#but i think it also represents visually how will is often in the back of mike's mind

[fozmeadows]

There's a lot of conversations to be had around the current influx of Americans to Xiaohongshu (RedNote/Little Red Book) ahead of the TikTok ban, many of which are better articulated by more knowledgeable people than me. And for all the fun various parties of both nationalities seem to having with memes and wholesome interactions, it's undoubtedly true that there's also some American entitlement and exoticization going on, which sucks. But a sentiment I've seen repeatedly online is that, if it's taken actually speaking to Chinese people and viewing Chinese content for Americans to understand that they've been propagandized to about China and its people, then that just proves how racist they are, and I want to push back on that, because it strikes me as being a singularly reductive and unhelpful framing of something far more complex.

Firstly: while there's frequently overlap between racism and xenophobia, the distinction between them matters in this instance, because the primary point of American propaganda about China is that Communism Is Fundamentally Evil And Unamerican And Never Ever Works, and thinking a country's government sucks is not the same as thinking the population is racially inferior. The way most Republicans in particular talk about China, you'd think it was functionally indistinguishable from North Korea, which it really isn't. Does this mean there's no critique to be made of either communism in general or the CCP? Absolutely not! But if you've been told your whole life that communist countries are impoverished, corrupt and dangerous because Communism Never Works, and you've only really encountered members of the Chinese diaspora - i.e., people whose families left China, often under traumatic circumstances, because they thought America would be better or safer - rather than Chinese nationals, then no: it's not automatically racist to be surprised that their daily lives and standard of living don't match up with what you'd assumed. Secondly: TikTok's userbase skews young. While there's certainly Americans in their 30s and older investigating Xiaohongshu, it seems very reasonable to assume that the vast majority are in their teens or twenties - young enough that, barring a gateway interest in something like C-dramas, danmei or other Chinese cultural products, and assuming they're not of Chinese descent themselves, there's no reason why they'd know anything about China beyond what they've heard in the news, or from politicians, or from their parents, which is likely not much, and very little firsthand. But even with an interest in China, there's a difference between reading about or watching movies from a place, and engaging firsthand, in real time, with people from that place, not just through text exchanges, but in a visual medium that lets you see what their houses, markets, shopping centers, public transport, schools, businesses, infrastructure and landmarks look like. Does this mean that what's being observed isn't a curated perspective on China as determined both by Xiaohongshu's TOU and the demographic skewing of its userbase? Of course not! But that doesn't mean it isn't still a representative glimpse of a part of China, which is certainly more than most young Americans have ever had before.

Thirdly: I really need people to stop framing propaganda as something that only stupid bigots fall for, as though it's possible to natively resist all the implicit cultural biases you're raised with and exist as a perfect moral being without ever having to actively challenge yourself. To cite the sacred texts:

Like. Would the world be a better place if everyone could just Tell when they're being lied to and act accordingly? Obviously! But that is extremely not how anything actually works, and as much as it clearly discomforts some to witness, the most common way of realizing you've been propagandized to about a particular group of people is to interact with them. Can this be cringe and awkward and embarrassing at times? Yes! Will some people inevitably say something shitty or rude during this process? Also yes! But the reality is that cultural exchange is pretty much always bumpy to some extent; the difficulties are a feature, not a bug, because the process is inherently one of learning and conversation, and as individual people both learn at different rates and have different opinions on that learning, there's really no way to iron all that out such that nobody ever feels weird or annoyed or offput. Even interactions between career diplomats aren't guaranteed smooth sailing, and you're mad that random teenagers interacting through a language barrier in their first flush of enthusiasm for something new aren't doing it perfectly? Come on now.

Fourthly: Back before AO3 was banned in China, there was a period where the site was hit with an influx of Chinese users who, IIRC, were hopping over when one of their own fansites got shut down, which sparked a similar conversation around differences in site etiquette and how to engage respectfully. Which is also one of the many things that makes the current moment so deeply ironic: the US has historically criticized China for exactly the sort of censorship and redaction of free speech that led to AO3 being banned, and yet is now doing the very same thing with TikTok. Which is why what's happening on Xiaohongshu is, IMO, such an incredible cultural moment: because while there are, as mentioned, absolutely relevant things to be said about (say) Chinese censorship, US-centrism, orientalism and so on, what's ultimately happening is that, despite - or in some sense because of - the recent surge in anti-Chinese rhetoric from US politicians, a significant number of Americans who might otherwise never have done so are interacting directly with Chinese citizens in a way that, whatever else can be said of it, is actively undermining government propaganda, and that matters.

What it all most puts me in mind of, in fact, is a quote from French-Iranian novelist and cartoonist Marjane Satrapi, namely:

“The difference between you and your government is much bigger than the difference between you and me. And the difference between me and my government is much bigger than the difference between me and you. And our governments are very much the same.”

And at this particular moment in history, this strikes me as being a singularly powerful realization for Americans in particular to have.

[rainydetectiveglitter]

Lilith in the Houses: How You’re Sexualized or Misunderstood

Lilith represents raw, primal energy in your chart, and depending on where it sits, it can cause you to be sexualized or misunderstood. Below, I’ve shared some thoughts on how this placement manifests in each of the houses, along with personal anecdotes where applicable. Keep in mind, this is just my anecdotal evidence, meant for fun.

♈ Lilith in the 1st House Aries

People with Lilith in the 1st house often have an intense, captivating aura. There's something magnetic and fiery about you that can’t be ignored, and others tend to sexualize or focus on your bold, rebellious nature. This placement often gets you misjudged as wild or "bad" simply for being unapologetically yourself.

When I think about this placement, I always think of Tiger King. His sexuality was constantly discussed, and in a weird way, he became this spectacle because of it. It’s also fitting for someone like Michael Jackson—you often see men with this placement with makeup, eyeliner, or other dramatic visuals to showcase that captivating energy. Even though their sexuality isn’t always overt, people seem to be entranced by it anyway.

You might feel that society is always trying to push you into the "wild" or "sexualized" box based on how you express yourself. People either want to put you on a pedestal or demonize you for being strong, assertive, or rebellious.

You may choose to reject or lean into this image, asserting control over how others perceive you. You could even challenge the societal expectations placed on you and fight to redefine who you are in your own terms.

Cultivate a deep connection with yourself—embrace your true essence unapologetically. Learning to set boundaries and validate yourself can help reduce the impact of others’ projections.

♉ Lilith in the 2nd House Taurus

People with Lilith in the 2nd house often find their physical bodies or material possessions sexualized. There's this feeling that others equate your body to your self-worth. People might also judge you based on how you express yourself physically, interpreting your appearance or possessions as tied to your sexual appeal.

I don’t have many people in my life with this placement, but it’s interesting because some people do view their bodies almost like a possession—almost as if they think their value is solely based on what they look like. In other words, what you own or how you look can often become a reflection of your sexual worth.

You may feel that your worth is constantly tied to your looks or the material things you own. This leads to external pressure and the need to fight back against these surface-level judgments.

You might either put your worth into material things or rebel against them altogether, which is a big internal struggle. At times it might be hard to escape being seen only through the lens of external value.

Reconnect to your intrinsic self-worth—focus on building value from within. Learning to separate your identity from your possessions or body helps you reclaim your true sense of self.

♊ Lilith in the 3rd House Gemini

Lilith in the 3rd house can turn communication into a double-edged sword. This placement tends to sexualize the way you talk—your voice, tone, and speech patterns are often perceived as seductive or inappropriate. I have this placement, and people often react to my words or how I speak in ways that are totally unrelated to my intent. It’s not uncommon for people to want to take normal conversations to uncomfortable places like phone sex or sexting, especially in dating scenarios.

I can personally relate to this. When I worked in call centers, I got told time and time again how "attractive" or "sexy" my voice sounded—and sometimes people tried to take it into inappropriate directions. Even in group settings, I was often told that my speaking style made people uncomfortable, even though I wasn’t trying to be sexual at all. I’m not a sexual person in nature, but people still tried to pull me into these conversations based solely on how I spoke.

You’ll notice that people often try to make conversations about you sexual or flirtatious. That misinterpretation, where every word or gesture becomes something charged, can make your day-to-day life more challenging, especially when you’re just speaking freely. You may also have the feeling that you’re often misunderstood in public settings or school/work environments.

You might find yourself either resisting or rejecting these interpretations of your communication style, maybe becoming more reclusive or adjusting your approach altogether to avoid discomfort. There could also be moments when you want to “own” that sexualized persona simply as a defense mechanism, but it’s not who you are.

Own your voice and set clear boundaries in communication. When people misinterpret your words, use it as an opportunity to clarify your intent. Confidence in your language can shield you from unwanted projections.

♋ Lilith in the 4th House Cancer

With Lilith in the 4th house, family and home environments become a space for projected misunderstandings about who you are. Family members may make inappropriate or uncomfortable comments about your body or behavior growing up. As you age, they might even sexualize or misinterpret the way you interact or express yourself, often seeing you as "too grown for your age" or crossing boundaries that shouldn’t be discussed.

Growing up with Lilith in the 4th house, you might hear off-handed comments from family that make you feel uncomfortable about the normal, healthy process of growing up. Your behaviors or growth could be taken the wrong way, as if people have the right to define what’s "appropriate" for you in terms of sexuality. This projection can last into adulthood when family members still impose unrealistic or discomforting expectations on you.

Family projections around your body or sexual expression can affect your sense of self at the core. You may feel like you’re being misread or that your home environment doesn’t fully support your evolving self-expression.

You might challenge your family’s views of you or assert stronger boundaries within the family dynamic. There may be tension in these interactions, as your natural growth challenges their limiting expectations.

Establish healthy boundaries with your family and assert your identity on your terms. Communicating your real feelings with those closest to you, while setting clear boundaries around your development, will help shift those projections.

♌ Lilith in the 5th House Leo

With Lilith in the 5th house, your creativity, sexuality, and enjoyment of life become intertwined. You’ll notice that people often sexualize your playfulness, creative pursuits, and even your flirtatious nature. What should be considered playful or creative can sometimes be twisted into something too sexual, especially if you are expressive about your individuality.

People may only focus on the "fun" aspects of your personality and forget that there's much more depth to you. Your free-spirited, playful side can easily be interpreted as promiscuous or “overly sexual.” You might feel misunderstood for simply enjoying life or for being unapologetic in expressing your individuality.

You may lean into this sexuality for a while, either to match people’s expectations or as a way to cope with it, but it’s important to find the right balance. Embrace your creative freedom, but also be firm with others when it comes to how you express yourself.

Set strong boundaries around your creative energy and personal expression. Help others understand that your essence is more complex than how they try to sexualize you.

♍ Lilith in the 6th House Virgo

With Lilith in the 6th house, your workplace interactions or your approach to health can often be misunderstood. At work, others might project a certain sexualized image onto you, particularly in professional settings where boundaries should be respected. In my experience, I've witnessed situations where a male friend of mine faced sexual harassment, which they often brushed off to maintain peace. He dealt with frequent inappropriate advances and even physical groping from female coworkers, yet felt pressured to “laugh it off” and keep things lighthearted. He moved his things to another area in the office after. It's clear that a misunderstanding of professional boundaries happens with Lilith in this house.

While I don’t have Lilith in the 6th house myself, I’ve seen it firsthand. I believe that this placement can create discomfort when others try to sexualize your approach to work or health matters. It's hard because these boundaries often get crossed by people who don't take your professional image or seriousness into consideration.

The 6th house is about routine, health, and service, but Lilith here creates tension, with people viewing your work or contributions through a lens of desire rather than respect. Whether it’s at work or in a healthcare setting, feeling sexualized or disrespected in such personal areas can make you uncomfortable.

You might try to keep your distance or react by shutting people down, asserting your boundaries and your right to be respected. Or, you might even go the opposite route and become very vocal about defending your space, making sure others understand where you stand.

Work on strengthening your boundaries, especially when it comes to professional or intimate health matters. Practice keeping your environment focused on your work ethic, not your sexuality. Keep things professional and assertive, refusing to let others cross boundaries.

♎ Lilith in the 7th House Libra

With Lilith in the 7th house, relationships become a central area where you’re misjudged. People might project their sexual desires or desires for control onto your partnerships, reducing them to something physical or superficial rather than emotional. There's an intensity to how people view your relationships—it’s almost like they see them through a lens of desire and don’t always see you for who you truly are.

I’m curious to hear if anyone else with this placement has had similar experiences, but I imagine people might confuse the depth of your relationships for something too sexual or too chaotic. Since the 7th house is all about partnership, whether in romance, business, or even friendships, the idea of Lilith here could make it feel like every relationship becomes a power struggle or is sexually charged.

It can be tough because it feels like your partnerships are seen through projections of sexuality or power dynamics that you didn’t necessarily invite. These projections can make you feel misunderstood in your closest connections.

You might feel compelled to set extremely firm boundaries within your partnerships to avoid these projections. You may even feel the need to prove your worth in relationships beyond what’s expected of you, sometimes overcompensating for others’ misunderstandings.

Let go of others’ sexualized projections in your relationships. Be clear about your emotional needs and how you define intimacy. Surround yourself with people who value your connection beyond the surface level.

♏ Lilith in the 8th House Scorpio

Lilith in the 8th house is all about transformation, power dynamics, and shared resources, especially sexual intimacy. People might find you intensely magnetic and view your sexuality as your most powerful attribute. However, this can also make others see you as a mystery or a source of intrigue. There is a tendency for you to become sexualized, especially when dealing with issues of intimacy, control, or shared power.

The 8th house often deals with taboos, and with Lilith here, it might amplify that in ways where others expect you to use your power over them in intimate relationships or become seen as an object of both desire and obsession. This can also trigger the deep-seated fears in both you and others regarding trust and control in relationships.

You might be underestimated for your emotional depth, with the focus too often put on your sexuality. This can leave you feeling like you are misunderstood at your core, and that people only seek power through intimacy with you.

You may play into this mystique, allowing others to see you as they want to, or you may put up huge walls around your vulnerability, keeping your power closely guarded. Either way, navigating these intense dynamics can create an ongoing challenge to maintain a sense of self.

Work on transforming your personal power in ways that allow you to reclaim your own identity. Practice embracing deep emotional intimacy and power in a way that doesn’t compromise who you truly are at the soul level.

♐ Lilith in the 9th House Sagittarius

Lilith in the 9th house often leads others to sexualize or romanticize your ideas, philosophies, or your travels. Your belief system and personal growth are powerful, but people might be more intrigued by your provocative ideas or the way you expand their boundaries rather than seeing you as an intellectual authority. There’s an undercurrent of attraction, as others tend to focus on your adventurous or boundary-pushing nature.

The 9th house placement gives you a vast sense of expansion, but Lilith here can make your explorations, whether mental or physical, something others overly sexualize. It’s like you’re seen as someone who’s not just about knowledge, but about breaking every boundary—and that becomes sexualized.

You may feel like your desire for intellectual or physical exploration is misunderstood or reduced to something superficial by others. It's frustrating when what you deeply care about is diminished into sexual projections.

You might find it hard to reveal the true depth of your philosophical or adventurous side, feeling boxed into a role others have created for you. You could find yourself over-explaining or pulling back from sharing ideas at all.

Continue to seek intellectual, philosophical, and physical expansion in your life, but focus on doing it in a way that isn't limited by the projections of others. Reclaim your place as an explorer and learner without needing to fit into a mold others make for you.

♑ Lilith in the 10th House Capricorn

With Lilith in the 10th house, your public image, career, and reputation might get sexualized or reduced to how attractive or enticing you are in the public eye. There’s an intense energy that others sense, and some will focus only on the surface level—either deeming you a “sex symbol” or feeling threatened by your power. I have a friend who’s had similar experiences with Lilith here, where her sexuality was too often emphasized—sometimes by her family, others by society—leaving her struggling to find a way to separate herself from this imposed persona. Despite being talented and multifaceted, others often ignore these attributes, reducing her to a sexualized image.

You may feel frustration with the duality between the image people project onto you and who you really are. The constant struggle to have your full professional capabilities seen without your sexuality being the focus can be draining.

To cope, you might overcompensate by embodying this sexualized image more overtly online or offline, or you may go in the opposite direction and try to downplay your looks and focus solely on your work.

Set clear boundaries with your career and public life. Focus on presenting all the facets of yourself and refuse to be confined to only one. Let your true capabilities define you, not the projections others place on your image.

♒ Lilith in the 11th House Aquarius

Lilith in the 11th house means your presence in social groups and communities often comes with a layer of misinterpretation. People might see you as someone who “stirs the pot” in group settings, whether through your attractiveness, rebellious nature, or just by existing outside of the norm. You might be put in a position where your friendships are subtly (or not so subtly) sexualized, either by others assuming romantic or sexual undertones in your platonic relationships or by social circles treating you like an object of intrigue.

From what I’ve observed, this placement can create situations where people feel weirdly possessive over you in group settings. Friends might project their own insecurities onto you, assuming you must be manipulative, seductive, or disruptive just because of how others react to you. There can also be themes of exclusion—perhaps being ostracized or resented for something that isn’t even your fault.

Friendships can feel complicated. Either people try to control you, define you by your sexuality in group dynamics, or make you out to be a “bad influence.” Sometimes it feels like no matter what you do, there’s an energy that people react strongly to, whether positive or negative.

You might distance yourself from social groups to avoid dealing with all of the drama, or you could lean into your rebellious nature and embrace the fact that you shake things up. There can also be a feeling of wanting to prove that you’re more than the assumptions people make about you.

Focus on friendships and community that truly respect you for who you are beyond any projections. Not everyone will misunderstand you, and it’s okay to be selective with who you surround yourself with. Work on reinforcing your boundaries so that you aren’t constantly put in unfair situations.

♓ Lilith in the 12th House Pisces

This is one of the most hidden yet potent Lilith placements. You might not always be overtly sexualized in obvious ways, but there’s a deep, underlying energy that people pick up on. There can be projections placed upon you without you even realizing it, often behind closed doors or in secret conversations. Some may find you irresistibly mysterious or even dangerous without a clear reason why. Your presence lingers in people’s subconscious, sometimes making them uncomfortable.

This placement makes me think of someone who unknowingly impacts others on a psychological level. People might develop secret infatuations or fixate on you in ways that even you don’t fully grasp. It’s like you move through life feeling somewhat unseen, yet somehow, you’re always affecting people on a level beyond your awareness. People may make assumptions about you without real evidence, particularly in environments like hospitals, institutions, or spiritual communities where secrecy or hidden power is involved.

You might struggle with feeling misunderstood in ways that don’t make sense to you. You could go through experiences of being scapegoated, vilified, or treated as if you’re carrying some sort of “forbidden” energy. People may want to project their desires onto you in secret, which can feel invasive or confusing, especially if you don't know where these emotions are coming from.

Some with this placement retreat into isolation, feeling like it’s safer to remain unseen than to deal with others’ projections. Others might unknowingly fall into roles that confirm what people already assume about them, even if it wasn’t their intent. The struggle here is often about untangling other people’s hidden expectations and seeing yourself clearly.

Find ways to ground yourself in your own sense of identity, separate from what others secretly think or expect of you. Therapy, dream journaling, and shadow work can be powerful tools for unraveling hidden fears or subconscious influences in your life. Recognizing when you’re being scapegoated or unfairly projected upon is crucial, and learning to set firm energetic boundaries will protect your peace.

Do any of these descriptions resonate with you? I’d love to hear about your experiences, especially if you have Lilith in the 5th or 7th house—those are placements I don’t personally have much insight into, so feel free to share your thoughts!

[juicegremlin]

I'm going to try and explain this as best I can, but I'm thinking about Caitlyn's character design and how, at base, she is relatively undecorated. When you look at the characters around her, many of them sport body modifications or elaborate hairstyles of some sort. We've got people with metal limbs, full-body tattoos, distinct facial scars, etc. where the most "unusual" aspect of Caitlyn's design is her hair color. Even then, the blue of her hair is a deep navy -- not nearly as striking as Vi's bright pink or Jinx's teal -- and she either wears it straight down or straight back in an uncomplicated ponytail. Her tooth-gap is also easily hidden behind a tight-lipped smile.

In no way am I trying to say that Caitlyn's design is bland or uninteresting, but I am saying that it is relatively simple compared to the characters around her, which I feel was a very, very intentional choice. The bulk of Caitlyn's visual complexity often comes from the clothes she wears -- the uniforms she wears. She places so much of her own identity into the role she is currently playing. When she is in her enforcer uniform, she is an enforcer. When she dons her undercity getup, there is an obvious shift in empathy towards the Zaunites (I know this is also in part because this is literally the first time she's in the undercity, but bear with me). She dons a skin and wears it like it's hers.

Ambessa recognizes this moldability in Caitlyn: nothing but a blank canvas, a wet ball of clay. Caitlyn's identity is tied to her role, so why not give her a cape and make her into the monster -- the scapegoat-- Ambessa needs her to be? Caitlyn's grief only makes her more susceptible.

“She must have a kind, fat face. Clever to charm her subjects, but pliable, so we can mold her.”

We see a similar dynamic with Mel and Jayce. Jayce's character design is also relatively uncomplicated: no tattoos, no piercings, no scars (save for the tiny nick on his eyebrow). Representative of his pliability. Ambessa taught her daughter to look for and exploit these traits. Granted, Mel is nowhere near as sinister as Ambessa, but the parallel is there, and it is juicy.

Anyway, the character design team went the fuck off with every single choice they ever made.

[bamsara]

I'm new to this blog, what's dream lamb and dream narinder?? They're cool but I do not understand I wish to comprehend

Dream Lamb (And Dream Narinder) is exactly as the name implies; dream versions of the counterpart that only appears within Narinder's (Or Lambert's) dreams at night.

They are a visual manifestation of the subconscious, they are not real individuals. They can reflect what Narinder/Lamb's true feelings are about something/someone, or torment them about things that they perceive to be true.

One example is that Dream Lamb often makes Narinder remember how fondly he thinks of the Lamb ("You think of them so poetically" + all prior friendship he had with them in the gateway) or pointing out how his words contradict his actions; behaving and believing them to be a traitor and insufferable but doing things of his own will (resurrecting the crab, not killing their flock because it makes them upset, allowing Leshy to live, ect ect).

Dream Lamb ALSO points out the complicated feelings with his siblings; ie reminding him of how he used to help raise his youngers, and the mixture of emotions he feels towards individuals who he claims he despises.

Dream Narinder (Who is not into written form yet and is only in comic form as of this post) who instead of tormenting the dreamer with confrontation of feelings being denied, instead sews doubt and guilt. The Lamb feels even though they stayed true to themselves, they cannot help but feel like their perceived betrayal has damaged the friendship between them and Narinder beyond repair. Despite that grief for the loss of friendship, they'll accept what little companionship they can have from their best friend left over.

Dream Narinder fuels on this, often echoing their worst fears and worries ('You've done a good job as my vessel, so I no longer have a need for you.") So he acts non-nonchalant and often mocking/teasing, or even indulgent with the acknowledgment that none of it is real. Where as Dream Lamb confronts Narinder with feelings he's wanting to push back, Dream Narinder goes the opposite route, and calmly and casually reinforces what they believe to be the reality.

Dream Lamb represents Denial of the Truth, While Dream Narinder is the Acceptance of a Lie.

However,

Because they are corrupted visuals of the subconscious, but still their subconscious nonetheless, this means that these behaviors can change or be different depending on how the dreamer thinks/feels, and how they're processing their emotions in relation to something. Especially when they're confronting it.

In other words, the closer Narinder gets to accepting his feelings and understanding the Lamb's reasoning for their 'betrayal', and the closer the Lamb gets to realizing Narinder's care for them still persists, the more accurate and truer the dreams become.

Like in this comic, where Dream Narinder is tormenting the Lamb, but after their snap back that Narinder would not say something so cruel to them, despite his outward attitude, they are practically rewarded with a praise for it.

For Dream Narinder specifically, his eye remains closed....but opens a little more the closer and closer the Lamb gets to believing how Narinder truly feels about them, whether the real cat has accepted it or not.

As for Dream Lamb, they go from being very aggressive about their confrontation to something more docile, eventually as Narinder starts to process everything.

Another thing: the Dreams are linked. Not always, but they have to be on the same...wavelength for it. An understanding, perhaps. But they do affect each other, sometimes.

The dreams can be nice too, depending. That's why they're not always nightmarish. Meaning, with enough push and pull, eventually:

Why all of this dream and nightmare stuff is happening? Yet to be revealed.

Remember guys if you avoid your feelings in real life they might hunt you down in your dreams, and possibly bluetooth you to the object of your affections dreams as well if you're nice about it

[wickworks]

Lancer Tactics dialogue layout crisis of faith

(from this month's backer update)

Every so often, I'll run into something in development that eats away at me until it pushes me to a crisis of faith and I have a breakdown, burn down a bunch of work, and build something better from the ashes. These are moments of transformation and we're almost always able to come out the other side with something much better than what we started with.

This all sounds very dramatic until you take a step back and see the issue in question is just, like, the layout of a menu. But if medieval priests were able to have schisms over angels on pins I can have strong feelings about graphic design, dammit!

This month's episode revolved around how we're doing character dialogue. For reference the plan was to do a standard 4-slot visual-novel talking heads layout. I call it a 4-slot because there's usually four positions that characters can stand; two on the left, two on the right:

I had it ingame, and it was working. But... something felt off. Do you see the difference between every one of the above examples and this?

It's all about perspective, baby.

Answer: all the character art in those examples are drawn at a slight angle so they can be flipped back and forth to be made like they're looking at each other.

Trying to do this with the perspective we chose early — straight on — makes for a chorus line of weirdos who are looking directly into your soul as they ostensibly chat with each other. Credulity is strained; the illusion of these puppets interacting in the same space is paper-thin.

(I was skeptical of choosing this perspective for this reason, but we ultimately went with it to make the customizable assets in the portrait maker easier to fit together)

We tried a bunch of different layouts, but they all at least one of these problems:

they'd stare into your soul while ostensibly directing comments elsewhere.

they felt like text messages; this would be fine if that's what we were going for, but we wanted something that could represent face-to-face conversations. (Tactical Breach Wizards was able to pull this style off because they had little 3D dioramas to go along with it)

or, most damning of all, they felt like zoom calls.

So, my heart aflutter and spirit in want, I spent a day doing a research dive into various dialogue layouts (bless the Game UI Database!) to see if any other games had managed to pull this character art perspective off. I ended up with this massive non-chronological taxonomic tree:

(fullsize here)

The type of layout that particularly caught my eye was this style where each character had their own little box. These layouts borrow a concept from comic books called "closure" where the space and time between characters are left blank. Freed from the constraints of trying to simulate a single space, these layouts allow the reader to fill in the blanks with something that feels more true-to-life than anything we'd be able to render ourselves.

I was especially impressed with the dynamism of Tales of Symphonia and The World Ends With You; rather than sticking to single slots they would animate the entire panels moving around to indicate motion an relative position of characters.

So we threw out the old code and copied them. Here's what we've come up with:

We'll be able to have portraits interact, like smacking each other (I felt like a kid hitting two action figures together, lol)

We can also apply effects like princess-leia-holograms and full-screen "lighting" effects like warning banners:

Carpenter and I came up with a number of arrangements that the portraits can smoothly transition between:

I've also implemented support for choices during a dialogue, potentially leading to branching paths.

Overall, I feel SO much better about this system than our initial designs. It might feel a little more cartoony, but I think we're making a cartoony game so that's not a problem.

Whew. We bit a lot off to chew with this project. I feel like I just made a second visual novel game engine inside of the first. Fingers crossed that it all ends up worth it.

[littlegeecko]

What is you head cannon relationship between Shedleysky and 1x1 can you spill the tea these dying times!

Ty for asking, i love talking bout my aus!!!

Short answer: Shedletsky/Telamon and 1x1 exclusively have a mentor/student relationship with an insane power imbalance (/neg) but they are also, very aware, of the fact that they're cut from the same fabric, hence why they used to look like literal twins in the very beginning. 1x is Telamon, Telamon is Shedletsky, and Shedletsky is 1x.

Now, if you want a more indepth reading on how i visualize their relationship, here's the long answer:

(cw: self harm)

During the time i've spent looking at fanart of these guys i see a lot of people picturing them as either father/child or even brothers, and while i find the familiar connection adorable i simply couldn't do the same with (my) Telamon and Shedletsky.

(My) Telamon is a narcissistic, highly sadistic non-robloxian semi-god that lives on The Heights, often known for being both the strongest fighter in all around Roblox and the most feared by those that only read about him or visited The Heights to try luck and catch a glimpse of him, but often eye contact meant trouble with this guy. People would leave gold , studs and gem offerings for him in hopes he won't come down one day and randomly kill a bunch of people. (as he HAS in generations past)

However, after some especific events that pushed him into believing he was becoming "too soft" for his position as the God of Chaos, he decided to create a clone of himself; one that would be made from his deepest hatred towards the simpleton Robloxians and clear enjoyment in Hurting People For Fun, but this being wasn't one for Fun, it was simply wired into it's system. He called it 1x1x1x1.

In my AU, Telamon and 1x1 have a very complicated relationship if you try to read them as "family", but if you read them as the same guy to an extent, things start to make way more sense. Telamon is constantly (literally) beating into 1x1 this idea of destroying things, hurting others and generally not having those "soft" emotions he himself is starting to feel. "You don't this/that" "you don't need to interact with others, much less robloxians" "If someone comes your way for a fight, always go for the Kill, just like i taught you" "NEVER let anyone make a fool of you"

"Maybe one day you'll become strong enough to wear the Domino crown...when i'm DEAD by your own hand, that is. Hahaha!"

Granted, Telamon never told 1x they were made to be anything else but that, an extension of himself that represented everything Chaos is meant to represent. 1x1 had no strong opinions about this either, simply following Telamon around and never meaning to rebel against him for "lame little softie feelings" towards anything under the Heights. 1x1 was a sadist themselves.

You could say, Telamon creating, teaching, and torturing 1x1 was some sorta self-harm on himself, for having his reputation crumble by his own shameful desires, for DARING to enjoy things like Food and Music by those inferior beings, for having his heart race and his face heat up at the thought of someone In Specific. He couldn't beat some sense onto himself, his own pride wouldnt allow it, so he made a literal dummy, with his FACE, he could shape and twist into what he thinks he SHOULD be, with no outside influences that could lead it to the same path as him. And it worked, a little too well.

So well, it got him killed.

1x1 didn't kill Telamon, instead he tried to stop 1x1 from getting the Domino crown by dueling him, but this creature was far too gone, using all of Telamon's tricks, and some new, causing Telamon to use all of his own power and eventually exploding, and falling unconscious. 1x1 then escaped, someone else will take care of him later...

After this, Telamon came back around thanks to Dusekkar's care, his right-hand man, and his mind seemed to be broken beyond recognition.

Telamon is not dead, but he now resides deep, DEEP inside Shedletsky's mind; the new being Telamon turned into after using all that power, everything Good about Telamon, everything Human, everything he enjoyed, the child-like curiosity and even selfless feelings he used to hide...Shedletsky is all that, and he remains that, even with that little voice in his head telling him to do Certain Bad Things.

Telamon is gone, physically, but his 2 halves remain wandering the Heights and the Banlands forever destined to fight each other, never to be together again, with hatred in their very bones, and courage in his heart, to protect others.

1x1 despises Shedletsky because everything he was made for was for naught, and Shedletsky simply can't let 1x1 win, not again. With new and old tricks, their swords will do the talking for them. That's the only way they were taught to interact; with violence.

[violant-apologia]

the FL MtG cards are here!

this is like my fourth batch, but i haven't posted any of the previous ones, so let me show off some of the cards from all the batches!

briar and his three mr stoneses! these are the face commanders of the deck. there are alternate commanders that you'll see later, but this is the pair that i like using the most often.

more masters! (and bazaar-aligned entities). all the masters in the deck are vampires, and they also all have the seal of the bazaar as a watermark. just a neat bit of visual clarity, i think!

ocs! incuding mine. not all of them will be able to make it into the deck proper (for deck size and colour identity reasons) but i'm still so happy to have them all.

basic lands: seven of each. these gave me so much hassle back when i made them, but i think they turned out well!!! apart from the edge mountains which are like 70% black.

more lands! a triplet of creatureland which i feel work very well. the rest of them are neat too. whenever i say i have an underground sea proxy in the deck, people give me a Look, but how could i not! it's a perfect fit.

dfcs! the frames of these all had to be done by hand, which always took a while. i still think they turned out incredibly well, all things considered.

more creatures!! some legendary, some not. i made the decision pretty early that if i represent a named character with a nonlegendary card, i'd just cut the "the" from the name (see sallow spirifer and voracious diplomat). i think it works!

and noncreatures!! there's a vague treasure theme in the deck (as can be seen in the fall of london, revel in riches and spirifage (as well as a lot of the creatures)) but honestly most of the cards are flavour picks. still, artificial evolution has gotten me out of some jams. fun card!

aaaand tokens! which is everything. i reckon when i play this deck properly, i'll report back any fun scrapes that anyone's characters get into. like getting turned into a bug, or killing the god of death.

again, thank everyone who contributed OCs or art to this project. i'm very happy to have so many flumblr characters appear in the deck. all of the cards have art credits on them, but some probably aren't visible in the photos. so for proper credits (and as a ping list) i've included a list below the cut:

@alexis-royce: The Ex-Disgraced Academic; Mr Pages; Mr Stones (x2); New Blood. @anomalouscorvid: Darcy, the Appalling Artist; Furnace Ancona; Mr Transport; May, the Merry Gentleman; The Seventh Coil. @capn-twitchery: Captain Twitchery Lazaret. @ciriparipa: Mr Sacks. @dualclock: Oswald, the Decadent Parvenu. elena-illustration: M. Melchor. @esteemed-excellency: Haunted One; Hiram Hargrave. @feivelynart: Black Ribbon Duellist; The Carnelian Exile; The Grand Geode; London Ascends to the Stars; Thopter Token; Voracious Diplomat. u/Galvatyr: Poor Edward. @hells-dear-heart: Isidore Carter. @letters-of-fire: Boots the Cat; Giorgione, Crooked-Cross. @madame-butterfly-knife: Inessa Fonseca, Lyon. @milleart: Snuffer. @mledoesart: Mr Eaten. @oneirotecture: Warden, Scarred Silverer. @pinchbees: Merry Darthfellow. Sarah Warrington: Orsino Elderwood. @shazzbaa: Griz, the Efficient Commissioner; Mr Fires; Stargaze; Tragic Slip; Virginia, Lord Mayor of London. @sorrow2art: Cardiac Echoes, Spymaster. StagyTryout: The Avid Horizon @sunlessveils: Parabolan Kitten. @tears-n-tarot: Charlie and Artemis Burnet-Lin. @the-insouciant-scientist: Briar Hathaway, the Apologist; Mr Stones; Noman. @the-masterless-press: Betty Horvat, Pugilist. @the-noted-collector: Endemannus Korabl'nikov. @thedeafprophet: Harper Faraday. @thegreatyin: The Bandaged Scoundrel. @thunder-threnodies: Captain Francis Morgan Dargor. @torturingpeople: Edison, the Sybaritic Laureate; The Tender Pathologist. @velvetlinedbox: Doe, Waterlogged Detective. @viric-dreams: The Boil of Calamities; Drown in Dreams; Horiatio Digby; The Six Finger'd Scrimshander. @waterlogged-detective: Brett Heroux, Dandy Detective; Marian, Prickly Bluejacket; Namkuzu, Avaricious Meddler. @yuuuyang: Sigil-Ridden Navigator; Storm, God of the Roof; The Woods in Winter. @zeebreezin: August Shaw, the Black Rook.

and @failbettergames: Arcane Signet; Artificial Evolution; Beseech the Queen; Betty Horvat, Pugilist (bg); Black Market; Blood Token; The Cave of the Nadir; Censor; The Chapel of Lights; Clothes-Colony; Clue Token; Copy Token; Darkness; The Dawn Machine; Dreamscape Artist; The Echo Bazaar; The Fall of London; Flood of Tears; Food Token; Hecuba, Doomed Obliterator; Hideaway; Hillchanger Tower; The Horticultural Show; The House of Chimes; The Implacable Detective; Inessa Fonseca, Lyon (bg); The Irrepressible Heiress; Island (x7); Jack-of-Smiles; Khan's Heart; Laughable Reconstruction; Miniature Hellworm; Mountain (x7); The Mountain of Light; Mr Chimes; Perigee of Silver; The Prismatic Dowager; Probably a Coincidence; Revel in Riches; Rise and Shine; Road // Ruin; Sallow Spirifer; Salt, God of the East; The Scuttering Company; Shapeshifter Token; Spider-Council; Spirifage; Stone, God of the South; Swamp (x7); Treasure Token (x2); Underground Sea; Venderbight.

[avelera]

(Meta) Fortiche's Use of Religious Imagery in Viktor's Arc Was Intended to Convey Sinister Undertones

So I'm gonna put my Art History TA hat on for a second and say I've seen a lot of the connections made between Viktor (Arcane) with the religious imagery referenced in his arc, which is inescapably present and intentional, and I feel like its worthy time for a reminder that Fortiche, the animation studio for Arcane, is based in France

So on the one hand, it would be impossible to develop as an artist in France and not have a ton of exposure to religious art and iconography, which is very obvious in just how much Renaissance art and Catholic iconography is referenced with Viktor. (Never mind how well it works as a visual language for the mysticism they imbued into the rise of the Machine Herald in general.)

There's a great thread about all the art referenced here:

But on the other, if I can just put my history nerd hat on as well for a second I'd also like to point out that there's also subtle (and not so subtle) sinister undertones to the religious iconography for Viktor, even before he does anything overtly evil. Like, even when he heals Huck back in 2.02, I think we're meant to feel at least a subtle sense of wrongness to the "triumph" of that scene and the swelling religious chorus.

I was reminded while watching those scenes that an element of the French Revolution (also referenced in the opening credits of Arcane with Jinx waving the flag, so I think it's fair game to consider in discussions of the meta themes of the show) that is sometimes overlooked in the US when we learn about the French Revolution is how much the rage at the aristocracy was also aimed at the Catholic priesthood, since those two institutions were deeply intertwined as oppressive forces against the French people.

Basically, I think if you consider a French studio referencing Catholic religious imagery in their show (used to depict Viktor's rise to mystic power which will in turn lead to his eventual disillusionment with humanity and him dooming the world if he isn't stopped) you're missing out on some delicious shades of nuance and subtle foreshadowing if you don't know that a French studio's use of Catholic imagery could, in itself, be intended to add a subtle sense of impending evil because Catholicism in that country has also historically represented a system that is oppressive towards individual freedoms.

Now of course France's relationship with Catholicism is complex and it isn't just a simple case of Catholic Imagery = Evil Stuff is Happening Here, but I would point out that if you watched an American show and a character was crowned king in the first act to a manically cheering crowd, it would absolutely be fair to wonder if the crowning of the king had sinister undertones, because of the US's history and how the country was established in part as an escape for monarchy. On a cultural level, we see kings as bad things in the US, and likewise in France, Catholicism as an institution and Catholic imagery have some very complex and often evil associations.

TL;DR If you don't consider that a French studio might have used Catholic imagery specifically as visual hint and foreshadowing that Viktor's arc was going to be about him turning evil, then you're missing out on some very fun and tasty meta associations in the Arcane show.

[crustyfloor]

I loveee all the hyper-realistic symbolic imagery in Karma like ahhhgghh the visual storytelling alongside Mizi's narration...it paints the picture of a woman with a cynical view of life now, all of these images relate back to pain and karma and selfishness, thus is the human nature at the end of the day, but a flawed perspective nonetheless that is majorly encapsulated by that mutual destruction and suffering (and projection)

The lambs -

"Because humans are the root of all pain." -

Lambs are constantly symbolic of vulnerability and purity. I like the analogy between lambs and humans in Alien stage because they're all perceived as animals and live cattle (like "products" and their "providers" for instance), so I think in a similar sense it's meant to symbolize the dynamic between humans, when the baby lamb is hurt, therefore losing it's innocence and having been directly impacted by violence, the adult licks it's wounds and substituting the pain and loss of innocence with comfort, that's the consequence of trauma and violence that humans face at a young age and they seek out each other for comfort

In the eyes of Mizi, who is narrating this sequence, I think she would see this as an act of hypocritical affection, 'humans are the root of all pain-- and their own' so when they try to be each others healing and savior, they hurt each other because they're hurt people, it's like the idiom of "licking each others wounds" in the lense of unhealthy relationships, it's like self-pity and coping mechanisms, but do they fix it or do they just ignore it momentarily because of the comfort? They always end up perpetuating their pain like selfish beings (sound familiar... sound like she's projecting...🫩)

-

(In connection with this ^ ) Metaphorically, Mizi is the lamb, the beautiful, harmless damsel. A gentle creature, livestock. That's how Mizi's always been perceived by aliens and humans around her

In the broad sense, it does speak for Mizi's dependency and vulnerability before, akin to the lamb who was injured and sought out faux comfort where she could get it. Indirectly, there is kinship between the two. It's interesting that before, she was prey; that's why she tried so hard to be on the other end of the food chain through other lambs. Now she's symbolized by a goat; she perceives herself as the predator.

-- I bring this up because of the key difference between what goats represent and what lambs represent, where lambs are the closest to Christian theology and god, goats can be associated with the devil and satanism. They symbolize the devil, inhumanity, and selfishness-- The flesh's impulses and unknown, suppressed desires towards temptation that lead them astray from god and purity/innocence should they embrace the dark side of human nature- (hatred, obsession, guilt, greed, lust, etc.)

This is all often represented and embodied through the eyes of the goat, and Mizi's eyes are meant to be directly paralleling the eye of the goat we see here, as if she's staring directly back at it, in a sense it's like directly facing the darkest parts of your soul and the most unpleasant parts of yourself (like introspection), and Mizi's monologues/actions during Karma have all been her giving into resentment, selfishness, guilt, and inhumanity. Shedding the fleece of the fragile and pure lamb and that facade that she had taken on is berated by the Mizi, who feels destroyed and hopeless. She does see herself as one terrible, selfish human being.

-

The three hares -

-"We're creatures who can't seem to love without exploiting."

The representation of humanity with perceivably meek and fragile animals such as hares is such a nice touch. To possibly convey how the aliens see them as pets/animals (rabbits are even tested on, so it's akin to aliens seeing them like lab mice and product), but also the fragile nature of humans, yet their capacity for violence and greed, and selfishness

While human love is gentle and sincere (hence the hares), it can be dangerous and destructive; that's just the nature of love and survival. I like to think the hare killing it's own kin is symbolic for how Mizi thinks of the nature of humans who use and project cruelty onto each other in the pursuit of some sense of "self-serving love" or out of the human nature to be selfish, and again it relates to how Mizi sees herself as the wolf in sheep clothing, as the violent creature who killed her own kin all for her own survival . This is her perspective after all

-

The moth and its cocoon -

-"We're creatures who can't seem to love without exploiting."

The first thing that came to mind for me with this was the protective nature of a cocoon and the immaturity/fragility of the new moth inside. Now it also looks apparent that the moth is being preserved with pins? So the essence of new birth (rebirth), fragility, and innocence is being preserved

I'd like to think that it's all about preserving innocence? but it's innately cruel to do that to an animal, so keeping others stagnant, trying to keep their innocence stilled in time so they never grow or change from that soft, protected, shell-like demeanor for the sake of a twisted sense of self-preservation by feebly preserving self-assurance, and naivety, or doing that to someone else is a cruelty that will come back to bite you (and we see that in Mizi and Sua) again it ties back to the theme of karma, that Mizi sees humanity's faults, she thinks they do it to themselves by acting foolishly like this

-

MiziSua abstractly hurting each other -

-"We're creatures who can't seem to love without exploiting."

(This one did confuse me for a while so this might sound disorganized )

I think this symbolizes the co-dependent, mutualistic relationship of Mizi and Sua that leads to their mutual destruction. It reminds me of how candles need fire for their primary purpose, and Mizi and Sua's fire is essentially love; it's just as passionate and volatile. Mizi and Sua are candles whose light burns bright and will eventually burn out, maybe even destroy them in the process, until they're nothing but they burn together regardless of their instability and how they will end up hurting each other (See Sua's hands burning), they still continue to love each other and embrace it's cruelty.

I think in this sense it's to highlight the ignorance in ignoring one's own capabilities to hurt and be hurt just for love is selfish, through Mizi's perspective, I can see why she perceives this as exploitative, as humans use eachother's flames (love) and take their pain out on each other in a fire that's destructive too, well this just reflects how she sees her dynamic with Sua, despite their best intentions they love and hurt each other but Mizi feels like she did it on purpose because she was that self-centered and selfish, she destroyed and discarded Sua for her own benefit "If you love and hurt each other, what does that cause? What is the purpose in doing that to others and yourselves, and crying when it reaches a breaking point?" kind of thing (somewhat)

[khaenriahn-anthropologist]

We're going to be looking into Kaeya's design elements from his game model and to some of his notable talent designs. This is focused on the visual elements and what information they can provide about him to the viewer.

Kaeya has many details in his game model which can be a little overwhelming at times but let's take a note of how many layers he wears in his outfit. This is something that I feel points to the complexity of his character, a desire to hide something, the layers you need to peel away in order to uncover what he is at his most vulnerable.

As we know, Kaeya is a very secretive character and one that's rather terrified of showing his true self to others. In this way I feel the layers symbolize this.

Continuing on, another odd detail to note about his character is the number of belts, chains, and cuffs that he wears.

Kaeya wears a choker, with a chain beneath it, multiple belts, shirt stays for his sleeves, wrist cuffs, an added cuff on one, a hanging chain, he also has cuffs on his ankles.

While many might assume that this is a fashionable statement in game, we the viewer knowing his backstory can feel that these motifs represent being restricted. This could be from Kaeya's inability to feel that he can express his true self, or feel the weight of his original purpose in Mondstadt to act as a pawn for the Abyss Order.

He is both physically and emotionally restricted. It could also represent his guilt over feeling like a traitor or an outsider to the place he resides in.

We must also take into consideration that it might have something to do with his passive talent: Hidden Strength

The meaning of the passive stays the same in CN as well which could elude to the idea that perhaps Kaeya is under some sort of seal, barring him from using his full abilities.

Kaeya is strange too in the fact that he wears an eyepatch but lacks a sufficient reason for doing so and has consistently worn one since he was a child.

We know the eye was injured during his fight with Diluc, however in letters it is confirmed that the eye is not at all deeply affected by the injury sustained.

In his character quest: Secret Pirate Treasure, he tells the traveler that the eyepatch is inherited by his grandfather and is proof of his lineage.

Now, we know this is a half lie as Kaeya often does not tell the truth, it is likely that the eyepatch is indeed something passed on to him but due to the eye underneath. This speculation is not new, but I will go into some detail for why I think this eye is most likely red in color.

In CN this talent name actually refers to having noble blood and several of the game's references to King Irmin in the game (who is likely distantly related to Kaeya) have a red right eye.

Both Princess Fischl and the Deathly Statuette representing Odin/King Irmin have a red right eye. It should be noted that in Fischl's normal model it is her right eye that is covered instead, hiding the red eye underneath. Kaeya's new skin also includes a red bead on the right side, perhaps hinting at the color it would be beneath his eyepatch.

Ororon and Kaeya also share many similarities, the dark hair with gradient strips is extremely uncommon in genshin, he also has one reddish right eye and one blue. His entire design is deeply tied to Nihility, the undead, and the abyss. His soul is incomplete and was originally going to be used to be sacrificed to the night kingdom to bring the souls back to the living.

Though it is only speculation, we still have no idea what Kaeya's specific purpose was and why he would be Khaenri'ahn's last hope. But we have seen before that previous Alberich's were used to create the Loom of Fate, so who knows but it might have originally been similar to Ororon.

We also see that in his Sailwind skin that if Kaeya's hair was not cut short that he would have more strips of gradient hair all the way down to the end. We have mostly only see this on characters that are gods so we will see if it becomes relevant later on but it could speak to some lesser divinity that Kaeya possesses.

In fact the Tenebrous Mimiflora has featherlike appendages that resemble the peacock feathers with rings of multiple colors centering a dark 'eye'.

What is its 'evolved' form takes the shape of a tree full of eyes and the three diamonds/stars as well, and peacocks are often depicted in mythology as having one hundred eyes of Argus, tasked with guarding Hera, the queen of Gods. The fact that Kaeya is depicted both in constellation and in design as having these peacock elements is interesting when Oculi in Genshin are referred to as God Pupil/Eyes.

Even the material it drops actually eerily resembles elemental Oculi with an eye in its center, gazing out.

This creature seems to have evolved to mimic Irminsul, as you can see the branches of destiny and fate.

Even there in the center of its branches you can see that familiar design depicting the Nihility symbol found on Ororon and through various other characters in Genshin.

If Kaeya's connection to the eyes is some sort of connection to Irminsul or the mimicry of Irminsul we can also take a look at something else interesting about him.

The fur is tied closely to Abyss Mages, but also fur is often a sign of royalty and power historically. Especially white furs which are a symbol of royal authority.

Kaeya's cape is interesting, for one, the feathered part resembles that of which we see in many divine beings and statues in the game.

This winged motif is found on Paimon, on Statues of the Seven, Celestial Nails, Abyss Entities, and even in Dvalin and other Draconic figures.

But what about the layer underneath? Believe it or not, but this symbol is also present in many aspects of the game.

The symbol of a line dotted in diamonds is present in the eyes of the Unknown Goddess, Phainon (From HSR aka Kevin Kaslana)

And Istaroth, the goddess of Time

He also has the three star motif on his shoulder pauldron:

Kaeya also has more connections to the Statues of the Seven, as even his elemental skill heavily resembles Phanes and the Four Shade imagery on the statues.

It even has the same fanned star formation.

In all he seems to have many odd connections between both 'celestia' and the Abyss. Even his other talent Glacial Heart which resembles a snowflake is actually the Triquetra we see in game:

We see it on both items that are affected and touched by the night realm and the abyss in the form of flora and likely has some tie to the three moon sisters as the Triquetra is formed by three carefully layers circles (moons in our case) and represents an unbroken loop.

If anyone is interested in hearing me cover more or would like to talk details, let me know. I'd love to chat about it.

[ponett]

Do you have any advice for people making OCs/sonas? Yours are really well rounded and unique and I'd greatly appreciate the insight of someone who got a passion project off the ground!

So this is a very broad topic, and it varies a lot based on your own creative goals, what kind of characters you're creating, and where you want to use them. Creating an OC to be used in furry pinups is a little different than creating one for a dramatic story. But I'll try to give some general advice on how I do things for the types of characters and stories I tend to work with

Heads up: this will be kinda long lol

The germ of an idea

For me, I'll generally be inspired to create a character starting with a small number of core traits. These could be anything. A color scheme, a body type, a job, a hobby, a personality archetype, an outfit, a visual motif, a functional role in a story I'm working on, a noteworthy facial feature, a weapon, a relationship of some sort to an existing character, a single scene or joke I want to use them for. For furries and fantasy characters, species is usually one of the first things I'll have an idea for, which tends to get the ball rolling fairly easily since we have all sorts of cultural associations with different animals and fantasy creatures.

Any standout character trait like this that you find compelling can serve as that initial spark. The inspiration can come from anywhere, but it's often just a matter of knowing yourself and your own tastes. What do you like? What are the people in your life like? What really speaks to you in a character? What's an existing fictional character that you'd like to rewrite and take in a different direction? What's an aspect of yourself that you would like to see represented more often in fiction? It doesn't have to be something super deep or fleshed out right from the start, though. You can start with something as simple as "I want a black cat character" or "I want a character who dresses like an arcade carpet" or "I want a character who looks scary but is actually nice." Whatever it is, it's something that differentiates the new character from the ones I already have, because otherwise I'd just be using them.

Contrast

From there, you can start brainstorming other traits that might go with those core traits. Some of those may be traits that naturally complement each other. Continuing with the black cat example, maybe you wanna play into the common cultural perception of black cats and say that this character brings bad luck, or is associated with witchcraft. However, I often like to give characters contrasting or even seemingly contradictory traits, which can help elevate a character beyond a stock archetype. Real people tend to be a walking ball of contradictions, after all.

I've talked a lot about how I did this with the main cast of SLARPG. Melody is a fox, traditionally a crafty and untrustworthy predator, but she's extremely introverted and gentle. Allison is a bunny, but instead of being a meek and cuddly little prey animal she's an outgoing fighter who loves a challenge, and she has a muscular build. I think this kind of thing gives characters some fun flavor, and can be really effective for both comedy and drama. For an example from something I didn't write, take Senshi from Dungeon Meshi. He's a dwarf, and he embodies certain stereotypical aspects of dwarves - he's a short, buff man with a big bushy beard, he lives underground, he's stubborn and doesn't like elven magic - but he also goes against some of them. Instead of being an expert on mining and blacksmithing, Senshi is a culinary expert who has a deep appreciation for the natural ecosystem of the dungeon. He's a weirdo among dwarves for not caring about the wellbeing of his axe and for using his super awesome shield primarily as a giant wok. And that's what makes Senshi fun and interesting.

So going back to our example, instead of going with the stereotype, we could make a black cat character who has comically good luck, or who's superstitious and afraid of witchcraft, or who's an extremely rational person who always believes in science over superstition. Or maybe you roll with the bad luck angle, but instead make the black cat be the victim of their own bad luck in some interesting way. Maybe this black cat has terrible luck with love and can't hold down a relationship. Maybe this black cat is an aspiring speedrunner who consistently gets the absolute worst RNG possible in every video game due to their own bad luck. Maybe this black cat has accrued a horrendous gambling debt after a long losing streak and has loan sharks coming after them.

These are all just hypothetical examples, of course. I don't exclusively make characters with ironic contradictions like this. The idea is just to build on those core traits you started with in interesting ways, and that's one of my favorite ways to do so. But honestly, a lot of the time execution is more important than the sheer originality of an idea, and sometimes really putting your all into playing a trope you love straight is the right move.

Specificity

Regardless of what direction I take a character in past that initial seed of an idea, the key ingredient tends to be specificity. To give them specific details beyond the most stock possible version of that core idea you started with.

This is something I internalized from Tim Schafer, via a blog post in the behind-the-scenes backer material for Broken Age. Sadly I'm not sure if that stuff is still available, but I did save this particular post about creating characters since it really helped me, so I'll directly quote a chunk of that post here:

No two characters would approach a problem or react to events in the same way. At least, not if you’ve designed the characters well. If you’ve left them too vague or superficial, if they are merely functional elements in your story instead of individuals, then they might react in the same way. And that’s a problem. So to avoid that, I’m going to talk about one the most important parts of character development: specificity. Making sure your character is a specific individual, not a stereotype. A unique character, different from anyone else in the world. It doesn’t mean that they have to have wacky gimmicks, eyepatches and crazy accents. It just means they have to be specific. For example, let's create a new character. Let's say your story has a scene where your main character gets in trouble in school. So you’re probably going to need a school teacher. Imagine a school teacher for a bit. Do you see her in a little red schoolhouse? Maybe a bun in her hair? An apple on her desk? Thick black glasses? Let’s put a ruler in her hand for good measure. Done! We have our teacher character. She’s ready to be in the scene where our hero goes to school and the teacher sends her to the principal’s office for passing notes. Right? I mean, this character doesn’t have too many lines, so why develop her character any more? The problem is that this teacher is a very shallow stereotype of a teacher. She has no specific attributes that make her memorable. She’s the teacher you would get in a set of free clip art. She might not have many lines, but if all your supporting characters are this way, your story will be more bland than it should be. Even if this teacher is only onscreen for a minute, she should be unique and different from any other teacher in the world. Luckily, it's not actually that hard to make her so. You just have to ask some very basic, specific questions.

Tim goes on to explain how simple exercises like filling out character sheets with basic questions about your character (there are a million of these online) can help push a character beyond a stock archetype, even if it's a minor supporting character. Questions about where they're from, their likes and dislikes, their beliefs, their goals in life, that sort of thing. For minor characters especially, a lot of these details may never actually come up in a story, but just asking even a few of these questions and giving them specific answers helps you see them less like an archetype and more like a real person in your head. Maybe you never bring up your character's backstory or their favorite sport or what kind of music they listen to, but just having a specific answer for questions like that might help color the way you depict that character in subtle ways. It makes it feel like they aren't defined by just that one core trait you started with, and helps make the characters and world feel more alive, like there's stuff going on with them beyond the bounds of the story or the drawing.

It's a careful balancing act, though. It's easy for a character to feel like they're a collection of too many unrelated gimmicks and quirks. Again, like Tim said, these specifics don't have to make for the craziest, most original character ever, there just has to be something there.

Let's go back to SLARPG as an example, where I combined broad character archetypes I liked with more specific personal elements that I felt like I wasn't seeing enough in the fiction I liked. Melody is riffing on the common idea of the reserved healer character in the RPG or MMO party and the shy girl archetype, but she's the main hero instead of a supporting player in another person's story, and she's also a fat bisexual trans woman who draws a lot of little details from my own life. Her interests, her relationships, her opinions on things, her personal hangups and dreams, these all set Melody apart from other fantasy healer characters and define her as Melody Amaranth. Specificity!

But it doesn't always have to be super deep, especially if you just want some characters to draw for fun and aren't planning on writing a story with them. Take my fursona. I've always loved dogs, so I made my fursona a dog. I chose a Samoyed in particular because I think Samoyeds are the cutest, and I hadn't seen hardly any anthro Samoyed OCs at the time. I leaned into the breed's signature fluffiness to help my fursona stand out from other canine OCs. She has simple identifying traits like being fat like me, wearing glasses like mine, and having a hairstyle kinda like mine (when I tied my hair up in a bun, at least). And there you go. Fursona achieved. She's not a wildly high concept character, but she doesn't need to be

Anyway I realize that this is mostly about the writing aspect, so here's a few quick bullet points about designing a character's appearance:

Face and body type variety are good, but personally I would say lack of body type variety is worse than same face syndrome

Knowing some stuff about shape language is good, but you don't have to be completely beholden to the "circles are friendly, squares are sturdy, triangles are scary" shit. I'm generally more interested in using repeated shaping in different parts of a character's design as sort of a shape motif. Melody's body, hair, and tail are all made of round, swooping shapes, for example. (This is more applicable if you're designing cartoonier characters as opposed to realistic humans, obviously.)

Knowing some basics of color theory is also good. I like using complementary and contiguous color schemes on characters and generally try not to use too many distinct colors on one design. Black and white and grey and various browns are good as neutral colors to balance out the colors of the rainbow, and gold can be a nice accent color

A small handful of identifying accessories can be fun, but don't rely on those to make a design stand out. Ideally your character should still be identifiable even when not wearing their default outfit, or even in silhouette

Aaaaaand I'm gonna call it a wrap there! This is a huge topic, so hopefully this helps with at least some of the basics! At the end of the day, though, don't beat yourself up if you can't sit down and force yourself to come up with the most crazy awesome OC ever. Just have fun and be yourself!

[tubbytarchia]

Traffic/Life series roster as dinosaurs

A lot of these don't make for very good hybrids unless you wanna get into freaky territory or full on centaur but... Hope it's a fun scroll nonetheless!

Grian - Novialoidea

A small birdie... The name also means "New wings" which I find fun. New lives and death games to be part of, new wings to accompany him... (Honorable mention to "Shuvuuia" the "desert bird" who unfortunately is not a pterosaur (doesn't fly)) (Yes we're including pterosaurs! Just using "dinosaur" as a conveient blanket term)

Tango - Aratasaurus / Pyroraptor

Fire raptor! Either works just fine and Tango as a skittery little raptor is perfect for a creature like him

Scar - Apatosaurus

"Deceptive Lizard" harkening back to Scar's scamming tendencies. Though I've always liked the idea of him being some larger gentler animal in any hybrid scenario and a long-neck fits the bill well. He can poke his nose into people's conversations easily to start marketing something useless to them and swishes his tail to ward off anyone who's about to stop him

Impulse - Nasutoceratops

Ren - Regaliceratops

Horns. COOL horns. I don't know what else you want from me ceratopses are just way too awesome. Nasutoceratops is a wicked cool dinosaur for having its horns point so forward much like a bull and I for one can jive with some Impulse bull symbolism. Bulls are often viewed as strong, sturdy and loyal, traits also assigned to Impulse a LOT of the time. But though he IS intensely loyal in many cases (+ Ceratopses are also known for how they defend their own!), and he's not very outward about the following traits, he can get quite petty and bitchy and hold grudges. Still, you don't think of that when you look at him and he seems to agree! Eg him feeling like he should be accepted into Cleo's alliance in 3rd life without actually proving himself when Cleo was rightfully hesitant, at which Impulse more or less rolled his eyes. And him proclaiming "betrayal!" when killed by Bdubs when their alliance was as firm as a rat's tail

(And I feel the need to point this out too just in case: "bulls are also known for their temper" yeah but they're not like that! Bulls like many animals become defensive when exposed to aggravating behavior or movement! Which you could work into Impulse's grudge holding and intense loyalty...? I don't know enough about him sorry but do with that what you will)

Regaliceratops! Regal!! Crown shaped frill!!! Need I say more?

Gem - Therizinosaurus

Theris are so bad bitch coated to me and I would love to have one as my wife I mean um I couldn't decide on a less generic specimen so Gem can just be a Theri! A herbivore - often associated with the belief that herbivores are gentle passive creatures, but far from it, especially with Gem! She bares her claws like it's no one's business

Martyn - Stygmoloch

A Pachy with a tough head and a tendency to bonk people - I think it fits Martyn's tendency to perpetuate drama haha. The Stygmoloch's name though more or less translates to "demon of the styx river", the river of the underworld representing loathing of death. To me this makes sense with all the watcher lore (that I have a hard time understanding but whatever!!) especially with how Martyn became in LL. The watchers themselves don't loathe death (??) of course. They're death games. But someone within the game trying to stay alive and win? Probably loathes the idea of themselves dying. I have no clue what Im saying

Pearl - Carnotaurus

Ok maybe a hot take not to make her into a pteradon or even a raptor with wing-like features but those just didn't fit that well in my opinion. Rather I wanted her to have some kind of horn motif in place of her wings as visual symbolism for her character. I'd like to imagine her having fine horns, to then have them damaged (one broken off) and simultaneously the other more grown out. Think of how domesticated goats for example have their horns trimmed. I think human hybrids with horns would do the same to keep them from becoming a bother but Pearl would neglect to after her heartbreak in DL. I was heavily considering the Diabloceratops for this, especially because of the name (Devil horned face - good ostracizing material) but Pearl strikes me a lot more as a carnivore and there are only two horned carnivores out there so... Carnotaurus it is haha. And even now I'm making her horns unrealistically big but.... We can suspend some belief

BigB - Oryctodromeus

"Digging Runner"! I've already talked plenty of why BigB is very rabbit behavior to me and my reasons for assigning this burrowing dinosaur to him are similar. Tldr he is fidgety and cautious yet clever and constantly buries himself underground

Lizzie - Anurognathidae

I don't even fucking know man it made me think of Lizzie and then I wasn't able to assign anything else to her. Lizzie often claims to be confused and if any dinosaur looks to be in a perpetual state of confusion then its this one. I know a lot of people like to portray Lizzie as a butterfly also so there you go, wings!!! And it's quite cat-like too for those who like to draw her as a cat

Mumbo - Leinkupal

I really struggled with Mumbo... So many different dinos fit him imo but I figured it should be at least something moderately large (so "Technosaurus" was out of the question lol). Then I rediscovered this dinosaur whose name translates to "vanishing family" and then I thought about LL and SL and how Mumbo went out quickly after the initial death/s and left a very felt absence in someone's alliance and then I became really emotional and forgot what I was doing

Joel - Nodocephalosaurus

Bdubs - Psittacosaurus

"Knob Headed Lizard"

Joel as an Ankylosaur has been stuck in my head from day one of assigning dinosaurs to the Lifers and I'm frustrated that I can't truly explain why. You'd view an Ankylosaur as a slow and docile creature, even compared to other herbivores, but...

1. Maybe not so much nowadays, I don't know what non-dino nerds think, but I feel like ankylosaurs were largely believed to be HUGE back in the day, much like velociraptors, when in reality they're not that big. The Nodocephalosaurus is especially small even among other ankylosaurs. But, well, we all know what Joel loves to say about himself

2. Joel is or likes to make himself look well in control, just as ankylosaurs have little to worry about as far as predators go. Especially in earlier series where he was content basing mostly by himself. It's always when things get dire and he enters his red life that he becomes very impulsive and erratic like an ankylosaur flipped on its back

3. I know there's a distinction between Traffic Joel and Empires Joel and whatever other Joel but... Even in death games his more charitable traits shine through here and there. He really becomes a dangerous rascal for a large majority of the time and he's very good at it, he's not putting on a mask or anything, but I like to remember that underneath that tough spiky armor is gentleness and caring. His care towards Lizzie and Pearl and Etho etc etc

4. The image of Joel as a hell of a spiky creature is just really fun to me. Yet heavy and blunt ones! And someone once proposed the idea of him having a club tail but having chiselled it to be sharp to mirror him being a menace. (Added benefit also that it's lighter that way haha) To me he's always been an obvious heavy hitter rather than stealthy or particularly creative etc. Him as a carnivore just doesn't work as well for me

The name bares no fitting meaning but when I look at Bdubs I think of Psittaco. All other species close to it in looks are already ceratopsians and we have like... 3 of those already lol. Im sorry Bdubs you look so stupid

Cleo - Lythronax

There's so few predators in this roster lol oops, but Cleo deserves to be an apex one! The name translates to "Gore King" because you know, zombies... and you know, Cleo is very king so true. If any of the Lifers should be able to boast rows of razor sharp teeth to gore others it should be ZombieCleo

Scott - Theiophytalia

I've been really struggling with Scott but how about the dinosaur whose name translates to "Belonging to the garden of Gods". There's only one known specimen of this species and it's an Iguanadon looking dinosaur which I think a lot of people would regard as the most basic, possibly boring type of dinosaur (if it weren't for the Allosaurus which already takes the title of "basic straight white guy") but that further fits Scott imo. It's always been a strong point of appeal to me how MUCH there is to his character that so often goes under the radar or unexplored, and how he's very often portrayed as just some handsome looking guy as opposed to a hybrid etc. He's not at all extravagant yet has mastered his craft of bending fate in his favor, he so often has things perfectly under his control just as he wants them, etc... reflective of the name "Theiophytalia" even if you wouldn't think such a dinosaur to sport one of the most prolific names a dinosaur can have. Also garden something something flower husbans. Basically whatever Bree's take on Scott is lol. I don't wanna blab for 5 paragraphs about that blue mf here but. I hope this makes sense

Jimmy - Yinlong

I struggled with this mf the most because he's another very hashtag deep character. I felt really bad to remove his bird motifs completely because the canary is so essential to him, but a raptor nor a pteradon fit my image of him at all. I spent so much time looking into various species but it just aint it, but Yinlong was possibly quilled and we can still cover him in feathers, even if he has nothing close to wings haha... BUT ANYWAY. Yinlong is a small kind of pathetic looking dinosaur, and Jimmy definitely isn't small but he'd sure be made to feel that way. Yinlong translates to "Hidden Dragon" however, a rather thought-provoking name for such a dinosaur. Given his character, it sure does feel like there's a soul of a dragon laying dormant somewhere in him, buried by all the self deprecation and curse labels. Honorable mention to Tianyulong, a very similar dinosaur who was named after a museum, but "Tianyu" also translates to peace and content. Something that Jimmy can't yet but deserves to be

Etho - undefined raptor

Already made a loong post about raptor Etho haha which I assume yall have seen since the support towards that post is the only reason I'm even making this post

Skizz - Olorotitan

"Titanic Swan" close enough to an angel right. I feel the whole angel thing is a bit overdone when Skizz can become a malicious little creature every now and then, but swans much like angels do get viewed as beautiful and taken as symbolism of love. Much like Skizz is largely viewed as an angel and often as someone who can do no wrong. But mostly I wanted Skizz to be a hadrosaur/duck-billed dinosaur, because those are dinosaurs known for their speculated vocalizations. And what is Skizz good at? Talking and voicing his love and appreciation? Yeah? Yeah... I'm so sorry Skizz btw this hybrid idea does not work out

Again, a lot of these don't work so well as hybrids... Some like the long-neck ones I cant imagine to have more than a spiky spine back and a tail, but! These picks aren't based on hybrid potential but rather what I think genuinely fits. I did really work on this all day looking through a bunch of dinosaurs and research haha, but I do love dinosaurs a lot... If you disagree with any hey thats cool! Feel free to give me your opinions if you've any and I hope this was fun to scroll through regardless

[mvrdermeharder]

So in the wake of ch 294, i’ve been thinking about what’s left for Kaiser’s development…

Unfortunately, as i had expressed in one of my prev posts, i think his story has a very high chance of ending in tragedy (by which i mean death).

BUT, as he’s my fav trash boy, i’m not willing to give up on hope just yet. So i kinda want to ramble a bit about Archangel Michael’s history and iconography to find a leeway towards a better ending… and i’ll possibly do a deep dive in another post.

As i’m in the midst of editing… “deep dive” lmao as if this post didn’t end up as long as it did.

So basically, it’s a fact that bllk is full of christian symbology and references (mainly when it comes to kainess, to be specific), and it’s obvious that not only Kaiser’s given name, but also his appearance is inspired by how Saint Michael is represented in the most famous paintings:

Long(er) blond hair, androgynous facial features, wearing a blue tunic + often a red piece of cloth floating around him (Kaiser is permanently wearing these two colors on his body: red eyeliner tattoo, blue rose tattoo. Blue is also just his signature color in general.)

But here’s what i find even more interesting: Kaiser’s character is not only based on Archangel Michael, but it also incorpores a lot of visual elements that Lucifer is represented with (Lucifer is God’s ex-favorite angel, who CHALLENGED AND REBELLED AGAINST GOD, so then God kicked him out of heaven basically… you’ll likely know this angel by the name of Satan)

Now, the representations of Lucifer/Satan vary throughout history, with the earliest representations being in Egypt… so i won’t mention everything bc we’d be here for hours, instead i’ll just boil it down to only those characteristics that Kaiser and Lucifer have in common in SOME representations.

So, Lucifer/Satan is often represented as the most beautiful angel of all, sometimes in blue/red clothing, completely nude, OR in a demon like form: a goat-man with hooves, horns, and bat like wings. In the panel below, Kaiser takes up an anthropomorphic form (humanlike traits mixed with animalistic traits) as he immerses himself in his own malice: his legs and feet remind me of the hooves of a goat-man, aka Lucifer.

So despite Kaiser being a sort of reincarnation of Archangel Michael, his personality morphs into that of the cruel and sadistic Lucifer. He wants to rebel against God, he longs to cast his malice on the world’s football players to feel joy (just like how Satan finds enjoyment in tormenting humans), and in the latest chapter he claims that it was wrong to let go of his malice towards Yoichi, and that he should rely on his malicious urges to steal…

(For context, i’m using panels w the official translations, NOT the more widespread PO2 ones)

So now that i’ve explained how Kaiser takes on the characteristics of both of these angels, i want you to scroll back a bit to the paintings of St. Michael.

What we see in these paintings is the battle between St. Michael and Lucifer. We see Michael stepping down on Lucifer, in a complete victory. (The sword in his hands represents rightful justice, but that’s not very important rn)

And the way i see it, the manga might follow this story. But not in the traditional way of physical conflict between two bodies, instead, it’s an incredible internal and psychological conflict!

The great battle takes place in Kaiser’s mind, and if Kaneshiro intends to follow the famous biblical story, this conflict will end with the “defeat” of Kaiser’s unhealthy mentality (=defeat of his satan-like qualities).

Or at least that’s what I’m hoping for w this theory. I really don’t want to see my boy dead due to his fucked up mentality (Mick Moon theory… oh how i loathe u)

Paintings that i’ve used for reference:

Guido Reni - Archangel Michael defeats Satan

Luca Giordano - Saint Michael

Antonio Maria Esquivel - The Fall of Lucifer

Luca Giordano - The Fall of the Rebel Angels

Raffaello Sanzio da Urbino - (Little) Saint Michael

Raffaello Sanzio da Urbino - Saint Michael Vanquishing Satan

Francisco Goya - Witches' Sabbath

[nattikay]

Evolution of my fursona/art style over the past 15 years. Say what you will, but I genuinely think fursonas as a concept are a fascinating form of self-expression and just find it interesting to look back and track the changes of not only my art skills/style but also of the way I chose to present myself at various points in my life.

I had two distinct art "phases" during my teenage years. The first one was around middle school, in which I was your standard cringy furry kid on the internet with a plethora of brightly-colored Mary Sue OCs.

The second one was around high school and into college, at which point I got more serious about art (preparing to apply for the BYU animation program) and decided that I was too Mature™ for unnaturally colored characters, among other things (that's where I changed Natti's color scheme from blue to brown, and there were also a few years where she was actually changed to entirely white with no markings, though that iteration never got a ref sheet and therefore isn't represented here).

In retrospect I actually kinda view the second phase as cringier than the first. I don't regret the phase—I think it was overall beneficial to my art journey and I definitely learned a lot during it—I just wish I hadn't had such a stick up my butt about it. I wouldn't have worded it this way at the time, but I looking back I definitely had it in my head that I was a Special And Good Artist for figuring out that unrealistic colorful characters are Not Okay for whatever reason, and I lowkey looked down my nose at younger artists who "hadn't figured it out yet", which....yeeeeeeeah, that attitude was pretty cringe. But that's teenagers for ya, I suppose.

Anyways, I find it pretty fascinating that by complete coincidence, the current iteration of my fursona—who I designed as an adult and whose design has remained stable for around seven years now—happens to represent the color schemes of her iterations from both of those eras: the blue whimsy of the middle school iterations, and the brown and white of her high school iterations.

This wasn't intentional—fun fact, the reason the current version of my fursona has the white/brown/blue color scheme is that when I initially went to design her I was aiming for a dilute calico pattern, with the gray stylized to blue. I wound up abandoning the calico idea because I couldn't nail down a splotch pattern I was satisfied with, but kept the colors.

Yet despite the fact that it's coincidence, it's still pretty cool that my current fursona has those elements of all her predecessors, because it's as if all those phases and experiences and growth have come together to form the person I am now and it's represented visually.

It's also interesting how her design changed so often when I was a kid/teenager, but now as an adult it's stabilized.

like, idk, maybe I'm just looking wayyyy too deep into things here, but I feel like there's some sort of psychology at play lol. But who knows ¯\_(ツ)_/¯

[nekropsii]

What a about Caliborn makes him so cool in your opinion?

Go keep track of his progression as an artist alongside his development as a character and think about how these are intrinsically linked. Ponder the fact that he is both at his most obnoxious and at his most amateur when trying to ignore his unique style explicitly brought on by his canonical learning disability and mimic others rather than truly be himself. Consider how his explorations of art are genuinely cool, not a bad thing, and how we get some really neat multimedia stuff out of it.

Caliborn may be a shitty little teenage wretch but the way he is portrayed as an artist and as a disabled person is both really good and very real. It comes from a place of love. His learning disability is handled with a degree of gentle care that you would not really expect from Hussie. The place Caliborn's art style ends up in is so fucking sick and I actually unironically love it. The technique he uses is really interesting. It's intentionally reminiscent of an Etch-a-Sketch, and I'm a little obsessed with it.

This is so fucking good. I mean this seriously. He's right - that is some Pure Art Skill.

I just love the way art is employed as a necessary component of his character arc. It's so neat. You don't see visual cues that intricate too often. Usually it's just in character design, but watching his entire art style and even his medium of choice change several times over is fascinating. You can really tell Hussie had a lot of fun with him. He's also just really, really fucking funny. Just about every sentence that comes out of his mouth is Grade A Absolute Fucking Gold, and I'm honestly obsessed with his dynamic with Dirk. This may get me thrown to the wolves, but I personally think Dirk and Caliborn have way more chemistry than Dirk and Jake. Maybe that's because we actually see Dirk and Caliborn interact on screen... Lmao.

Necessary Topic: I don't know why people hate him so much. Like, I understand hating his misogyny and fatphobia, sure, but those are deliberate character points and not just Hussie-isms. I see people act like Caliborn is indicative of Hussie, as if Homestuck-era Hussie wasn't, like, famously really fucking good at writing female characters and absolutely not a misogynist. Caliborn's a parody of Homestuck Anti-Fans - which is a term we really ought to bring back, god, anti-fans are absolutely still a thing and good lord they're everywhere - who really were just shitty little bigoted haters. Calliope, the opposite side of his coin, was representative of, essentially, "the best kind of Homestuck fan" - an ultimately sweet young teen girl who willingly dedicates almost all of her time to this piece of fiction she loves so, so much, who draws a lot of fan art for the joy of it all, has OCs that don't fit any of the design conventions in Homestuck whom she pairs with the characters in it for innocent fun. Someone who has a lot of theories and analyses, writes a lot of fanfic, and is genuinely just having a lot of fun. Everyone loves Calliope. Even the characters in Homestuck love Calliope. They just think she's the cutest, sweetest little thing they ever did see. Caliborn was the worst kind. He sucks on purpose. No one likes him. He is a total nuisance to characters he is by all means trying to impress. I love them both.

It's also just funny that he's a canonical Intersex Transmasc who is probably Gay and this has, like, no relevance to anything about him, really. So no one really talks about it. Gender Hilarious, Gender Nefarious.

[lazyleafeon]

i put a lot more time into my piece for the serenity zine than I usually do, so ive been wanting to make a write up with more details about what i was intending + stuff thats easy to miss (full piece without the character names can be seen here)

[ID: a drawing centered on a young kim dokja writing in a notebook, surrounded by paper cut outs of ways of survival characters. there are names next to the cut outs to clarify which characters are which. End ID]

1: text on the characters

the text on all of the characters are all quotes from orv. for characters from specific rounds, the text is specifically linked to those rounds (ex: 1863 uriel has text from when kdj is thinking about how gabriel isn't aware of her own betrayal of eden). Where i could, i tried to find text that paralled kdj somehow (sp with changing the 999th worldline, and 41 sys with her resentment towards yjh paralleling kdj's towards lsk for leaving him behind.).

for characters that aren't from specific worldlines (or where i couldn't find text i wanted to use that related to their worldlines) , the text either centers something i feel is central to orv (ex jhy talking about the final wall is used in both of her cut outs), kdjs perception of the character or thoughts of them from wos (ex lsh and his line about not really knowing her), or something about the character that parallels kdj (bihyungs cut outs are both about his ending of sacrificing himself, yma is about yjh leaving in the epilogue and her belief he won't come back (which works doubly as yjh leaving as kdj often did, and yma being left behind by her guardian)).

there is also sunfish yjh. who only says "the sunfish" because of the constraints of being a tiny piece of paper. The full quote is "Maybe I had been lucky until now. I might be the 'sunfish' rather than yoo joonghyuk" from chapter 38.

i don't think everything like, perfectly follows these categories, but that was the intent for the most part. One intentional exception is that the yjh near the bottom of the drawing has the text: "I want to read this story for a little bit longer"

if you want to read all the text, I have it up on a doc here. (you can also ask me about thoughts behind specific quotes if you want to know why i chose them)

2: amount of characters + visual details

there are 2 versions of each character for the most part, with 4 exceptions: kdj (3), yjh (6, counting the sunfish but not the kkoma), and na bori and knw only having 1.

the reason there's only one na bori is because her fate is, for the most part, set before her story can be changed by yjh. there is only 1 of her in all of the characters memories, outside of the 1865 worldline (though given we see knw after kdj kills him, its not out of the question there isn't a worldline where she reappears.)

for kim namwoon, its part because of kdj's hatred for him as someone he sees himself in, and part because kdj in orv like. replaces knw pretty directly by killing him and trying to become yjh's companion. so in kdjs notes and doodles based on wos, knw is here only as an outergod king, where kdj is unaware of him.

the outer god kings all have at least one element that sets them apart from the other cut outs: sp has his crumpled paper cloak, knw's cut out is in the shape of dragons near the edges, uriel is on fire, lhs is partially tin foil, and ljh has a water stain and some of her paper is peeling off into water. this represents them being unbound from the worldlines, but since they're still bound to the story they're still made of paper.

anna croft (near uriel) is intentionally a little more 3D than the other characters, since she has memories from past worldlines. she's supposed to seem like shes going against the tide.

1863 uriel is also a bit of an exception, though not intentionally, since her halo looks better as a separate piece of paper, and i wanted her to have flames too... it fits because shes a constellation and seeing the story from a somewhat outside perspective but is still a part of it, but it wasn't intentional.

near the edges of the piece towards the right, some characters outlines start to become faded, and the paper cut out outlines become more irregular. the outer god kings are exempt because they've managed to keep their sense of self to an extent outside of the worldline.

some of kdjs books are from his library in orv.

the text for all characters is slightly cut off (i tried to make it so most of the quotes are missing some texts so you can't actually read them in full). this is both because they're cut out of a larger page, and because kdj can't actually learn everything about the characters once he meets them by reading them because you can't read people like that. so some of the text is out of view because the characters are viewed as characters to kdj and not "real" yet, so kdj doesn't see their full stories.

some concept art + one of the earliest digital sketches i have. all of my works in progress have a billion notes left on them so i know not to forget something when i get back to them:

[drawing of yjh made of paper, and an earlier sketch of the overall piece]

i sort of wish i kept the paper style of this yjh, but it wasn't meant to be....

3. final thoughts........

this really is the most... orv piece i've ever done (?), in a lot of ways. there is nothing that makes you feel more like kdj like searching up orv quotes from memory and then scrolling through the epub on your phone to find what you want. i even ended up explaining it to my mom and having to show her what a sunfish was.

there are things i would change about it if i did it now (i would probably erase the outline from adult kdjs cut out and emphasize his shadow falling on it instead), and things i didn't get to do that would've made it more like what i envisioned (ideally i would've reread all of orv to find quotes. and i didn't do that).

It's personal to me in ways that are kind of silly. I used to doodle a lot of paper cut out creatures in high school, which helped a lot with getting the sort of paper movement down here. and of course the handwriting is just my own, so i had to actually rewrite the quotes i found. it's probably the most ambitious piece i've drawn yet composition wise, and i don't think ive spent so long on a single illustration besides art studies for school. It feels like a love letter to everything orv means to me.

if you've read this far, thank you :)! i don't normally go into this much depth about my thought process, but there's a lot here i don't expect people to pick up that i wanted to get into