstly, thank you so much for the kind words, it means a lot that you would take the time to tell me!

Second- my advice is to take everything you've learned about anatomy and THROW IT OUT THE WINDOW!!!!!!!

... For now. Just into the front yard so you can keep an eye on it. But I have seen many artists concentrate chiefly on studying anatomy only to feel like their art ends up too stiff. My own experience has been to treat anatomy as a tool best used to correct an image in the later stages of construction rather than as your driving foundation.

If "correct" anatomy (however you choose to define that) is the priority of your undersketches, I find that you end up with a sort of Skeleton Song approach to drawing - y'know, the knee bone's connected to the thigh bone, etc etc. Whatever energy, emotion, or intent you wanted your drawing to convey is getting lost each time you split it into another anatomical segment. By over-focusing on individual parts, you lose sight of your image as a whole.

The key to conveying dynamic movement in motionless art is to ensure every element of your image agrees on and communicates the same action, the key to which is something called the line of action.

A line of action is simply that - an implied "line" with wich you lead the viewer's eye and communicate movement. Think of it as the core of your figure's action, simplified to its rawest form. By knowing this, you know what to emphasise and what to de-emphasise.

Well, art is a visual medium and I am better explaining with drawings than words or I'd never have picked up a pen in the first place, so:

Images can have multiple lines of action, lines of action can complement and contrast each other, and a line of action isn't always as obvious as something like running. Imagine you're tring to make your art more "aerodynamic" to the eye. Since I draw a lot of One Piece fanart, I assume you're also familiar with it, and you can probably imagine how Oda uses "lines of action" when composing panels of Luffy punching something, Zoro slicing something, Sanji kicking something- etc etc. He's really good at selling the "oomph" of action shots by reducing visual clutter so that the impact of the action is greater.

(The Monster Trio's abilities are all designed in such a way that allow for REALLY striking lines of action... you can tell Oda loves studying manga fight scenes and wanted to create a world where he could push these concepts to the limit, and it's no wonder One Piece caught the eye of animators even before it was serialised by Toei)

You're probably already noticing how line of action also feeds into composition and silhouette when it comes to conveying movement in an image. Basically put, once you've isolated whatever action it is that you want to convey, the more visual clutter you can streamline away from that action, the stronger an impact that will have on the viewer. A firm line of action, an uncomplicated silhouette for your figure, and a readable overall composition of your image/panel are all ways to minimise visual clutter.

You can also use this information to achieve the opposite effect! Sometimes the ideal action you want to convey is not fast, or powerful, or confident, and you can use the same principles.

In fact, you can apply line of action to images that don't have any "action" in them at all. You can make a drawing of someone simply standing there feel more lively by applying these same principles to their body language:

You can develop an eye for how to simplify movement down to its "lines of action" by studying real photos and other people's art. Try simplifying a figure to its silhouette, and then simplify that silhouette further to a stick figure. And honestly, a lot of this could be boiled down to "see your image as a whole and not just a collection of individual pieces". Set anatomy aside during the composition stage and bring it back in when you start building up the sketch.

Moving away from the line of action, my second piece of broad advice is simply to exaggerate more. Lots of artists subconsciously hold themselves back from pushing motion, expression, etc. out of concern that it will look "too much". Well, maybe it will- but you won't know that unless you try! You can always walk it back if you think you took it too far, but I think you'll be surprised by how far you can push your art before you hit that point.

My final piece of advice is to work on line confidence. Even if you follow the rest of this advice, if you have hesitant and scratchy lines, you're undermining the flow and punch of your art. The best way to improve line confidence is simply by practicing! Do a lot of quick, timed studies, and use a permanent medium like a ballpoint pen or marker. Focus on unbroken lines wherever possible even if it makes your studies look like garbo. I find traditional studies are best for improving line confidence, but if you'd really rather stick with digital then just don't let yourself use the eraser tool, and try using a chunky brush with limited pressure sensitivity.

And that's it! Don't stress about it too much though. Loosen up with your art and, like any other skill, you'll improve with practice, time, and analysing what you like about other people's art. Good luck!

[pix-writes]

"Ford is grateful for your patience and willingness to be involved in his life, especially as he knows he wasn't good at opening up to you when you were starting to become friends let alone a relationship." This is from Stanford HC, and I find it very interesting! How would he act at the beginning of the relationship? What does it take for him to become friends with someone, and that evolves into romance?

My thinking behind this part of my HCs is what Ford has been like through the series, he is shown throughout multiple media in the GF series, that he has continually pushed people away as part of his wound of feeling isolated due to his intellect and polydactly. Through this wound he's actually developed over the course of the series and his time in the portal a lone genius hero archetype that he wants to fit into, to compensate for the hurt he has continually felt from others and being an 'outsider'. (I could go into this in more depth about where this comes from in his childhood and how it affects his outlook when he comes across bill/building the portal, honeslty, but this is the jist of what I want to get across).

(rest under cut)

It's only really once we get to weirdmageddon and post-oddpocalypse, that Ford's arc comes full-circle into healing this wound for good --> as we know Ford has a fair few people in his life who love/care for him, in the past (Bill era) he was unable to see it, but once he exits the portal he begins to care for the twins and value them (and stan, even though he doesn't show it); this makes him take a similar route in trying to defeat Bill still largely on his own, because he doesn't want the people he loves to be in danger and blames himself for Bill's hold on their dimension, thus Ford thinks it's his problem to deal with --> Once they start working together to defeat Bill is the turning point for him to realise that he was wrong and that in order to defeat Bill, you have to work together. [I think he even says that he realises he was foolish for thinking he had to go it alone and that there are people who love him that he can share the buren with, I think in Journal 3 or TBOB (can't remember which rn).] I would argue that it's not until Stanley's great sacrifice in order to save the kids/the world, after screwing up the circle magic thingy, that reality hits him like a ton of bricks and he starts being more open and quickly starts to heal his biggest character wound.

So, considering this in a potential relationship, I think Ford, is generally closed-off, which hasn't helped him in the romance department in his life in the past! Whilst I can see the judgement of others and his outsider status socially would impact this as well, being closed-off and individualistic means that when he does come across someone who would be a good prospective partner, he just... assumes they'd not be interested or overlooks them because he's doing something important and isn't thinking of romance in the moment, so if the other person flirts with him he's not good on picking it up. [I'm finding this all terribly relatable!]

With the insecurity from his wound on top of this, it doesn't make for a good mix, Fiddleford, for example, was not only an assistant but quite a great friend to Ford that he didn't appreciate at the time and due to the added influence of Bill wanting to isolate him from people, Fiddleford ended up having his attempts of deeper connection being thrown back in his face! Whilst a lot of this was unintentionally done on Ford's part, he did tell him when he left that he "didn't need anyone". In the past at Backupsmore Uni, he says that there's not a lot of people he finds 'smart enough' to be on his level to be friends with - which is textbook classic defensiveness to reverse that 'no-one understands me' mentality into something that props up his ego instead. Pushing people away means that he won't have to face the rejection he continually experienced in his childhood, but it means he's potentially pushed away people who could like him as well!

So, I think that in the beginning of a budding friendship/potential relationship, Ford would not be the best at connection or communicating his feelings openly, he'd likely step on other people's toes (metaphorically) in social situations, without realising or meaning to offend someone.

That said, I think it'd be easy for him to become interested in someone who is clearly talented and intelligent, someone who similarly values higher education yet also has a similar love for that which doesn't fit the norm/is bizarre. Perhaps someone who is also deemed a societal 'outsider'. He's been feeling lonely for so long that if you're persistent and kind and can get him to talk on the subjects he loves, he'll start to see you as a friend. I think that being kind and thoughtful with gestures (acts of service) and gifts either to him or his grand-niece/nephew are other things that will make you stand out from the crowd, too, for him to see you as a genuine good person and friend.

However, he will struggle to open up and to let out his natural self (nerdy, passionate, dedicated, 'weird'), so it will take a while to deeply connect to Ford if you're friends, and even longer for him to realise you're interested in him romantically and to act on it.

I think in that stage of 'good friends that are attracted to each other', he would have fallen for you fast; but at the same time he doesn't trust that you are romantically interested in him, even if you have said that you are, part of his mind tells him that it's a trick, a joke. You might think you want to be with him, but you'll leave him soon enough when you realise he's so inexperienced in romance/relationships etc, etc. I think a lot of his old wounded mentality would surface and he's try to push you away, if you get together post-weirdmageddon, or would just shoot you down intentionally/unintentionally if you get together beforehand. Furthermore, he has been a 'loner' for most of his life, particularly after 30 years in the portal, so it's difficult at first in a relationship to share the more mundane things, since he's used to being on his own.

Ford would overthink things to the point of anxiety at the very beginning of a relationship and make it more awkward than if he just relaxed! ^^' He's a bit of a perfectionist when it comes to planning dates, too (reminds me of dipper with the list lol), though it's sweet, cause he cares so much to make it good for you! Once it goes wrong a couple times, you'll both find the humour in it and he'll realise he's being foolish again and relax a little. You'll have to give him reassurance and go at his slow pace in the start of a relationship and he'll find some confidence, probably quicker than either of you anticipated too! He's liked you for a long time by the time you get together, so whether he intends to or not his passionate nature leaks through ;)

[chloesimaginationthings]

Sorry if you’ve already put this somewhere and I didn’t see, but what’re your favourite ships?? :3

Women

[statementlou]

Hi💗 I'm having a bit of a hard time understanding your last post. It's probably because i'm too stupid, but do you want to explain a bit more about what you mean? I'm sorry to bother you, but I really want to understand. Lots of love🌞

anon I'm happy to help but I hope you mean the openstage one? If so: OpenStage is a "fan engagement platform built especially for the music industry"; it's a service that artists can pay for and in return they data mine their fanbase to tell the artist where most of their fans are from, their general demographics, what they respond to best, etc, and they send out promo emails and host artist pages with links all in one place (like a band caard kind of thing) and various other useful services like that. It seems great for small artists who don't have management companies to do all this stuff, but also for larger acts' management to streamline and outsource the work. Like LTHQ used to do loads of this stuff themselves, and they ended up repeating efforts a lot it seemed like and having to personally organize a lot of fiddly things like details of the hotspots and stuff; until they found OpenStage. They not only outsourced that work to them, Louis also said, this is a great platform with potential to help small artists and make money, and he invested in it personally. Little start ups getting investors means they can use the money to get bigger and do more stuff, but it also means the bigger they get, the more that investor's shares are worth. So someone gives a company xxxx amount of money in return for owning part of it which if it fails is worth nothing, the money is gone, oh well, but if the gamble that they will do good and grow is right, they will make money. So if a company is worth $100 than buying 4% of it costs $4, but if it then gets so popular that it's now worth $4000 then tada that 4% is now worth $400... anyway I'm not saying OpenStage was tiny when Louis found it, it was probably already pretty big and on the way up, but now they are EVERYWHERE and the fact that 100% of the Oasis reunion traffic is being run through an OpenStage link has to be huge. So what I meant was: it may be indirect, but when OpenStage succeed Louis makes money, so Louis is profiting from this reunion through his investment.

[themeeplord]

Hey Meep, Meepster, Meeperoni how do you draw scales?

I love your scales, both the prominent and far away ones. I especially love the scales on your cryptid boys.

So how do you do it?! When I try to draw scales it looks like a gravel road and just overall bad. Please share your wisdom, I beg.

In my head this turned into a bigger question than you might have intended pfjfjf, I tried my best to stay relativity simple with my answer!

Let me show you how you can think when figuring out big scales.

First I try to keep it simple and not sketch in all the scales until I've gotten the pose down.

When I start planning out scales I start with figuring out the direction of the scales and the big shapes (I usually do this in my head, but drawing it can be very useful)

Once I'm happy with the shapes and directions I start adding the scales one at a time, all overlapping each other like they're huge fish scales.

Scales don't always have to follow the same 'start at the head and run down the body' idea, you can do the opposite and get some very neat looking shapes. You can mix it up too. Here's some examples!

There are a lot of different kinds of scales and animals often have more than one kind. Some even do look like gravel!

I suggest looking at real life animals and fictional creatures for inspiration and reference. It takes a long while to learn how and where to use specific scales, but it'll be easier if you're willing to spend some time looking at and studying scales and the anatomy around them.

Some examples of animals with scales~ (names in alt text)

[scificrows]

which non-human entity from the murderbot diaries are you?

i had so much fun with this uquiz by @homosekularnost that i created my own :) [art: cover art from the estonian edition of AC (illustrated by liis roden)]

[kevindavidday]

Your favourite things about kevin or some hcs?

my favorite things about kevin (not in order):

1) unmoanable name

2) so resilient, does not give up

3) so anxious, always one second away from throwing up or having a breakdown

this is why i love to put him in situations

4) hilarious one-liners ('its not a major loss' + 'its easier if he remains heterosexual')

5) hyperobsessive nature (i understand him on a spiritual level)

6) not a sore loser in front of the press but an absolute bitch boy when the cameras are off

7) scathing diva...what a fucking name to give him i'll never be over it

8) dramatic as fuck (he self-proclaimed himself queen 10/10)

9) chronic passenger princess <3

10) the fact that he likes pineapples? i find that so cute?

d'you think the foxes have stacks of canned pineapples or like just actual fucking pineapples lying around? that one scene in victorious when beck walks in with a watermelon for robbie cuz robbie is sad? that but with matt and kevin i can see it so clearly

11) his tendency to subject the men around him to vile levels of homoeroticism and never acting on it cuz he has a girlfriend and 'its easier if he remains heterosexual'

12) lil tramp stamp on his face. perfect for a kiss tbh.

13) he sees potential in people that even they haven't realized. i love that he shares this trait with his father unconsciously because distance separated them but they were both the first ones to see that there was more to andrew than a manic grin. i love that he does it scared. everything and anything he has to do - its all new outside the nest but he will do it scared and it's wonderful.

he's literally the world's specialest boy actually (idk which one of y'all gave him that title but it fits so well)

some hc's for kevin i have loitering about:

1) 20 thousand step skin care routine

2) absolutely sleepless moron he's going to be awake like this 👁️👁️ at the worst hours because he can't always seem to beat the nest timings (this does not help his skin)

3) voyeur (i will not elaborate)

4) muscle memory in reaching out for andrew or neil when he goes pro and being devastated when he realizes they're not there yet (they get a call asking them to 'graduate faster')

5) he would take time out for his history books no matter what - best gift for him is just an ancient book he hasn't read yet

6) remember the sex toy convo with jean and cat? would be so funny if the foxes tried that with him tbh allison's like he's so stuck up we should get him a sex toy and kev's like andrew already did (pin drop silence)

lot's more where all this is coming from but this has already gotten so so long i'm sorry 😭thank you for the ask i love thinking about babygirl of all time

[starnervefan]

what does our best guy detective fear like to do for fun? owo

aw! Thank you for the question 🥺💜 Nobody ever asks me things about my AU gdfsfh 🥹😭 /pos

But anyways-

He probably plays a lot of chess and card games given the chance and a worthy opponent. He'd join tournaments, he's not exactly competitive but still likes the feeling of outsmarting his opponents. He reads a lot (horror and thrillers despite his overactive imagination, and… sometimes, trashy romance). He'll happily critique or pick apart trashy movies and admittedly, he's fond of cartoons and silent films.

Even though some "scary" movies amuse him more than scare him, he's interested in criminal psychology in an almost morbid way, keeping himself up late at night reading about horrific crimes.

Socializing heavily isn't really his thing, he's shy, easily overstimulated and keeps to himself. Contrasting with his partner Anger, who's always dragging Fear to noisy gatherings where there's a lot of booze, smoke and jazz music. It's ok though, Fear gets to drag Anger to the theater (where Anger will usually wind up falling asleep from the boredom, if Fear's commentary doesn't keep him awake).

Lately a certain thief lady is on Inspector Fear's mind and he spends an awful lot of time thinking about her and trying to find her, even and especially during his off-hours, though whether it's "fun" is up for debate.