#egs new comics

[egscomics]

"One more thing..."

Is Larry Columbo? No. He attempted to achieve Columbo's hairstyle, but went even further beyond, and is no longer eligible to be a detective.

[danshive]

Have confidence!

No confidence.

Unless confidence.

I'm not even sure what I'm writing down here, but it sure is something.

[moe-broey]

Now see him (closer to) Canon style.

With some. Fucking Shapes....

He really is. So. So designed. And I fucking hate. HATE. How it All Fucking Works, Actually. But at what cost.... (my sanity.)

Things I go back and forth on:

Drawing the individual scales on his chainmail. It DOES look better if you go out of your way to do that. But for me it really just depends on the vibe of the piece (like this more serious endeavor I'm gonna draw each, but for quick sketches/shitposts I just do the wave. Equivalent of drawing a seagull like -> m )

Things I modify: Almost fucking everything. Next

Things I never include (and why):

> Hhow... Hhhow do you have That Many Belts.... SIR......... (don't even get me started on how that strap across his chest doesn't even wrap fully around like a shoulder bag DO NOT GET ME FUCKING STARTED.....)

> The gorget. The neck guard thing. It just makes posing a pain in the ass. You wouldn't think so, maybe. But for me the collar bone is huge in trying to get a sense for where everything should be! From posing to perspective even!!!

> The thigh armor. We've been over this. This is the entire reason we're here. I need to kill him.

> You CANNOT make me draw his fucking crown WITH his stupid fucking hair AND the very specific wavy way I draw it YOU CAN'T MAKE ME. YOU CAN'T DO THIS TO ME. Everyone else who does this and have found ways around it/to implement it into their work ARE FAR STRONGER THAN ME. I'LL THROW UP. AND CRY‼️‼️‼️‼️‼️

Things I fuck up and forget on a regular basis: A lot.

[selambenaptalkumrall]

[end-orfino]

people should show their first drawings/animatics/writings more often. I won't do it but you guys definitely should

[arolesbianism]

Sorry for failing to post more than once every 3 am anyways more stalien icons 👍

[wanderingandfound]

How many Steve/Bucky fics do you think have been titled with some variation of "Leave all your love and your longing behind. You can't carry it with you if you want to survive."?

[fuckyeahgoodomens]

The Radio Times magazine from the 29 July-04 August 2023 :)

THE SECOND COMING

How did Terry Pratchett and Neil gaiman overcome the small matter of Pratchett's death to make another series of their acclaimed divine comedy?

For all the dead authors in the world,” legendary comedy producer John Lloyd once said, “Terry Pratchett is the most alive.” And he’s right. Sir Terry is having an extremely busy 2023… for someone who died in 2015.

This week sees the release of Good Omens 2, the second series of Amazon’s fantasy comedy drama based on the cult novel Pratchett co-wrote with Neil Gaiman in the late 1980s. This will be followed in the autumn by a new spin-off book from Pratchett’s Discworld series, Tiffany Aching’s Guide to Being a Witch, co-written by Pratchett’s daughter Rhianna and children’s author Gabrielle Kent. The same month, we’ll also get A Stroke of the Pen, a collection of “lost” short stories written by Sir Terry for local newspapers in the 70s and 80s and recently rediscovered. Clearly, while there are no more books coming from Pratchett – a hard drive containing all drafts and unpublished work was crushed by a vintage steamroller shortly after the author’s death, as per his specific wishes – people still want to visit his vivid and addictive worlds in new ways.

Good Omens 2 will be the first test of how this can work. The original book started life as a 5,000-word short story by Gaiman, titled William the Antichrist and envisioned as a bit of a mashup of Richmal Crompton’s Just William books and the 70s horror classic The Omen. What would happen, Gaiman had mused, if the spawn of Satan had been raised, not by a powerful American diplomat, but by an extremely normal couple in an idyllic English village, far from the influence of hellish forces? He’d sent the first draft to bestselling fantasy author Pratchett, a friend of many years, and then forgotten about it as he busied himself with continuing to write his massively popular comic books, including Violent Cases, Black Orchid and The Sandman, which became a Netflix series last year.

Pratchett loved the idea, offering to either buy the concept from Gaiman or co-write it. It was, as Gaiman later said, “like Michelangelo phoning and asking if you want to paint a ceiling” The pair worked on the book together from that point on, rewriting each other as they went and communicating via long phone calls and mailed floppy discs. “The actual mechanics worked like this: I would do a bit, then Neil would take it away and do a bit more and give it back to me,” Pratchett told Locus magazine in 1991. “We’d mess about with each other’s bits and pieces.”

Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch – to give it its full title –was published in 1990 to huge acclaim. It was one of, astonishingly, five Terry Pratchett novels to be published that year (he averaged two a year, including 41 Discworld novels and many other standalone works and collaborations).

It was also, clearly, extremely filmable, and studios came knocking — though getting it made took a while. rnvo decades on from its writing, four years after Pratchett's death from Alzheimer's disease aged 66, and after several doomed attempts to get a movie version off the ground, Good Omens finally made it to TV screens in 2019, scripted and show-run by Gaiman himself. "Terry was egging me on to make it into television. He knew he was dying, and he knew that I wouldn't start it without him," Gaiman revealed in a 2019 Radio Times interview. Amazon and the BBC co-produced with Pratchett's company Narrativia and Gaiman's Blank Corporation production studios, with Michael Sheen and David Tennant cast in the central roles of Aziraphale the angel and Crowley the demon. The show was a hit, not just with fans of its two creators, but with a whole new young audience, many of whom had no interest in Discworld or Sandman. Social media networks like Tumblr and TikTok were soon awash with cosplay, artwork and fan fiction. The original novel became, for the first time, a New York Times bestseller.

A follow up was, on one level, a no-brainer. The world Pratchett and Gaiman had created was vivid, funny and accessible, and Tennant and Sheen had found an intriguing romantic spark in their chemistry not present in the novel.

There was, however, a huge problem. There wasn't a second Good Omens book to base it on. But there was the ghost of an idea.

In 1989, after the book had been sold but before it had come out, the two authors had laid on fivin beds in a hotel room at a convention in Seattle and, jet-lagged and unable to sleep, plotted out, in some detail, what would happen in a sequel, provisionally titled 668, The II Neighbour of the Beast.

"It was a good one, too" Gaiman wrote in a 2021 blog. "We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published, Sandman became SANDMAN and Discworld became DISCWORLD(TM) and there wasn't a good time."

Back in 1991, Pratchett elaborated, "We even know some of the main characters in it. But there's a huge difference between sitting there chatting away, saying, 'Hey, we could do this, we could do that,' and actually physically getting down and doing it all again." In 2019, Gaiman pillaged some of those ideas for Good Omens series one (for example, its final episode wasn't in the book at all), and had left enough threads dangling to give him an opening for a sequel. This is the well he's returned to for Good Omens 2, co-writing with comic John Finnemore - drafted in, presumably, to plug the gap left Pratchett's unparalleled comedic mind. No small task.

Projects like Good Omens 2 are an important proving ground for Pratchett's legacy: can the universes he conjured endure without their creator? And can they stay true to his spirit? Sir Terry was famously protective of his creations, and there have been remarkably few adaptations of his work considering how prolific he was. "What would be in it for me?" he asked in 2003. "Money? I've got money."

He wanted his work treated reverently and not butchered for the screen. It's why Good Omens and projects like Tiffany Aching's Guide to Being a Witch are made with trusted members of the inner circle like Neil Gaiman and Rhianna Pratchett at the helm. It's also why the author's estate, run by Pratchett's former assistant and business manager Rob Wilkins, keeps a tight rein on any licensed Pratchett material — it's a multi-million dollar media empire still run like a cottage industry.

And that's heartening. Anyone who saw BBC America's panned 2021 Pratchett adaptation The Watch will know how badly these things can go when a studio is allowed to run amok with the material without oversight. These stories deserve to be told, and these worlds deserve to be explored — properly. And there are, apparently, many plans afoot for more Pratchett on the screen. You can only hope that, somewhere, he'll be proud of the results.

After all, as he wrote himself, "No one is finally dead until the ripples they cause in the world die away, until the clock wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someone's life is only the core of their actual existence."

While those ripples continue to spread, Sir Terry Pratchett remains very much alive. MARC BURROWS

DIVINE DUO

An angel and a demon walk into a pub... Michael Sheen and David Tennant on family, friendship and Morecambe & Wise

Outside it's cold winter's day and we're in a Scottish studio, somewhere between Edinburgh and Glasgow. But inside it's lunchtime in The Dirty Donkey pub in the heart of London, with both Michael Sheen and David Tennant surveying the scene appreciatively. "This is a great pub," says Sheen eagerly, while Tennant calls it "the best Soho there can be. A slightly heightened, immaculate, perfect, dreamy Soho."

Here, a painting of the absent landlord — the late Terry Pratchett, co-creator, with Neil Gaiman, of the series' source novel — looms over punters. Around the corner is AZ Fell and Co Antiquarian and Unusual Books. It's the bookshop owned by Sheen's character, the angel Aziraphale, and the place to where Tennant's demon Crowley is inevitably drawn.

It's day 74 of an 80-day shoot for a series that no one, least of all the leading actors, ever thought would happen, due to the fact that Pratchett and Gaiman hadn't ever published any sequel to their 1990 fantasy satire. Tennant explains, "What we didn't know was that Neil and Terry had had plots and plans..."

Still, lots of good things are in Good Omens 2, which expands on the millennia-spanning multiverse of the first series. These include a surprisingly naked side of John Hamm, and roles for both Tennant's father-in-law (Peter Davison) and 21-year-old son Ty. At its heart, though, remains the brilliant banter between the two leading men — as Sheen puts it, "very Eric and Ernie !" — whose chemistry on the first series led to one of the more surprising saviours of lockdown telly.

Good Omens is back — but you've worked together a lot in the meantime. Was there a connective tissue between series one of Good Omens and Staged, your lockdown sitcom?

David: Only in as much as the first series went out, then a few months later, we were all locked in our houses. And because of the work we'd done on Good Omens, it occurred that we might do something else. I mean, Neil Gaiman takes full responsibility for Staged. Which, to some extent, he's probably right to do!

Michael: We've got to know each other through doing this. Our lives have gotten more entwined in all kinds of ways — we have children who've now become friends, and our families know each other.

There have been hints of a romantic storyline between the two characters. How much of an undercurrent is that in this series.

David: Nothing's explicit.

Michael: I felt from the very beginning that part of what would be interesting to explore is that Aziraphale is a character, a being, who just loves. How does that manifest itself in a very specific relationship with another being? Inevitably, as there is with everything in this story, there's a grey area. The fact that people see potentially a "romantic relationship", I thought that was interesting and something to explore.

There was a petition to have the first series banned because of its irreverent take on Christian tropes. Series two digs even more deeply into the Bible with the story of Job. How much of a badge of honour is it that the show riles the people who like to ban things?

David: It's not an irreligious show at all. It's actually very respectful of the structure of that sort of religious belief. The idea that it promotes Satanism [is nonsense]. None of the characters from hell are to be aspired to at all! They're a dreadful bunch of non-entities. People are very keen to be offended, aren't they? They're often looking for something to glom on to without possibly really examining what they think they're complaining about.

Michael, you're known as an activist, and you're in the middle of Making BBC drama The Way, which "taps into the social and political chaos of today's world". Is it important for you to use your plaform to discuss causes you believe in?

Michael: The Way is not a political tract, it's just set in the area that I come from. But it has to matter to you, doesn't it? More and more as I get older, [I find] it can be a real slog doing this stuff. You've got to enjoy it. And if it doesn't matter to you, then it's just going to be depressing.

David, Michael has declared himself a "not-for-profit" actor. Has he tried to persuade you to give up all your money too?

David: What an extraordinary question! One is always aware that one has a certain responsibility if one is fortunate and gets to do a job that often doesn't feel like a job. You want to do your bit whenever you can. But at the same time, I'm an actor. I'm not about to give that up to go into politics or anything. But I'll do what I can from where I live.

Well, your son and your father-in-law are also starring in this series. How about that, jobs for the boys!

David: I know! It was a delight to get to be on set with them. And certainly an unexpected one for me. Neil, on two occasions, got to bowl up to me and say, "Guess who we've cast?!"

How do you feel about your US peers going on strike?

David: It's happening because there are issues that need to be addressed. Nobody's doing this lightly. These are important issues, and they've got to be sorted out for the future of our industry. There's this idea that writers and actors are all living high on the hog. For huge swathes of our industry, that's just not the case. These people have got to be protected.

Michael: We have to be really careful that things don't slide back to the way they were pre the 1950s, when the stories that we told were all coming from one point of view and the stories of certain people, or communities within our society, weren't represented. There's a sense that now that's changed for ever and it'll never go back. But you worry when people can't afford to have the opportunities that other people have. We don't want the story that we tell about ourselves to be myopic. You want it to be as inclusive as possible

Staged series 3 recently broadcast. It felt like the show's last hurrah — or is there more mileage? Sheen and Tennant go on holiday?

David: That's the Christmas special! One Foot in the Algarve! On the Buses Go to Spain!

Michael: I don't think we were thinking beyond three, were we?

So is it time for a conscious uncoupling for you two — Eric and Ernie say goodbye?

David: Oh, never say never, will we?

Michael: And it's more Hinge and Bracket.

David: Maybe that's what we do next — The Hinge and Bracket Story. CRAIG McLEAN

[rebellum]

While I can appreciate it being available for people's comfort, overall I am HARDCORE against that extension to read homestuck that removes all the slurs. In order to understand a piece you have to understand it in the time period and social context in which it was written.

Some things, like the removal of the word "retard", don't impact the comic THAT much

But the removal of the word "faggot" / "fag" absolutely changes the text. You cannot understand the characters relationships, eg John, Dave, and Karkat, without understanding the social context of early 2010s homophobia and how that factors into the characters decisions and relationships, as well as into the narrative framing of it. The fact that gayness is a joke and an insult MUST be understood in order to understand how queer characters relate to each other and to queerness.

Slurs aren't just incidental, they're indicative of cultural norms of acceptance and being, they show how people think of something. If you take the prejudice out of a piece of media you are no longer left with the media, you are left with a new thing that has a different context.

[egscomics]

New comic! No time to preview text!

I made comic! You read! If you want to, that is! I'm keeping this to the point because I need to go to bed and sleep RIGHT NOW!

[danshive]

Talking about FEELINGS! WOO!

Look, I don't want to oversell it, but people openly talking about their feelings is more exciting than ten superb owls!

[kissesbyliz]

meeting the 141 boys for the first time

these are cute individual scenarios that show how i think the reader would meet the boys!!

gn!reader

(feat. simon "ghost" riley, john price, kyle "gaz" garrick, johnny "soap" mactavish)

GHOST

the first time you lay eyes on him would be in your new apartment complex. you would have been left to move your furniture all by yourself after your brothers, ever the immature dorks they were, ditched you to participate in some influencer's video who had been looking for volunteers in your area. "this is a once in a lifetime opportunity that will never happen again." they had told you grimly, before driving off and leaving you stranded with all your new furniture in front of the tall building.

it was early in the morning, the lights in the hallway shining in his eyes just a bit too harshly as simon exited his apartment. he was preparing to leave to pick up some groceries, having just ran out of his toothpaste. he grumbled, feeling a bad mood start to settle in him from the various inconveniences that had already managed to arise in his day.

that's when he saw you. his new next door neighbor, who was apparently in the process of transporting a large shelf towards their open door all by themselves. the size of the furniture compared to you was almost comical, and your effort in moving the heavy object showed in every laborious step. it was a ridiculous sight to see, and he couldn't help the snort that he let out. upon hearing the noise, you turn your head to look at him.

"hey, there." you call out to him with a weary smile. "mind giving a neighbor a hand?"

he has some time to spare, he decides, moving to easily pick up the end of the shelf that was dragging miserably on the floor. you peek your head out the side of the shelf to shoot him a toothy grin, quickly thanking him for his aid.

PRICE

you would first see john at a bar, where you were celebrating one of your friends' birthdays. the topic had shifted over to you, after you had reported that the blind date they set you up on the previous night had again went abhorrently. they defended themselves playfully, giggling about "how they were not going to let to you die alone, no matter what it takes."

you mournfully swirled the drink in your glass, shooting them all a lighthearted glare at their remark. you sighed, laying your chin on your hand as you took a moment to gaze around the bar. it was packed, as usual, full of laughter and music.

as your eyes skimmed over the room, they finally landed on a man who was sat at the bar, already peering at you. he was sporting a fleece lined coat with a beanie, beard trimmed neatly and in a way that complimented his features. he was undeniably attractive, exemplified by the way he shot you a charming smile and tilted his glass towards you in acknowledgement.

you gulped, suddenly feeling shy, and turned back towards your group. your friends, having witnessed the whole ordeal, shot you knowing looks, immediately egging you on to go talk to him! with laughter and playful pushes at your shoulder.

after an embarrassing moment of encouragement from your friends, you stood up, liquid courage burning in your veins. you moved over to his position, weaving through the people in your path. he smiled warmly to welcome you as you slid into the empty seat in front of him.

"hey." you started, giving him a sheepish grin.

GAZ

you met gaz on the street of a shopping plaza, an impressive amount of shopping bags grasped in your hands. they were all gifts for your younger cousins and other distant relatives, after your parents had reminded you sternly that you needed to get them each something for the holidays.

kyle was having himself a smoke, trying to get his mind off of his previous week. he was trying to stop for good, but this was the kind of day that just required a cigarette. the consequences of him and his task forces' actions, the gravity of them, was weighing especially heavily on his shoulders today.

all of a sudden, he heard a yelp, then the thud of multiple objects hitting on the floor. he glanced over to see you holding a now ripped open paper bag among your other shopping bags, with a multitude of small toys and figurines at your feet.

you were near tears in that moment, already fed up from the pressure of your parents now added with the embarrassment that came from the combination of laughter and pitiful glances passerbys shot your way. you crouched down and began picking the figurines up, reminding yourself gingerly in your head to take deep breaths.

pity instinctively squeezed his chest at the sight, your pretty eyes peering down at the toys dejectedly. kyle moved immediately, tossing his cigarette and squatting down, picking up the objects beside you. he gave you a sweet and reassuring smile, "bad day too, huh?"

"any chance i could buy you a drink to wipe that frown off your face?" he continued, standing back up with you. you can't help the genuine smile that stretches across your face at his proposal, your first smile of the day, shyly nodding with a small sniffle.

SOAP

you first came into contact with johnny at a fair in your town. the two friends you had came with left to ride one of the fair's intense rides, but you decided to stay behind to give your stomach a break from all the rides you all went on previously. tired of waiting on a bench for your companions, you decided to get up and browse the games the fair had to offer.

eventually, you come across a balloon popping game, which had the participants competing against each other to pop as many balloons as they could with mock rifles. you smile confidently as you walked over, recalling winning this game plenty of times in the past.

alright, a little competition can't hurt, you decide, making a show of cracking your knuckles and rolling your shoulders. the man beside you lets out a hearty laugh at your display, and you turn to face your opponent.

he was a tall man with a muscular build, a messily styled mohawk, and blue eyes that shined with a mischievous glint. he winked at you, meeting your gaze, "good luck. let's have some fun, yeah?"

"yeah, you'll need it." you retorted back playfully.

the game started, and you immediately took to shooting with your gun. to your surprise, most of the balloons on his side were promptly eliminated in quick succession and with pinpoint accuracy. you nervously shifted your attention back to your side of the game, where you managed to pop a mere six balloons, which was actually pretty damn good in your opinion.

your eye twitched slightly as you glanced back over to him, your ego bruised a bit. he shoots you a smug grin as he chose his prize; a giant stuffed german shepherd. he saunters over to you, gently booping your nose with the snout of the toy, before walking away. what the hell...

[turndecassette2]

Is it ok if i can ask you how do you go about studying/drawing Heads and faces? i know this is a very broad questions but lets say you were coming up with a character for a new comic, when you go about creating characters what do you pay attention to the most and spend your time thinking about and make soure you got it right?

i love the way you draw faces, it dosnt feel anime and i love the little lines under the eye tear duck :D

Hope this question make sense!

Cilgia

(sorry re-reading your question this answer might be too rambl-y & off the mark. but am leaving this up in case someone finds it helpful)

I have a terrible tendency to just design characters 'on the page' since when I have a perfect sketch I tend to lose that 'look' once I get to the actual comic. idk the 'drawing academy' in viborg had us do a lot of portraits of each-other (you can prob recruit friends/relatives for this if you have any) & when I have time I like to draw ppl at cafés and such, so I have a mental library of face shapes.

in general: like w everything else I think it's good to hoard reference eg models, sports guys etc that have fun faces. put them in a folder on your computer for when you need a nose, good set of eyebrows etc. I've had various folders like this that inevitably get lost when my computer dies ha ha

also just referencing for vibes:

tiger guy from 'world heist' was conceptualised as part corto maltese, part jason momoa as duncan idaho, or my mental image of what the latter would look like, + a vague memory of rob lucci the cat man from one piece (I can't believe I know the names of so many OP characters. or dune characters for that matter)

but then in the end, he's just some guy, & he mostly looks good in profile

drawing the same person several times is hard. I need to standardise his facial markings but no-one seems to care.

'task' meanwhile is kinda a flatmate I had in college but w hair that I wanted to feel a bit 'rey ayanami' but also whatever I imagine a 'hacker' looks like (the cute kind you get in movies, not irl). just messy (ignore my presence in the below photo)

anyways if there's some trick to what I do it's having a wide range of influences

[selambenaptalkumrall]

[cripplecharacters]

hey, that ask about vitligo reminded me - i used to date someone with vitiligo (who struggled with it) and they'd see representation AS fetishisation, since in their mind the recent "widespread acceptance" of vitiligo (eg. in ads) was just some people's "sad attempt to convince others they're more tolerant than they really are". What do you think about that?

Hi, I do get the sentiment, but I don't fully agree with it. [Disclosure, I have a facial difference but not vitiligo specifically].

The recent "boom" in vitiligo representation is largely shallow marketing and often a poor attempt at being inclusive of people with disabilities and facial differences. The media just found the one facial difference that able-bodied people are "fascinated" by and exoticized it to death in order to make them look better. It's not for us. It's a way to seem accepting while cherry-picking the most acceptable representation, because god forbid there was also someone that read as more "obviously disabled/deformed" in their make-up ad or whatever. The way that vitiligo is usually presented is often obviously objectifying; it's like models who have it ARE their vitiligo and don't have anything else to offer, media will often just result to calling them "model with vitiligo does xyz" rather than, IDK, by their own name. They're not treating the people as actual human beings, so the whole basis of "being inclusive" falls comically flat.

TLDR; vitiligo representation is just the marketing's world hilariously exclusive attempt at checking off the disability inclusion box while still making sure it's the abled audience that's comfortable and aesthetically pleased (because god forbid they weren't). Like, sure, I am glad that they're showing vitiligo as something that shouldn't be hidden, but they're also sending the opposite message to all the other visibly disabled people whose disabilities aren't as "fascinating" to the mainstream, despite the fact that we are all in a similar position and form a community together. It's all about them and none about us.

There's a reason you're not seeing people with neurofibromatosis or severe burns in these mainstream "body positivity! show yourself!" campaigns. They're too much, and the able-bodied audience doesn't like that. People who boast about how "inclusive and accepting they are" don't extend that to everyone, it's only for those that they deem attractive and exotic, as close to an able-bodied, conventionally beautiful person as possible but with something "new" so that they feel good and inspired. It's othering on the very basis of it, and it's a sentiment hardly unique to disability acceptance.

With that said, I don't agree that all representation is fetishization. Huge chunk of it is, sure, I just wrote a mini essay on that. But I think that saying that as a general statement is doing a disservice to both models who are trying to pave the way for other disabled models in the industry and spreading awareness, as well as creators with vitiligo who just want to see themselves in their own work.

Those are my thoughts on this, I'm very much not an expert. Just what I observed in my own life and what I have previously read from FD community members who do have vitiligo

mod Sasza

[itsaspectrumcomic]

Do you have any tips for dealing with big changes (like moving house) as an autistic person? I'll be moving soon and even thinking about it can stress me out so much that I end up shutting down. I love your comics by the way.

Thank you, and I apologise if this sounds awkward (it wasn't intended as such).

I find moving very stressful as well! Here are some things that help me:

If you're worried about being in a new place it can help to look at pictures of your new home and imagine yourself there and where you might put your things. I like to draw my room and also make it in games like the Sims - it helps me process the idea that I'll be living somewhere else soon so it doesn't feel so sudden.

It can also help to check out the area in Google maps and streetview so you can get to know what's nearby as well - what kind of shops, what routes you might need to take regularly.

If you're worried about packing, it can help to have a list of everything you want to bring with you. You might find it easier to sort it by room (eg bedroom stuff, kitchen stuff) and/or category (clothes, books). Once you have a list it's a bit easier to figure out what to prioritise, what can be packed now and what can't be packed until the day of the move because you're still using it, and you can tick off what you've already got in boxes so you know where things are. I find if I write stuff down it doesn't swirl around in my head so much.

Think about the positives of moving and try to get excited about them - will you have more space for yourself, are you closer to people or hobbies you care about, are there green spaces, are you close to other places you like?

Also, decorate your space as soon as possible! Even if you won't be there very long or it's just a small part like around your bed. Unpack your comfort items first, put pictures up, display your favourite plushies, get a plant, anything to make you feel more at home. I used to not bother decorating when I knew I'd be moving again in a year and I didn't realise how difficult it made it for me to feel at home.

Remember it's OK to ask for help or take a break if you're overwhelmed. Moving is one of the most stressful life events you can go through even for neurotypicals so it's completely understandable to be struggling. Even though moving can get really busy, don't forget to dedicate some time to a special interest or things that make you happy.

Good luck with your move! I hope everything goes smoothly :)