#character design protip

[glass-oranges]

The boys are back in town!

[poorks]

outfits still aren't final but!!! :)

[agatharights]

Seeing as five people have now sent me the Monstrum thing on SCP (which I promise I WILL get around to watching at some point) I guess I have to finish that fuckin' last SCP story I've been writing on and off for a few years.

[slitherpunk]

character design protip: you make them transgender.

[bird-likes-to-fandom]

My part of a collaboration with the lovely @idk-tbh-idk! The St. Cassians' Chamber Choir as Monster High characters!

you can find my partner's fangtastic (get it?) designs for Constance, Mischa, and Noel here!

This collab was so fun!!!!

design notes under the cut!

I gave Janey earrings shaped like teddy bear heads to resemble Bearemy, the stuffed bear Em Flosi (chance theater) used during their rehearsals! Similarly, the bunny heads on the doll's dress are made to represent the bunny Michaela Dukes (4chairs) used during her own rehearsals! The lambs on her shoes are obviously a nod to Penny Lamb, and since Janey has (a little less than) half of Penny's head, I think she can remember some parts of being Penny. She also has Penny's left brain, so she remembers all her animal facts, and probably quite a bit of her past life - or one of them, at least.

Savannah gave me SO much trouble. At first, I had her as Ricky and was going to go full SABM on him, but that ended up terrible, and then her design just took me forever to get right. Especially her facial markings. Her purse is born out of me messing up on a second crutch, but I really like how the purse turned out. I imagine that her doll is sold and her character is animated with both crutches, but I couldn't include the second one in the drawing ksjhfdkfjgh (protip to avoid this: always sketch EVERYTHING out in pencil and go over a mental checklist of what you need to include before you ink and color) Savannah is holding up an I Love You sign in the picture! Because Janey's mouth is the porcelain part of her, I imagine she signs as well. Also, she's based off of actual Savannah cats!

Ocean's design is the simplest, rip. I gave her a fish tank over her head because Uranium CIty is almost completely surrounded by lakes, and in the show freshwater monsters like Gil need them to breathe on land! Her heels are supposed to resemble quarter notes, but I think they just look like regular heels. I find it ironic that her parents, freshwater monsters, named her Ocean. Even in this au they wanted something else entirely.

[simplymisty]

SUPER MEGA PROTIP FROM ARTFIGHT VETERAN!!!!

HAVE FUN!!!!!!!!!

Okay, no, on a serious note: here's some things I would like to share with new people as a person who participates in Artfight since 2019:

you don't have to make fully rendered attacks. sketch is a category for a reason! "even" sketches are immensely appreciated

actually, you don't even have to *draw* for attacks! last year I did some minecraft skins for fun. saw someone make dice sets as attacks. as long as it's allowed and it's art created by you (and tagged accordingly) you can make whatever the heck you want!

you don't have to make your art digitally either. traditional attacks are epic. love em

having fancy character references is not a requirement! if art of ur oc shows their design (or at least most important aspects of it) and is decent quality, it's enough. a lil tip tho - don't add shaded/textured drawings for that matter, hard to color pick. if these are the only ones you have, make a basic color palette next to it!:) helps others make your character look accurate

pace yourself. yes, there are people who draw attacks everyday. yes, there are people who drop attacks with 100+ characters in it. doesn't mean you have to do same thing! it's all about having fun and, trust me, grinding until you are sick of drawing is not fun. been here, done that

revenges and friendly fire aren't a MUST. you want points? okay, if u wanna grind, then go ahead and attack opposite team! person who attacked you has characters that you can't/aren't comfortable with drawing? it's okay not to do revenge. Revenges are fun, I always try to do them, but it's not something you absolutely must do.

try to always read characters permissions and descriptions. sometimes there's key info in them and I feel like it's quite important to stay accurate to them. again, if you can't do something they ask you there - it's okay to choose different character or person to attack

don't attack someone expecting them to 100% attack you back. if you set your expectations to that, you might get disappointed and it takes away the fun from ya. attack because you want to draw the character, because it has cool story, cool design, the person is cool so you want to give em a lil gift, etc, etc. Same as you don't have to attack everyone back, they don't have to either

hitlists are optional. some people make em, some don't. same with those funky id cards, my lazy ass gave up on em this year and it's cool 👍

basically don't be an ass, have fun and remember to take breaks!

Also, if ya want, add my dumbass (~simplymisty_) on artfight, because I'm in jail of making refs at the last minute, so I try not to go on AF until im done with em. I do friendly fire, revenges, revenge chains and try to draw basically anything. Love that artfight grind. Hope you liked my autistic rant, it's 5 am and idk what I'm talking about anymore

[shoozy-qhyueue]

protip for people with sonic ocs: don’t waste your breath making a “classic” design for your character, just wait like 2 months for you to start to resent the design and change it so the old design is now the classic version

[twwings]

oh, did someone say Good Omens podfic recs? I got Good Omens podfic recs! Really, what I got is podficcer recs. Protip, if you enjoy fanfic read aloud (podfic), the best thing to do is find your fave podficcers in a fandom and follow them. Here are some Good Omens recs by podficcer with a couple samples from each person, but in most cases these podficcers have done many fics so I encourage you to check out their author page on AO3! The list:

Podfixx is very prolific and does amazing Crowley and Aziraphale voices! Does anyone need me to rec Podfixx at this stage? Nonetheless, I am. Some of my faves are The Grindr Logo Doesn't Even Have a G In It, Morning Has Broken, and of course Slow Show.

klb is wonderful! such moving emotional performances, and I always see something new from the fic in their voicing of it. I'm of course biased towards their podfic of my fic long distance, but may I also suggest all the effects of drunkenness and The Curious Attractiveness of Others?

Thimblerig does absolutely beautiful readings, with great attention to sensuality of language and description. For that I especially recommend The Adoration of the Fallen and Aphasia

Semperfiona is an amazing podficcer who knows just how to make the most important beats of a story land perfectly. I loved In the Pocket of the Universe, Six Days at Mr Fell's, and To a Nunnery Go, and Quickly, Too (note the excellent taste in amazing queer themes, another huge plus in a podficcer!)

1lostone has such a talent for dramatic irony in narration, and for being able to communicate both the character and what the narration thinks of the character in their voice. I very much enjoyed Honest Angel and A Metaphor of Some Kind.

CompassRose has amazing pacing—I love how measured and deliberate their narration is, while also being soft and sensual. I loved Part of the Whole Design and Follow the White Lines but there's so much gold here!

ReadByBelle has such a lovely narrative voice that just carries me along. I would recommend A Home at the Beginning of the World and A Guarantee and Not a Promise

Triedunture does gorgeous readings, I think mostly of their own fic? They're so lovely and immersive. I loved Light Years and For the Angel Who Has Everything.

There are so many great and talented podficcers out there making Good Omens podfic! And podfic is one of the most underappreciated fan forms, so if you like these podfics, remember to go back and give 'em a comment or a kudos.

Hey! Thank you so much for all the amazing you do…!

I just wondered if you had any good recommendations for fics with audio options?

Thanks!!

Hello! I assume by audio options you mean podfics? We have a #podfic tag with a few. I don't listen to them myself, but here are some fics I've read and loved that have podfics available...

[Podfic] Petrichor & Parchment by Literarion (E)

“Mr. Crowley, I presume?” Aziraphale asked in lieu of an introduction, which was not forthcoming. The guy hadn’t even removed his sunglasses. Oh God, he had a tattoo on his face. Aziraphale wasn’t one to judge, but… what kind of gardener had a snake tattoo on his face?

[Podfic] Summer's End by Literarion (E)

2095. Britain is a post-apocalyptic wasteland ravaged by droughts, the collapse of civilisation, and hordes of the undead. Despite that, Aziraphale’s life is actually pretty good. He has his caravan, his books, and his work, offering his services to the men who stop by Tadfield on their arduous journey north. One day, a mysterious stranger knocks on his door. Crowley is charming and handsome and he appears to know his way around a vegetable garden. He comes with the tempting offer of a mutually beneficial arrangement. But it’s in Aziraphale’s best interest not to get too attached. A dystopian cottagecore sex worker AU.

[Multivoice Podfic] Choose Your Princes Wisely by Multiple (T)

“There’s an enchanted castle West in the Hellian slopes, and apparently it comes with a prince looking for a bride or bridegroom to free him from a dark fae’s curse.” “I see,” Aziraphale says finally, when he realizes both Gabriel and Uriel are staring at him expectantly. “You want me to marry a beast?” Gabriel's mouth flattens. “I want you to take this gods’ blessed opportunity to secure your family’s future for good." OR Aziraphale is a professional quest hero who just wants to sit by the fire and read a book, if his overbearing family will ever let him; Crowley is a serpent demon who needs a gullible hero he can con into gathering some critical ingredients for a human corporation spell. Hijinks and a lot of terribly inconvenient feelings ensue.

[Podfic] Something to do with these sacred words by nantook (T)

Crowley confesses early, and Crowley confesses often. Aziraphale never knows quite what to say.

[Podfic] Right Here by Im_Not_Occult (E)

Although Aziraphale has sensed Crowley's love for millennia, after their trials he decides to be honest about his own feelings. So desperate to finally be close, Aziraphale doesn't anticipate that physical intimacy might be rather overwhelming for an ethereal being in a human body. He has wonderfully transcendent celestial experiences that take him away from the moment with Crowley. Together, he and Crowley discover a new level of intimacy as they try to work out this issue--and the shape of their new Arrangement. Featuring: 16k words of unrepentant softness, open conversations about sex, ethereal and human intimacy, a certain promised picnic, and a little bit of bickering between hereditary enemies.

[Fic & Podfic] Press L in the Chat (for Love) by Multiple (E)

Bickering fan-content creators Aziraphale and Crowley only have three things in common — they are both avid fans of a new revolutionary TV series about pirates, they are popular for their fantastic fanfiction and fanart… and they are members of the same discord server. Neither of them likes the other, but across the chaotic virtual world of a discord chatroom, who knows what can happen when these two unlikely fans are paired up for an exciting collaboration? Us. We know ;) Discord Server AU — a collaboration between Phoenix_Soar (fic) and Djapchan (multivoice podfic organization & editing) for Pod-Together 2022

- Mod D

[astralibrary]

yooo @junk-thrillz​ i was your @pnatsecretsanta​!!! among your mentioned likes were the school store four + collin, ocean aesthetic and magical girl au’s, so i made the five of them into an ocean themed magical girl squad!

there’s a cover for their theoretical manga (+ a textured “realistic” version for fun), and then a few “screencaps” of the anime adaptation from the infamous Hijack Arc, in which the monster of the week captures jeff and turns him against his teammates, who then go on to save him through the power of their unbreakable friendship, in true cheesy anime fashion ❤

this was a lot of fun to put together, i hope you like it!!!

(also, not every concept i brainstormed made it into these final pieces, so here are some extra thoughts and such under the cut :3)

even though i feel like cody is more typically associated with blue, i made him pink because he’s the leader of the team and everyone knows the leader is always pink!!!

i gave each individual member their own ocean-related theme, so cody’s is a pirate captain, because it’s a leadery type of role. his weapon is a cutlass as a nod to canon but it’s pink and magical and fun instead of murdery bc this is a G-Rated Funtimes AU,

collin is blue simply because that pink + blue duo am i right ;)

he has a sailor theme, so he’s got a cute lil hat and sailor uniform flourishes on his outfit (the collar, the double stripes, etc)

his weapon is a harpoon bc idk that’s sailory right. even a lil bit

jeff gets orange/yellow because he’s the funny lovable one!

i wanted to give one of them a sea creature theme, so jeff’s theme is jellyfish, which is reflected in his headband and the like, puffy side part of his dress there? it’s a little abstract but hopefully u get the picture kgjdkfjd

his weapon is lil bombs (but Magical), mostly because i thought it’d be a fun reference to the hitball arc... u know, round ball-shaped objects being thrown.... etc

violet is purple because.... i could not resist i am sorry it’s so GOOD

i struggled with her theme, i admit... but it ended up being kind of piratey, but more crewmate than captain? she has that little tied sash around her waist, and the skull bow hairclip is meant to reference a skull and crossbones, which tbh i feel like fits w her general aesthetic anyway so like? it works imo

her weapon (not pictured unfortunately) is a blunderbuss (funny pirate gun)

and finally, lisa is green, because... well she was the last one i assigned a color ghdkfjdkgj i think under normal circumstances she absolutely would’ve been purple bc she’s just got that Vibe u know, but since i wanted to give it to violet so bad i went with green for lisa. i think it suits her tho? it’s kind of a seafoam green, to be a little more oceany hehe

her theme is like, the beach, seashells, etc. the swirl in her hair reminds me of a conch shell so i just kinda. stuck one right in there. and then a few other things like bits of coral and sand dollars and pearls as added decoration

she also has some netting and a few shells around her waist to sprinkle more of her theme throughout her design

her weapon (pictured in the first fake screencap) is a Sick Trident that she looks rly cool holding iajs,

also, their normal everyday clothes have little nods to their transformed outfits! not all of them made it into that third fake screencap but here are the concept sketches!

violet: a skull & crossbones hairclip to reference her skull bow hairclip

jeff: a pair of orange headphones to reference his headband (they should have that jellyfish pattern on them too but i didn’t draw that)

cody: a pink beanie with a little gold feather pin to reference his pirate hat

lisa: a bracelet with a sand dollar and some pearls to reference her hair decorations

collin: a navy blue bowtie with little white stripes to reference his sailor theme

finally, some extra bits i came up with while brainstorming the kind of universe this would all take place in:

the premise is sort of like pnat in that it takes place in mayview, but instead of spectrals and spirits there are magical girl squads who fight monsters (same as the ghosts & spirits basically) to protect the town. rather than mayview being simply overrun with spirits, it’s disproportionately attacked by them, ergo the need for magical girls

the ocean team isn’t the only squad around; another one is made up of the activity club (max/isabel/ed/isaac), who i was thinking would have a steampunk theme? and then i was toying with the idea of the jang being another team, but i hadn’t really thought as far as to what their theme would be

just for fun, the ocean team has a magical pirate ship they can fly around on, and the steampunk team has a magical train they can ride around on, not unlike the ghost train (just like, more steampunky)

the reason there can be multiple teams without everyone stepping on each other’s toes is because there are different types of monsters to fight. i don’t know exactly what differentiates them, but each team’s specific brand of magic only affects certain types of monsters

the journalism club consists of suzy, who is investigating the identities of these mysterious magical girl squads (bc Of Course no one is able to recognize them once they’ve transformed), collin, who is frantically hiding the fact that he is in fact a member of one of these squads, and dimitri, a former member of the steampunk team who left for unknown reasons and now does everything he can to throw suzy off their trail. neither collin nor dimitri know of the other’s true identity (for sure, that is. dimitri has A Hunch)

so yeah! i haven’t had too much time to elaborate on the idea, but that’s what i managed to come up with! again this was a blast, au’s are so fun ;w;

ANYWAY that was a lot of rambling lol but!!!! i hope this is as fun for u as it was for me! happy holidays!!!! 💖💙💛💜💚

[bowelfly]

it's Etcetera! character belongs to @slitherbop

[whump-whump-baby]

So your Fictional Universe has Horses in it

Alternatively: People Ride Horses in Your Fic, and you’re Not Sure What to Do About It

horse rider/owner and baby writer here, throwing you an infodump that will maybe help with the whole ‘There’s a Horse in the Background here but I Don’t Know What to Do With it’ thing I sometimes see in writing!

Inside this infodump: Horse riding, horse care, horse tack (equipment), falling off a horse (and what usually gets injured), horse lingo, and behaviour.

1. Tame that beast (aka, riding the horse)

a couple things here: Getting on the horse, getting off, steering, etc

Honestly, I’m only including this part because I find that a lot of people skip past the whole ‘getting on the horse’ bit and I find it hilarious. It’s not a weird thing but it can be weird to describe. I get it!

Getting On

Experienced riders will always mount from the left side of the horse. It's a weird tradition that doesn’t really make sense anymore, but it’s still followed because most don’t really see a reason to change it. It supposedly dates back to medieval times and has something to do with where a sword would traditionally be hung on a person’s hip- mounting (Putting your foot in the stirrup, grabbing up high on the saddle, pulling yourself up and over while using your foot in the stirrup to help yourself) from the left means you wouldn’t accidentally poke your horse with your sheath. Not sure if this story has any validity to it, but we all still follow the left rule unless we’re specifically getting a horse used to mounting from the other side for whatever reason.

Getting off

I have a bone to pick with this. Nobody gets off their horse by swinging a leg in front of themselves, over the horse’s neck in front of them, and hopping down facing away from their horse. It’s not the safest bet to attempt because 1. It actually requires a lot of hip strength to swing your leg like that without kicking your poor horse in the neck, and 2. It doesn’t give you a legitimate way to hold onto your horse after dismounting, which is inherently unsafe. Even if you are in possession of The World’s Best Behaved Horse Ever, you always want to be holding onto the reins. Riders usually dismount by leaning forward, swinging a leg behind them and over the horse’s butt, pivoting sideways on their stomach, and sliding down off the horse- keeping a hand on the rein and one on the saddle to slow their descent. That way you always have a hand on your wild beast, who may decide at any given time that the nearby grass is more important than standing still for your dismount. Plus, swinging a leg like that is basically impossible in saddles that feature a saddle horn, like a western saddle.

It’s a little hard to see in this photo, but Geralt’s saddle definitely has some kind of high pommel to it- so he’d most likely dismount the normal way. It’s just easier!

If you tried to dismount like that in this western saddle you would definitely bruise something.

In this saddle (a Dressage saddle) you could probably pull it off.. but why?? All that struggle just to slide down on your butt and land funny, sprawled away from your horse. It’s just not worth it.

Steering and Etc.

Believe it or not, most steering movement actually comes from the rider’s weight in the saddle than their grip on the reins. If we’re looking at this from the realm of something like The Witcher (which is probably going to be my go-to media example because it’s still pretty recent) a relaxed turn is going to look like Geralt isn’t doing too much with his upper body, because he’d be weighting his seat bones in the saddle. Despite his saddle looking a little bulky, Roach could definitely feel it and respond accordingly- horses are pretty sensitive little friends and can feel most of what you’re doing up there, including looking down. (Protip, if you’re learning to ride horses, don’t look down- it’ll unbalance your upper body and make you pitch forward, unbalancing your horse and making yourself more likely to fall off)

A good way to have a character look experienced with riding is to describe someone relaxed but upright, shoulders back, hands closed but relaxed on the reins. They don’t have to be bolt upright, but at ease. A good way to describe a character with little to no riding experience would be to describe them as tense, probably hunching forward a little; hands too high or low and reins too long. See the lovely photos below:

A Dressage rider: she’s looking pretty evenly balanced, is sitting tall but not bolt upright, hands are low, elbows relaxed. Wonderful!

A Beginner: Absolutely no hate to beginners! We all have to start somewhere, But there’s definitely a difference in body language between this rider and our dressage rider. (Side note: PLEASE always wear a helmet on a horse, especially if you’re a beginner, good grief)

2. Horse Care

I don’t think too much needs to be said here, but there’s a couple things that are worth noting.

Grooming

Most horses love a good brushing. They’ll even lean into it if you find an itchy spot!

 If your character has a ton of experience, grooming their horse makes a lovely backdrop for conversations. Riders usually brush their horses before and after riding, to remove dirt and mud and sweat. Manes and tails are brushed if you want to be detail oriented, and feet should always be picked out (A good chance for Character B to oogle Character A’s butt, if thats the kind of story you’re writing) to remove dirt and stones. 

When Not Riding

Your furry partner-in-crime should be untacked and eating grass somewhere. Untacked means all gear removed and put away for the day- in stories like The Witcher, tied to a tree branch or a rest area in a halter is fine. As a horse person it wouldn’t make sense to leave their tack on all night- you’d leave it nearby, but not on them. If your characters are just pausing for a break or something, it’s totally ok- but done for the day? Nah. Let your pony be naked.

Injuries

Horses, like most prey animals, will hide injuries and illness until they physically can’t anymore. Small cuts and scrapes, dependent on where they are, will probably not give a physical response unless you manipulate them somehow (cleaning, applying antibiotics, etc). A horse may show discomfort by a number of signs, but if it really hurts your horse will probably shy away from your touch or may lash out at your hands to keep you from touching it. Signs of discomfort can be pinning their ears back against their head (aka Ow Ow OW, DON’T TOUCH IT, I’m UPSET) to straight up trying to run from you if they think you’re going to attempt to touch it (a more severe reaction for a more severe wound, like a deep cut/laceration/puncture etc). If a horse is in very dire straits you might get no reaction at all- your horse might be hanging its head low, not really responding to your voice or touch, appearing bleary eyed or dull eyed or sleepy. Generally that kind of severe behavior change is considered Very Very Bad and definitely grounds to call a vet for, especially if there’s no sign of physical injury.

3. Horse Tack (Equipment!)

Here’s a quick rundown of horse tack.

All these pieces make up the bridle, reins included.

*Side note- Bits are not cruel, and riders choosing to use them with their horses are not abusive. Bits are a tool riders use to communicate with their horses and there are hundreds of metal finishes, textures, shapes and sizes to fit a horse with a bit that makes them happy and keeps them comfortable. There are some horses who refuse to take bits, and their owners usually turn to a bitless bridle to keep them comfortable- however this is not “kinder” just because of the lack of bit. These bridles are just designed to exert gentle pressure to tell the horse to slow or stop instead of the gentle pressure on the bit. Different horses prefer different things, and none of these things are harmful to the horse if used properly and with care.

This is a diagram of a close contact or Hunter saddle, but the terminology generally applies to all different kinds of saddles. Girths are considered their own piece of tack and not as a part of the saddle. 

Riders who are riding consistently usually at least wipe their tack down with a wet cloth after finishing with it for the day. Because tack is almost always leather, well cared for leather lasts a lot longer if cared for. This is also a great thing to have a character talk over in a fic- have them clean tack while having a hard conversation, or maybe show how quick and not-great of a job they do on their tack if they’re angry or trying to get away from another character closeby. Lots of opportunities! (If you really want to get detailed, cleaning usually looks like: a damp cloth to wipe dirt off and then rubbing a leather conditioner into the tack, which may smell lovely or a little weird depending on the brand)

4. Falling off

I see you, whump writers. (and I love you.)

So You Want your Character to Fall Off:

Falling off is rarely graceful. It can be caused by anything from an unexpected trip to your horse spooking at something, to a jump taken at the wrong spot/speed/angle... opportunities are endless. I have fallen off my horse at the walk because he startled at a dog and I slipped to the side, and I have fallen off over jumps, because my horse actively tried to get me off, or because I just wasn’t paying attention and Oops, how’d I get in the dirt? Generally if you’re looking for a reason for your character to fall off, they are endless. If the one at fault is the horse common reasons are the rider becoming unseated and slipping back/forward/sideways by the horse startling (at legitimately anything sometimes, depending on the horse.. let your imagination go wild!) changing speed or direction suddenly. All of these things will affect how your character comes off and how they’ll hit dirt with what body part. IE- pitching forward will probably land you on the top of your shoulders, if you’re lucky- if not, you’ll land on your head. Most people will land on the tops of their shoulders as the instinct to protect their head kicks in, but sometimes gravity is a bitch. It happens.

This is where experience comes in, too- Experienced riders will usually react quicker and will try to save themselves, either grabbing onto their horse’s mane or neck or even just keeping a death grip on the reins as adrenaline kicks in- all of which keeps your upper body higher than your lower and can lead to landing on your bum/side/feet instead of your head. Beginner or inexperienced riders might not react that quickly and end up landing roughly. This is not to say that more experienced riders will always come out less injured than beginners, but that experienced riders sense of self preservation will kick in faster frankly just because they’ve fallen off more. This is also why you see more beginners breaking arms in riding accidents- as you learn to ride you are taught (if you were taught like I was) to NEVER throw your arms out to catch yourself during a fall- it’s more likely that you will land on top of your straight arm and give yourself a wicked compound break. Your instinct changes from trying to save yourself to trying everything you can to staying in your saddle. Self preservation is a wonderful thing!

If Your Character is Sick/Already Injured:

The motion of the horse, even in walk, is going to make them feel worse- especially any injury to the lower stomach area. That’s where the body absorbs most of the motion from the horse’s gaits, especially in the hips/lower abdomen. So if Character A has a stab wound in his stomach and Character B has gotten them into the saddle to bring them to help.... Character A is gonna be in some pretty decent pain until they can dismount. For head injuries the same motion might make them dizzy or nauseous. But, good news! If your character slumps forward completely while keeping their arms on either side of the horse’s neck, they will probably manage to stay in the saddle for a decent amount of time. Their lower body and leg (hopefully still in the stirrups) will keep them in the saddle unless jostled out of it. (This, of course, only making sense if the saddle in question doesn’t have a horn, because otherwise your character won’t be able to slump forward far at all. )If they manage to slip off the horse in this position, they’re going to land head/chest/upper body first, especially if only semi-conscious due to previous injuries. 

If dealing with any other injuries, getting on the horse might be nicer than walking but will definitely not keep anything still- any motion the horse makes will make the rider’s body move and jostle the injury, no matter where the injury is.

5. Wrapping it up: Horse Lingo and Behaviour

Horse terms are easy to find and but a google search away, but here’s some of the main terms:

Gaits: A horse’s movement. Walk, trot, canter and gallop with gallop being the fastest.

Aids: what riders use to communicate with the horse. This includes your hand (on the reins) your leg (squeezing to ask for gaits) and your voice.

(Riders talk to their horses! all the time. Even if just to say good boy/girl. Commonly we say things like hoooh, whoa, easy, no, etc. Sometimes just talking to your nervous horse helps calm them down)

Green horse: Inexperienced horse, usually new to being ridden, usually young.

Mare: Female Horse.

Stallion: Male horse, not neutered. Stallions can have a reputation for being hotheaded and sometimes hard to handle, but not all are like that.

Gelding: Male horse, neutered. Most people who have male horses will refer to them as geldings on paperwork.

Pony: a small horse. Not a baby horse. Just smaller.

Colt: Baby male.

Filly: Baby female.

You can probably use google for anything else without concern that you’re using a term that's unnatural.

Behaviour

My rule of thumb for writing behaviour is this: If it seems like a disney dog in a movie would do it........ it’s safe to say a horse wouldn’t. Writing a horse like a disney dog is too unnatural and will definitely make any horse people reading your story give an eye roll.

An example:

Your character has just dismounted their horse after a long ride.

A horse would: maybe sniff your pockets for treats (especially if you had some before you got on) stand next to you as you talked to someone, try to rub their head on you (scratches!! especially if they’re sweaty) maybe perk up at something in the distance if distracted enough

A horse would not: Shake their head at you, whinny at you, prance around and “smile” at you... roll their eyes at something you said... point like Lassie at something in the distance... etc. 

Horses definitely have personalities! They can be affectionate and snuggly, nervous or brave, flighty or stoic... but they don’t emote the same way a cartoon character would. The best example i’ve seen of horse interaction in media would probably be the horses in Disney’s Brave. If you pay attention to the way horses interact with each other and react to events in the movie, it’s pretty spot on!

Follow your gut. You can still have a horse with a personality, but if it feels too cartoony, it probably is!

This is a great infographic that explains body language as well.

I hope this helps anyone who wants to include more horse interaction in their writing!

[writingpun-art]

I absolutely adore your art, you're so good with character design and colors. You also got me into The Scary Jokes with your Community Gardens amv. I actually baked a honey pie based on that amv. The honey pie just looked so good.... (protip: do NOT bake a honey pie it will turn into hard candy on crust) anyway i hope you're having a good day, I just love your funky little dudes

bro i didnt answer this for so long bc i wanted to just take it out and look at it.... this is so nice i owe you my life T^T

[something-very-special]

they ran over the seals

More Replicant playthrough observations and general nonsense under the cut. For reference, up to the keystone quest; completed the Forest of Myth and Junk Heap.

This fucking game I swear to god.

A vaguely coherent ramble about sidequests An observation about sidequests in general in this game -- and I don't recall if I ever voiced this somewhere public or it was just a personal observation from my time with the original -- is that the quests in the first half of the game are all relatively easy to complete. There's that one asshat who wants 10 goat hides, but other than him, most of the sidequests are either very much based on finding characters, or gathering a sensible number of items that are either relatively common, purchasable, or given a guaranteed spawn for the duration of that quest.

The sidequests everybody remembers having to do are in the second half, where everybody is demanding and awful and I'm sorry ten MACHINE OILS do you know how goddamn rare those are? They're goddamn rare.

(We'll not discuss Life in the Sands.)

This is generally agreed to, in the technical vernacular, 'suck'. And it's always funny that the most interesting sidequests are the ones with very minimal requirements (Yonah's cooking, getting Popola drunk, the Lighthouse Ladoh my god everything's gone blurry I'm not crying you're crying who am I kidding we're both crying). That particular aspect of the design also feels intentional, not really gating your ability to progress the really meaningful or funny sidequests behind an unreasonable number of rare items. The other aspect of the design is that these quests are not meant to be completed in a single playthrough; most of them are single-stage and just absolutely unreasonable, but if you're going through the game four times you have a... reasonable chance of getting everything you need more or less naturally.

Nobody does that but I think that was the intended design. I think it's a good idea, although the execution of expectation is flawed so I don't really blame people for saying those sidequests suck. (Although I will in turn blame people for saying the sidequests suck as a blanket statement. Yeah getting that guy who burned his kitchen down a billion Broken Motors is aggravating but did you not find that old man's dog? Speak to Ursula on her death bed? Solve a murder? Then again I think tracking down that rotten son who's trying to get away from The Family Business only to learn his father is a con-artist and get literally no reward is the height of comedy so maybe I'm not the greatest point of reference.)

But that asshole in Facade can get bent. I can't exploit my garden properly, jackass! I am no longer a god of time. (I kid, of course.) (This guys sucks even when you can fix your clock.)

Forest of Myth It didn't even occur to me to wonder how they would incorporate the comprehensive voice acting into the Forest of Myth. I like how it plays out, although I wish the voices maybe had a fade as you went deeper into the dream instead of just cutting out at some point, especially for the lines where the characters are being ascribed actions by the narrator that they themselves aren't doing near the start of the Deathdream. But it's just delightful to go back to it. The second half of the game really sticks in your mind both for emotional reasons and because you play it at least three times per full playthrough of the game, but the first half is just so much fun.

Protip: Talk to everybody after you've finished the dream sidequest. Weiss tries to dissuade you. Don't let him dissuade you. I'm still delighted by the Mayor; "We're building a statue of you, made of solid gold. I know you don't own a horse, but we're going to put you on a horse."

I forgot about Yonah being a disaster chef Papa Nier's reaction to the stew is better. Brother is still funny but Papa Nier just expecting to die is comedy gold.

For anybody curious, the joke about the cakes is that Yonah made 'fruit cake' using some of the worst possible fruits for cake-making. If only she'd thrown a tomato into the mix, too.

Lighthouse Lady Every time. what the fuck is a canal I'm aware of the addition of the new-old content but it didn't occur to me until Popola suddenly starts nattering on about fixing the canal when I'm expecting Yonah to talk about a penpal that oh, yeah, I guess Seafront would have had something going on the first half that would play into the second half? (I assume it does. Be weird to introduce these characters just to have groundwork for an added sidequest. ...but it was a cute sidequest.) But look Popola my boy is supposed to be in the next area I visit could we-- I mean he's on the way could we just-- no-- fiiiiiiiiiine. (It was short and sweet, though, and I appreciate that the couple's love is exemplified by them both calling Weiss a floating magazine in tandem.) On a related note but was I the only person suddenly concerned when the sidequest completion maxed out at 50% and not 51%? I had to double-check with a guide just to make sure, since I've spent the last decade telling people to make sure you hit 51% before going on to Part II.

MY BOY I love that nowadays, Emil is everybody's son. But I really wish I could go find somebody only familiar with Automata and just watch their reaction. (I'm guessing there are streams out there that fulfill this but man I'd love to get it in-person.) If you're only familiar with him from Automata this has to be a mindfuck.

Personal anecdote, but I've had the privilege of playing NIER with somebody else almost every time I've gone through it. I had a wonderful experience of doing a replay some years back with somebody who had experienced it with me before but didn't have the most solid memory of the beginning (and had actually missed the entire weapon's lab the first time through). I get to the boy at the piano introducing himself and the 'Wait, what?' was a thing of beauty.

MY ANDROID This was a welcome mindfuck for me; finding Sebastian and having him 'reactivate' in such an unnatural, mechanical way. I don't recall if it was ever officially confirmed that Sebastian is an android (I know that it's just understood that this is the case but I'm not I can't recall a specific one) but the little flair they added to his animation caught me completely off guard. I liked it!

Destroying the food source A lot of people will cite a major inciting incident for the game as being when the protagonist heading back into the village and killing the child Shades just outside the entrance. This moment is such a great bit of subtle foreshadowing that's so easy to miss... but kind of joining that, just before the Knave of Hearts attacks, I realized that the Shades out on the Northern Plains are clearly ramping up for an assault of their own by murdering the sheep. The sheep population at this point is decimated (which is great when you realize you haven't gotten the Sheepslayer trophy and you're about to enter Part II and you don't know if the boar drifting minigame got carried forward with the inclusion of 15 Nightmares). You go out onto the Plains and you will find not only small clusters of sheep left behind instead of the vast, terrifying herds from the start of the game, but until you get their attention the Shades are prioritizing killing the sheep. (Also annoying because that doesn't count toward my sheep murder number.) The Shades will be out there also killing sheep earlier on, but since the whole map is in Overcast mode after talking to Yonah it's especially prevalent to go out to the Northern Plains and seeing the slaughter. And I realized-- they're cutting the Village off from a primary food source. Shades don't eat and they don't have any beef with the local ungulates (at least, no more so than anybody else does), so why are they hunting down the sheep? To deprive their enemies of resources. Sheep are extinct by the timeskip. It's actually really clever of them, and a really clever indication of their sentience and intelligence before it's fully verified.

"Let's get these shit-hogs!" Everything about the way Kaine and Emil interact across the entire game is perfect I will brook no argument this is objective fact.

Emotive Rectangles I wrote an essay about this before but it really bears repeating that the job the original animators did with this scene is just phenomenal. The way Weiss drifts, flits, flips, fans his pages, drunkenly swerves, shoots around the room in defiance... He's a goddamn rectangle, but there is so much emotion and personality in this scene just based on the movements conveyed through a what is effectively just a box. Ten years later and triple-A titles with full facial capture don't have this much seething personality. I really have to give props to the cavia animators, wherever they wound up. That studio could really put some subtle love and care into their titles, utterly unnecessary and easy to miss but you can tell that whoever was working on it was giving it their all. The books are probably the exemplification of this, but every time I go into Seafront and visit the seals I can tell that the guy on seal duty was having just the best day. They made Emil so pretty There's an FMV cutscene right smack in the middle of the original game after the battle against Noir. I understand why it was a necessity on a technical level, but it always looked pretty out of place and a little uncanny valley compared to the rest of the graphical fidelity. That's no longer a necessity so this cutscene is rendered in-engine. I admit I was actually curious to see it redone this way and it looks fantastic. I single out Emil since he is the focal point of cutscene and because his particular high-poly model had some pretty weird difference from his in-engine model, but he and Kaine both look great. But, like, it's almost mean how pretty he is.

They made Brother Nier so pretty Yeah okay you got me he's kind of hot. Kaine's expression when she wakes up and looks him over is... significantly easier to read now. Good voice, too. (Ancient rumors tell that one of the issues with international releases of RepliCant was that they couldn't find an English VA with a voice that 'fit' Brother Nier. He sounded good out the gate but hearing him growl "Let's go TAKE CARE of those KIDS" during the thief sidequest-- I got chills. It sounds so silly but there's a kind of percolating fury to that delivery. Papa Nier was like frustrated but mostly disappointed dad; I felt like Brother was going to take care of those kids, and nobody was going to find the bodies. Younger Brother Nier just never stops looking goofy to me but Older Brother just looks great in motion, between the alterations they made to the movement and just the entire weaponry system. The distinction between the two halves of the game was always a little odd in the Gestalt version-- not odd enough to really raise eyebrows if you didn't know about RepliCant, but of course you can tell that this age gape between the optimistic doe-eyed dogooder and a man largely ruled by his fury and calloused by tragedy is what the timeskip was going for. Swab me down and call me Ishmael, it works. Younger Brother wasn't quite clicking with me-- not because of any writing or voicework issues, but I've got Papa Nier on the back of my mind and it's impossible not to compare and contrast the delivery and dialogue between the two. I know that this is intentional, too; Younger Brother is supposed to be that happy-go-lucky video game protagonist, always doing the right thing and helping people, in order to contrast against the man he becomes. Even just edging into Part II the effect is dramatic and it recontextualizes Younger Brother into a much more effective overall character. And let me reiterate, I enjoyed my time with Younger Brother just fine, I have no issues with him. But he's up against Well Meaning Big Dummy Part I Papa Nier. No contest. And I'm excited to see where Older Brother goes from here.

Speaking of voices I mentioned this before but the delivery on the character's lines is different. The entire game was re-recorded and quite a few lines are still pretty similar to the original, but there are some that are... definitely different. Part of this is a difference in the relationship between characters based on their life experience and ages-- Weiss is much more of an ass to Younger Brother but has a much more even respect for Older Brother (neither of which are like the rapport he established with Father). Some of Kaine's lines feel more aloof, dismissive, and almost tired in the front half of the game. I haven't really gotten to a point to dig into Emil's rapport with the other characters, but the delivery feels more hesitant and uncertain (which I think is more in line with his Japanese VO, but I'm prefacing that on an untrained ear and a presumption rather than recent memory). It's been interesting to see not just where hey adjusted dialogue (and how-- there are some lines that didn't need to be rewritten), but also how they adjust tone and delivery. Dealing with Younger Brother is one thing, but as I said, I'm very excited to see what's different in the second half, especially being much more familiar with that part of the game. Speaking of Voices! Halua got dialogue! I... preferred when it was inferred (and the implications of "I'll always be watching over you" are borderline malicious given the results of their fusion dance, yeah THANK YOU HALUA this is GREAT). Halua's delivery also felt a little too innocent and upbeat both for the situation and when compared to her narrative voice in The Stone Flower, where she comes across as much more cynical and cold. But given what she's been through and the nightmare she's finally escaping I guess she's allowed express happiness. She's certainly earned the right to having a spoken line. No matter what. Every fuckin' time.

"Here we go." This was always a great line to kind of ease in to the officially-official start of Part II-- every time you start up a New Game+ you're greeted with Emil musing about his conflation of Halua to Kaine, and then the phrase "Here we go". There's a lot in that one line. On a personal level he's grounding his thoughts in the moment and steeling himself for what comes next and pushing through his pain and sadness and fear. Whatever Nier told him in the facility he's still terrified, desperately terrified, that Kaine -- who was the one who told him his life had meaning -- is going to reject him. And why wouldn't she? Ultimately they don't know each other, not really. He understands at that moment that his relationship with Kaine is based on confused memories of his sister, that maybe the bond he thought they established isn't actually real. As soon as he frees Kaine he's going to have to confront her, like this, and how could she ever-- she won't-- but he can't just leave her. Whatever happens next. Doesn't matter. Doesn't matter. (God it matters.) "Here we go." On a meta level, that's our introduction into the second half of the game. The first half is all prologue. This is where we'll be spending the rest of our time, even to the point that 'New Game+' skips straight ahead to this moment. Now that we've finished the establishment, this is where it all builds and where it all matters. Here we go, audience. The ride starts now. You get up to this point now in Replicant. You get the same lead-in. My dumb ass even whispered "Here we go", because I can't help myself. And he says, of course he says--! "Anyway." ... ...a-anyway? What the hell kind of line is that? "Here's some deeply personal musings that are also an indication of my own discomfort as I babble to myself just to fill the void so I can stave off thinking for just a few more seconds. ANYWAY." What a... bizarre decision. Just bizarre.

Upgraded melee combat The introduction to the armored Shades always feel kind of rough-- the defenses on those Shades are significantly higher than anything you've faced and the new weapons you're given to combat them just aren't that good. (If you got lucky you could have a fully-upgraded Faith by now, which is nearly three times as powerful as the 'heavy' two-handed sword you're given; if you downloaded the 4 YoRHa pack for Replicant you've probably been able to upgrade one of those weapons once, which are also a really nice strength boost that leaves the freebie heavy swords and spears in the dust). As an introduction to the new weapon types it always feels like rough going. But then you get a chance to get decent weapons and the combat system truly opens up, and compared to the first game you really feel it. At this juncture I would always just bustle off to Facade and grab the Phoenix Spear and never look back-- the raw power compared to the rest of your arsenal coupled with the triangle dash is basically the bread and butter of the rest of the game. It's not exciting, but it's effective. No more triangle dashing, which was deeply disappointing... but both weapons definitely feel good. I am also somewhat ashamed to admit that it wasn't until now that I realized attacks weren't just about rhythmic input-- you can hold the attacks down to do different charged hits and combos depending on when you execute them in your combo, similar to Automata. I, uh... I felt a bit dumb. But hey, wow, it's a welcome adjustment and it makes all of the weapon types feel equally valuable for different purposes. I never liked using the heavy blades in the original release because they just felt too slow for the damage output they did, even if their 'point' was mostly to sheer off armor (and they definitely felt too slow for use in crowd control). Now they're still heavy and slower, but not to the point that you're basically leaving yourself open just trying to attack. Spears now do crazy sweeping combos and multi-hits. Both of these properties were borrowed from Automata and I find myself prioritizing melee combat and almost forgetting I have magic because honestly it just feels intuitive and fun. I feel like Kaine and Emil might have gotten a power boost as well? Not that I can really confirm this but going into some of the Junk Heap rooms I'd focus on killing a few robots in the corner and then turn around and just see a field of item drops and no more robots. Don't take my word on that, of course, but they felt a little more effective, and a placebo effect is still an effect. "You're staging a protest? That's fun!" Emil. Rebel without a cause. Will not hesitate to kill you if you trespass on his property. (Might explain the statues in the courtyard, actually.) I'll have to double-check this dialogue because I definitely remember more of a melancholia before we get to roasting marshmallows. I think Papa Nier actually offers to talk to/implicitly threaten the villagers to let them in the Village whereas Brother offers to sleep outside with them... which is actually kind of funny. In the former it comes off as Emil and Kaine maybe kinda-sorta not wanting to be allowed in the Village for their own reasons (they're not happy reasons but they're reasons nonetheless) and reassuring Father that no, it's okay, it's fun! The latter is almost telling Brother to stay inside because he'll ruin their sleepover.

(They're absolutely having giggly girl talk about him outside the gates, 100%.) they ran over the seals All I want in Seafront is to enjoy the music and run out to the big beach and hang out with the last living seals and they put a fucking pirate ship on top of them. Oh, wow. Gideon. Wow. OG Nier featured a Gideon that tried to keep himself together and then had fits of mania. You'd be concerned about him during some of the dialogue but generally speaking he came across as... functional. The delivery on all of his lines is now so insanely murder bonkers, like every line he's addressing you like you're already chained to the wall of his serial killer dungeon and it's glorious. I don't know if the distinction between the games is deliberate (in that Gideon in Gestalt was just more even-keeled between his 'rip 'em apart' snarlings and was always just totally nutso in RepliCant) but I do appreciate it. It's a good mirror to Brother Nier's own anger, which only ever seems to be mollified when he's talking to his friends (even kindly accepting sidequests there's a pretty consistent -- not universal, but consistent -- air of barely-bridled frustration). The other characters that Brother encounters are various reflections of himself if things had just been a little different-- Gideon was a representation of the kind of obsessive madness that would have eaten Brother alive if he hadn't had his network of support. Gideon's constant fury and bloodlust even bleeds into him just saying "What can I do for you?" He has no anchor to keep himself sane, nobody to stay human for; he's all mania, all anger, and he only takes any real interest in Brother on his return because he sees an opportunity to act out his vengeance. After defeating Beepy and Kalil he even goes so far as to not only blame Beepy for killing Jakob, but for also killing their mother, which is patently insane but really speaks to how far his justifications and fury have taken him. Papa Nier responds to his anger toward Beepy by basically backing away slowly and saying "Oookay then". Brother, however, actually commiserates; "That's enough. [...] We get it. We really do." This is definitely one of those moments where Brother's context works better than Father's; he absolutely sees himself in Gideon. He completely understands him and sympathizes. He recognizes the madness of his own quest, he sees where it could take him, and there's a resignation when he speaks to Weiss: "Revenge is a fool's errand." "...yeah." Papa Nier has a similar delivery and similarly implies that he understands how terrible his quest is, but there's something decidedly haunting in Brother's sympathy. Also just verifying something on the wiki and this bit of 'Trivia' really jumped at me:

Gideon is the only character to only cause the deaths of other characters. In his case, he caused a platform to crush Jakob and ordered the deaths of P-33 and Kalil, with P-33 surviving.

Metal AF.

[intercal]

dungeon siege - game review

This game is SO CLOSE to being a masterpiece. so close. what a shame.

the gameplay loop is tight. click monsters, party members swing swords/shoot arrows/fire magic at enemies. There's good exploration. the level design is good. the art is good. the music is amazing - makes me think of Morrowind, and more contemporarily, Valheim. There are no loading screens or hard blocked-off indoor/outdoor areas - you just walk down a cellar and you're there. It's got all the pieces of a great game.

but the AI. christ, the AI.

In a video game, you want your characters to do what you tell them to. And Dungeon Siege characters, for the most part, obey this. Except in combat, which is arguably the most important part of the game. Let's say you're in combat, and you want to move your character out of danger. Click away from the enemies, right? Well, this works for a few frames and then your characters go right back to running into danger, because their AI tells them that they should engage enemies in a certain (too large, IMO) radius. If an enemy starts to run away, like you might want your character to do, your character will follow them into oblivion, because the enemy isn't running TOO far away - and now your party member has fallen into a thicket of enemies further down the map and died, because its AI didn't detect that it was running too far away.

It's this constant tug of war against the AI. There are direct settings to sort of fix this - defend, attack in range, hold ground - confusingly crossed with stand ground, engage when near, and free follow. Why are there two settings for this? I dunno! I bet it made sense in 2003. Protip: if you set your settings to anything other than "attack in range" + "engage when near" - your party members will watch their compatriots die while standing right next to them, because they aren't themselves being attacked. "Huh, that's weird" said Gyorn as his fellow party member falls dead next to him.

Also - managing 8 party members is a pain in the ass. You have to get ALL of them on the descending/ascending platform, else you'll leave one of them behind. God help you if one of your party members is a packmule. Its AI is different - for better or worse - based on combat. If your party ends up stringing one encounter after another across an entire dungeon, your packmule will not follow them, and end up in a sort of purgatory away from the main party and you have to take the time to manually walk it across the parts of the map the rest of the party has already traversed.

This could so easily be solved by separating enemy encounters to being just SLIGHTLY further apart - where you can't see the next encounter while you're currently fighting. Also, getting rid of the enemy AI that flees into bigger swarms of enemies because that spells "CERTAIN DEATH" for any party member actively in combat. This behavior is manageable with 3-4 members - not so much with 7-8.

I give Dungeon Siege a "desperately wants to be a 8 or 9 but because of these shortcomings can only be a 6" out of 10. So close, yet so far. Be on the lookout for my review of Dungeon Siege 2, coming in 2005!

[kashuan]

All right, there are quite a few things that come to mind with a question as broad as this, so here’s my best attempt to sum up what character design means to me in like 5 minutes :,D. I’m going to start with a few very quick sketches that talk about more my general approach to drawing, but I’m going to build up to how it all connects with character.

Step 1) Find reference! Whenever you can, use reference, it will always make your character’s posing look 100 times more genuine than anything you can pull from your brain, and that’s nothing to feel bad about. It’s not cheating because we’re not stopping at Step 2 either, which is where the misnomer comes in that you’re just ‘copying’ (protip: even step 2 isn’t a straight Copy; as long as you’re not tracing, you’re not copying, and even tracing has its uses for personal studies). I could do a whole answer of it’s own about picking your reference, but I’ll keep it short by saying: not every reference will fit every character. Keep in mind your character’s attitude when choosing your ref. Some poses are so generic they’re one size fits all, but even this very simple pose has unique character to it. The way the legs are posed, to me, gives it a young and girlish feeling, and depending how you played with the expression, you could even make it come off shy. An overbearingly confident character, while also taking an arms crossed pose, will likely position their legs differently, assuming a stance that takes up more space, etc.

Step 2) Draw pretty much exactly what you see first, but keep it simple. Think of the body like individual shapes; anatomy is not the focus right now, and you’ll actually hinder yourself if you hone in on that first. What you want to do at this stage is capture what the pose is generally doing; character isn’t involved yet Step 3) Now, working off 2′s framework, start considering body type. If you skip the previous step, you might have a hard time capturing the gesture correctly, since it’s a lot for your brain to juggle at once. When I sketched these two different body types, I built it straight off the first drawing, erasing lines as needed.

So the first image includes some extremely basic body type variations, this one pushes that idea further. 1 is the basic frame from the last image, while 2 is about playing with proportions. There are a lot of ways you can play with proportions, and as I’ll come to sound like a broken record about: make those decisions thoughtfully. For example, when I made this version shorter than the reference base, I had to consider exactly where I wanted her to lose that height. Here, I made her shorter waisted, took a little length from the legs, and gave her a squatter neck as well. You can do one of these or all of them. Just keep in mind those are all individual options. Letting your train of thought stop at ‘this character is short/tall so I’m just going to generally shrink/stretch their body’ means you’ll run out of variety pretty fast, and sometimes the overall proportions can end up looking wonky (though there’s always exceptions to the rule, remember that the individual body parts should remain correctly scaled in relation to each other). Image 3 is another approach to proportional manipulation, except rather than focusing on height, it focuses on fat distribution and to a lesser extent bone structure. Again, there’s so many individual places you can focus on here, make sure to mix them up. Arm size, shoulder broadness, chest and hip size, leg thickness and musculature, foot and hand size and so forth.   Image 4 is a further exaggeration of image 3 and the lines have started to get a little more stylized. While image 3 is still reasonably realistic, 4 is just starting to cross into cartoon territory. Advantage of 4 is that when you are able to push the proportions further due to the leniency of style, you can sell a clearer idea and a clearer character. Downside is, well, it looks more cartoonish now, and depending on the needs of your image that might not be what you want ie: it can look like a mistake rather than a purposeful choice if everyone else around the character is drawn more realistically.

Also… I see variations on this general advice quite a lot for women, but don’t forget about doing the same for men. It’s great to see how eager a lot of artists are to experiment with the female form that is simply absent in a lot of mainstream media, but I find that men really tend to fall by the wayside here even though they often get equally shallow treatment in the mainstream. There’s usually like 2-3 ‘go-to’ body types for men and that’s it. Men’s bodies can have the exact same amount of variety as a woman’s, including the individual ways the fat can be distributed on it, and the assorted ways their proportions can be played with. Whenever I find an artist that does this it’s like striking gold to me tbh. 

So there’s some very rough hows. But, perhaps even more importantly than any of that, is WHY you make these choices. This is going to get a little stream of consciousness, but with a question this broad, I tried to hit on as many general points I could think of in regard to my own process.

-When I start to design a character, I really need to have an understanding of them first. This includes things like backstory, personality, habits, so and so forth… Yes, all of this stuff shows up in their design, even if it’s just a drawing of them standing straight up. This isn’t just like ‘this character got this scar at age 7 so I need to know where it goes′, I mean in depth info about them. I touched on this a little bit earlier, bringing up the different ways a character would assume the same general pose, but let me expand on that. -What do I mean by personality? So there’s the most obvious answer, which is that a bubbly character will assume bubbly poses, a sullen character will slouch more, etc… But let’s take it further than that. This is a concept I’ve touched on in past tutorials, but here’s a quick recap. A character’s personality involves their opinions, for one; how do you make that show up in their design? Well, one of the most obvious questions I always ask myself is: what is their opinion on their own appearance (the thing we are drawing)/how do they want to be perceived by others? Consider a strong character. I see a lot of artists who take this thought as far as: okay, this character is strong, so I’m gonna throw a 6 pack on him, maybe a nice pair of guns, and call it a day. Which leads to like, nice art, but also...kind of bland? I think that’s because this is a rather half-baked approach. How can we take it further? Ask yourself more specific questions. Is your strong character concerned with being perceived as an ‘ideal’ sort of fit by others (the type you give that showy 6 pack to) or does that not matter to them? (more likely to look ‘chubby’ if not outright fat, though probably is just as if not more capable of actually doing some real heavy lifting than saran wrapped abs man). If they’re some kind of mystical being that can look like whatever they want (ie: the anime waif that can also lift 1000 lbs-trope), you should still take into account their personal perspective on appearance. Don’t just stop at ‘this guy/girl is strong so they’ll look super shredded’ or ‘they’re magic so I’ll do whatever’. Doing this, you’ve instantly lost a chance to inform the audience more about the individual there beyond ‘they’re strong’ -Break it down further with their habits. What is their daily life like? If they’re running ten miles every day they should probably have some strong looking legs. If their job involves a lot of lifting, maybe focus on the upper body more and leave the legs less defined. Do they eat a lot? Or drink? The way the fat distributes in both these cases will be noticeably different (and this isn’t even taking into account points like an endomorph vs an ectomorphs body, which I always suggest reading up on). I’d definitely recommend drawing as many different body types as you can just as studies, in order to add these variations to your mental library. I’m sure every artist has seen this popular athlete line up by now, but really study images like this. Don’t just mindlessly copy what you see when you create your own characters though; think about why those athletes have the bodies they have, what they specifically did to get them like that, and how that can apply to your character’s own life. -One thing that has always bothered me is how often artists are afraid to use the head (not the features; I’ll get to that in a second) as an extension of the body when it comes to imbuing it with variety and character. While it is absolutely possible to have a thin face and a fat body (as is any combo), it’s another missed opportunity not to experiment with chubby cheeks, a soft jawline, etc. It’s a cliche to mention him at this point as an inspiration, but one of my very favorite things about Mucha’s art was how he was able to make fuller faces look so beautiful despite being a rather nontraditional approach (so many art books try to tell you this is a big NO). example, example. These faces actually look like real individuals to me than a drawing that focuses too hard on being generically aesthetically pleasing. -So, facial features. A face with less traditional features isn’t just going to be more memorable than Stock Beautiful Face #73, but it’s basically a more zoomed in version of informing the audience about the character in the same way the body does. -Know tropes, play with tropes, do not rely on tropes. Sunken bone structure, long features-guy will always pretty much read like a villain (or at least someone off-putting), but find somewhere to make the formula your own. Give him thicker eyebrows or big ears. Give the girl with the standard doll-face a nose that sticks out a little more prominently or a crooked smile. -Speaking of are so many different ways to draw a smile, do not underestimate the mileage you can get out of this one feature alone. Artists tend to have a favorite way to draw smiles, in my experience, but remember your character. Would they have a big toothy grin, a handsome ‘cool’ looking smile, a small shy lopsided one, ones that touch the eyes, ones that don’t… This is probably a repetitive point by now but just do whatever you can not to draw the exact same feature on two different characters, and make sure to think through your reasoning for every choice you make. To me, it’s always immediately evident if an artist really knows their character or if they’re just trying to make something aesthetically pleasing. The former is always more attention grabbing in my opinion. -One of my favorite things to consider when designing a character who’s part of a family: genetics and how you can play with them to inform the audience more about the character’s story. Does this character take after their mother or father? How? Why? Why why, you might ask? This isn’t a photo of a real person, this is an illustration that you should be making deliberate choices about every step along the way. It’s one thing to draw a character that looks like their parent simply because logic dictates they should, another to make meaningful decisions as to where and why they do. Some examples: He has his father’s eyes because they carry the same intensity and other characters are a little put off by him because it (conversely, maybe he’s such a gentle character that this detail stands out twice as strongly). He has the same hair as his father, but he styles it differently to avoid the association. She has her mother’s nose which everyone compliments her on so shes happy to be seen in profile. She has her father’s broad shoulders and she’s a little self conscious about it so she tends to wear baggier clothing. Etc etc! In all these cases, you can communicate these details through even a simple drawing of the character standing alone, and should try to as often as you can. -In the end, the only way you’re going to know how to draw all these different details, whether they be different body types or different facial features, is by studying real people. Draw as many different kinds as you can, add them to your mental library. Your reference will never give you everything you need to work it, and I’m not sure if that’s maybe what this question as getting at-- if I have a reference folder of go-to ‘types’ or something. I don’t. I have a folder of poses labeled with characters I think they’d fit, and that’s about it. If you’re just imitating what you see in a photo, you’ll always be drawing That Person, not Your Character. So you are going to have to pull some of it out of your brain. Note, however, the important difference between just ‘making it up’ and recalling information you’ve studied in the past. That said, while on this last topic of expanding your mental library, that includes not just doing studies, but also learning and observing the ways other accomplished artists work. Here are some of my book recommendations when it comes to those which have most helped me in regard to this particular subject. This includes books that specifically tell you how to vary your body types, but also ones that just have a lot of examples of different kinds: Morpho: Anatomy for Artists Morpho: Fat and Skin Folds Famous Artists School Course in Illustration and Design (If anyone is interested in this one and has trouble finding a non $500 copy, hit me up and I’ll help you out) Spirit of the Pose Anatomy Lessons from the Great Masters Drawing People: How to Portray the Clothed Figure Figures from Life (my favorite currently; not the most varied array of figures but he goes in depth on how to successfully grow an academic study of a model into an illustration influenced by your own ideas and personal style) If you found this answer helpful, although it isn’t specifically about character design, I go a little more in depth about some of the topics I briefly covered here (such as choosing the right reference, good vs bad reference in general, honing in on shapes, pushing the pose, etc) in this short book of mine :>

[bekahdoesnerdshit]

IT’S GAYBOY TIME. 👫 for zize and raini AND ayen and vinny.

Ahahah!!! Gayboy friendboy!!! Protip: If you and your friends make your dnd characters also be friends, that’s TWO layers of friendship!!!!  (Send a 👫and I’ll write four headcanons I have about our muse’s relationship)

Zize and Raini

1. Raini takes food off of Zize’s plate constantly. It’s not because she’s hungry and didn’t get enough for herself, it’s not because she didn’t like what she ordered and wanted something else, it’s because she’s an asshole. Zize addressed this issue by leaning Really heavily into snacking on bugs for a solid two weeks. There’s only so many times you can steal a bite of food, hear a crunch, and spit out bug parts before you stop taking food without permission. 2. Kirsi likes Zize almost as much as she likes Raini. She will, especially as a dog, sprawl out across Zize almost as often as she sprawls across Raini.  It’s genuinely like 50/50, and goes up to like 70/30 if they are Mad At Each Other. Don’t you dare acknowledge it, or you’ll ruin the whole thing.  3. Zize’s room was the first room Raini designed for the mansion. There’s more than one sketchy prototype on a folded piece of paper stuffed between pages of Raini’s journal, and her designs varied Wildly before she committed to the final design. When your love language is gifts, and your present is a magic house, everything has to be Perfect.   The one thing that was present in all the designs, though, was the little door in the back of the room, and the matching one in Raini’s. 4. Raini knows the exact moment she decided she would, privately, admit Zize was her “friend”. It was stupid late at night after an Exhausting day, and they’d just spent the last like hour of it stumbling through a pitch black forest to try and avoid a group of mercenaries they just didn’t have the energy to deal with that late in the day. Raini can see pretty well in the dark, but Zize was having a Much harder time getting by. And he was trying to lead, because he knew Raini hated being in front, but-- Fuck, it was hard to watch! So Raini had made a show of huffing and muttering something under her breath, and pushed past Zize to take the lead. When she felt a hand brush against her elbow a few minutes later, she’d sighed again but reached back to take the hand in hers “just because I know you can’t see, alright? Don’t make it weird.” She didn’t look back, but she just knew Zize was grinning behind her in the dark. Fucker. She didn’t let go though, like she might have a few weeks ago. Because they were “friends”, or whatever. Because apparently, sometimes, you have to have your friends’ backs. 

Ayen and Vinny

1. Ayen! Thinks! Vinny’s! Outfit! Slaps. It’s fine. Why the side eye from other people? There’s nothing wrong with someone dressing the way that makes them happy. Fuck you.  2. Ayen also thinks Vinny likes her terrible jokes. Does she? Impossible to say. That does not change the fact that Ayen thinks she does, which means that while she’s never the target of them (because it won’t get Ayen the groan she wants as a reaction) she is always the recipient of the “huh? uh huh?” grin that follows terrible puns.  3. Vinny! Is very strong. Very broad shouldered. And do you know what broad shoulders are good for! Getting on up there! Rides! If Vinny is into it Ayen is 10000% down to scramble on up there to ““keep lookout”“ and be rowdy and tall. Fuck yeah. Roona was right having tall friends S L A P S!  4. Vinny has not let Ayen live down that one time she bit her for no reason. It’s not malicious, especially because it didn’t really hurt, but she thinks it’s funny as shit. Ayen is, for maybe the first time in her life, a little embarrassed about some impulsive thing she did. It’s a pretty good trump card in any inconsequential debate, and it’s pretty funny to watch Ayen get a little flustered for once.