#hard in the other direction

[cabeswaterdrowned]

which tda book is your favorite?

Lord of Shadows slightly edges out Lady Midnight although they’re really close since I love both so much… but LoS has the overall most impactful arcs and storylines to me the section in the Unseelie Court is probably my favorite part of the series, and the ending packs a big emotional punch to say the least. It might be my favorite tsc book period actually I really love LoS. Also like I just said in the previous ask I tend to be a middle book(s) or middle seasons girlie it’s just who I am. I think this book struck a neat balance between being character driven and plot driven that was extremely effective although to be clear it would probably also be my favorite if it was just character centric filler angst about Emma&Jules because that’s who I am… but I’m still glad it was more than that! LM is also wonderful in a way that few first books in fantasy series are to me usually there’s a slow burn for me to be really invested but not here, and the whole murder cult mystery with body horror (had forgotten about the missing hands that made it even better) + forbidden romance + familial dynamics themes combo and vibe really works for me. Qoaad is my least favorite of the three but I still really like it, and I definitely thought far better of it on reread compared to when I first read it since back then I had been anticipating it so hard and theorizing etc. and had very sky high expectations (especially with Clockwork Princess being a rare perfect finale to me and with how much I loved the first two tda books I hoped for Qoaad to accomplish the same thing..) on reread I could evaluate it more for what it is and I came to the conclusion that about 80% of the actual content of the book I am a fan of, it’s just that the pacing of the book is insane. Genuinely if that book was split into two books and they were paced normally I’d have loved them as much as the first two I think! Genuinely I think cc has gotten too attached to trilogies as the sole structure for her work and it’s a big part of why the receptions for her last two finales have been what they are … (well I’m sure there are multiple factors at play but I’m confident that’s one of them) also maybe even effected tmi part 2 because I remember cofa being pretty filler and the plot there feeling like it could be resolved in a duology? I love almost every individual storyline in that book so if you asked me which ones I would snipe for the third book to be paced correctly I’d be hard pressed to get rid of things but if you split it into two books and grounded them each tonally to feel distinct and just gave us some breathing room I think you could stick the landing! But since I like almost every individual element of the book it’s an enjoyable reread when you already know where the story ends up and the best parts of it really work for me / get a level of emotionality from me no tlh or tmi book does so it still ranks high (like #6ish since I like all the tid books more as well as first two tda) for me, I slander her but she’s my bestie <3.

[inkskinned]

the thing about art is that it was always supposed to be about us, about the human-ness of us, the impossible and beautiful reality that we (for centuries) have stood still, transfixed by music. that we can close our eyes and cry about the same book passage; the events of which aren't real and never happened. theatre in shakespeare's time was as real as it is now; we all laugh at the same cue (pursued by bear), separated hundreds of years apart.

three years ago my housemates were jamming outdoors, just messing around with their instruments, mostly just making noise. our neighbors - shy, cautious, a little sheepish - sat down and started playing. i don't really know how it happened; i was somehow in charge of dancing, barefoot and laughing - but i looked up, and our yard was full of people. kids stacked on the shoulders of parents. old couples holding hands. someone had brought sidewalk chalk; our front walk became a riot of color. someone ran in with a flute and played the most astounding solo i've ever heard in my life, upright and wiggling, skipping as she did so. she only paused because the violin player was kicking his heels up and she was laughing too hard to continue.

two weeks ago my friend and i met in the basement of her apartment complex so she could work out a piece of choreography. we have a language barrier - i'm not as good at ASL as i'd like to be (i'm still learning!) so we communicate mostly through the notes app and this strange secret language of dancers - we have the same movement vocabulary. the two of us cracking jokes at each other, giggling. there were kids in the basement too, who had been playing soccer until we took up the far corner of the room. one by one they made their slow way over like feral cats - they laid down, belly-flat against the floor, just watching. my friend and i were not in tutus - we were in slouchy shirts and leggings and socks. nothing fancy. but when i asked the kids would you like to dance too? they were immediately on their feet and spinning. i love when people dance with abandon, the wild and leggy fervor of childhood. i think it is gorgeous.

their adults showed up eventually, and a few of them said hey, let's not bother the nice ladies. but they weren't bothering us, they were just having fun - so. a few of the adults started dancing awkwardly along, and then most of the adults. someone brought down a better sound system. someone opened a watermelon and started handing out slices. it was 8 PM on a tuesday and nothing about that day was particularly special; we might as well party.

one time i hosted a free "paint along party" and about 20 adults worked quietly while i taught them how to paint nessie. one time i taught community dance classes and so many people showed up we had to move the whole thing outside. we used chairs and coatracks to balance. one time i showed up to a random band playing in a random location, and the whole thing got packed so quickly we had to open every door and window in the place.

i don't think i can tell you how much people want to be making art and engaging with art. they want to, desperately. so many people would be stunning artists, but they are lied to and told from a very young age that art only matters if it is planned, purposeful, beautiful. that if you have an idea, you need to be able to express it perfectly. this is not true. you don't get only 1 chance to communicate. you can spend a lifetime trying to display exactly 1 thing you can never quite language. you can just express the "!!??!!!"-ing-ness of being alive; that is something none of us really have a full grasp on creating. and even when we can't make what we want - god, it feels fucking good to try. and even just enjoying other artists - art inherently rewards the act of participating.

i wasn't raised wealthy. whenever i make a post about art, someone inevitably says something along the lines of well some of us aren't that lucky. i am not lucky; i am dedicated. i have a chronic condition, my hands are constantly in pain. i am not neurotypical, nor was i raised safe. i worked 5-7 jobs while some of these memories happened. i chose art because it mattered to me more than anything on this fucking planet - i would work 80 hours a week just so i could afford to write in 3 of them.

and i am still telling you - if you are called to make art, you are called to the part of you that is human. you do not have to be good at it. you do not have to have enormous amounts of privilege. you can just... give yourself permission. you can just say i'm going to make something now and then - go out and make it. raquel it won't be good though that is okay, i don't make good things every time either. besides. who decides what good even is?

you weren't called to make something because you wanted it to be good, you were called to make something because it is a basic instinct. you were taught to judge its worth and over-value perfection. you are doing something impossible. a god's ability: from nothing springs creation.

a few months ago i found a piece of sidewalk chalk and started drawing. within an hour i had somehow collected a small classroom of young children. their adults often brought their own chalk. i looked up and about fifteen families had joined me from around the block. we drew scrangly unicorns and messed up flowers and one girl asked me to draw charizard. i am not good at drawing. i basically drew an orb with wings. you would have thought i drew her the mona lisa. she dragged her mother over and pointed and said look! look what she drew for me and, in the moment, i admit i flinched (sorry, i don't -). but the mother just grinned at me. he's beautiful. and then she sat down and started drawing.

someone took a picture of it. it was in the local newspaper. the summary underneath said joyful and spontaneous artwork from local artists springs up in public gallery. in the picture, a little girl covered in chalk dust has her head thrown back, delighted. laughing.

[poorly-drawn-mdzs]

No time to play. You are being sent away.

[First] Prev <–-> Next

[aq2003]

has anyone gotten the idea that odysseus' storyline in hades 2 is a depiction/exploration of trauma over his SA and how he's blaming himself for things that were out of his control? because that's the impression i'm getting from what i've seen. he talks about "goddesses" as his "greatest weakness" and that "he's not one to say no to them"...

when mel invites him to the bath, he brings up mortals having different standards for intimacy than gods and how it usually has a more romantic/sexual connotation. she then asks if he's uncomfortable and he has a startled reaction and brings up circe and calypso again (but never actually by name)

(this isn't ship/romance bait btw. odysseus knew mel as a kid and they're stated in-game to have a sibling/uncle-niece relationship)

also he grew apart from penelope after his return, but the game makes a point of showing that his love for penelope and telemachus is what drove him on at all so that element of his character isn't brought into question

[butchvamp]

other people have already said it but it’s really soooo lame how Flat elgar’nan and ghilan’nain are. especially when you compare them to solas and mythal. elgar’nan was literally mythal’s husband, they had children together, surely he wasn’t just pure evil the entire time? why don’t we get to see any of their regrets in the literal regret prison that was originally intended for them? (because theyre just evil, of course!) why couldn’t what happened with the titans have been an unintended tragedy born from them just desiring bodies, unknowing that it would hurt and anger the titans, with those consequences spiraling into a brutal and bloody war between them… and then we could have actually seen more of what happened during this war, the impact it had on the titans and dwarves, and the desperation to end it that led to the death of the titans and solas’s regret and the eventual twisting of the evanuris into godhood… but nah. they’re just pure evil.

[blue-mood-blue]

I can pinpoint the moment that destroyed my life today:

It’s been a handful of weeks since Murderbot came within inches of having a new, organic governor module implanted in its head via infection - do you think, maybe, that’s also been hiding behind the redacted? Not the way everything else is, just as a deep-seated reminder of what it can’t afford to lose?

What a way to be told “I love you” - to be told “I will not lose you, I will not let go, I will do the hard part of holding on even if you don’t want me to”

[dunmeshistash]

Mr Meshi, did Mithrun always have no sense of direction? (I thought it might be a side effect of what the demon did to him)

Great question, it's implied his "unique" sense of direction is a result of how his mindset was affected after being a Dungeon Lord, Kabru theorizes that when he finds the secret passage after getting rid of the hipogriff

I think the implication is rather than not having a sense of direction he's moving in a way that made sense in his own Dungeon without thinking about it.

Idk if that makes sense for anyone else but you know when you've been playing one game for so long that when you play a different game with a different way of doing things you get confused for a bit and keep trying to move/do things how you did in the other game? Just me? ok

[smile-files]

something interesting i realized while on the vessel-making screen in the deltarune introduction is that it's physically impossible to make kris: there is no hair that perfectly matches theirs (none have the cowlick or the right jagged shape on the bottom), and there is no sweater that perfectly matches theirs (none have a single stripe). this is fascinating, as it perhaps suggest that, if we (the player) had a choice, we *wouldn't* make kris. they aren't something we want, or are even capable of wanting, rather something we're stuck with.

and i suppose the fact that they can't be *created* as a vessel is telling, because we didn't create kris -- they weren't made for us, they're not a player avatar. they're a pre-existing person we just happen to gain possession of.

we weren't made for each other; they don't want us, and we don't seem to want them either (if the inability to choose to create someone like them says anything); funny, then, that in a way we're "soulmates"...

(both pictures are from the deltarune wiki!)

[horreurscopes]

my guy pretty like a girl & he got fight stories to tell; i see both sides like chanel

[bxsmxx]

i looove the fact oldies station comes right after snap back :((

going from "got a bad feeling that I'm about to break", "bite the hand that helps me, give it finger stitches", and "i have seemed to run out of excuses of why i am this way"

to "when darkness rolls on you, push on through", "in a season of lessons learned in giving up, you learn what you can and can't take", and "you have it down, that old fight for survival"

[thelonelynindroid]

I cannot believe I'm posting art on here again bc I am a generally a phantom on this acc but. Scully study hello xfillios

[beaulesbian]

✨ Happy Birthday Roronoa Zoro ⚔️(11.11)

"Until the day I defeat him and become a master swordsman, I'll never be defeated! Got any problem with that, King of the Pirates?!"

[idontmindifuforgetme]

The whole “be responsible not for other people’s feelings but to them” distinction is so so true… at some point you need to realize that other people’s insecurities really are their responsibility & dimming or contorting yourself to make them feel better helps neither you nor them. Firstly, bc they need to realize what they’re doing and grow up. And secondly, bc you’re not just compromising on a one-time thing. You’re comprising on who you are as a person. I don’t want to look back when I’m older and stay stuck wishing I held my ground despite people’s projections or asserted my presence more or didn’t apologize so much for who I am. I really just want to own everything (the good and bad) & continue doing what makes me happy

[tentacleteapot]

I feel like I can't go five minutes on YouTube without seeing a video named something like "this analog horror series is the SCARIEST SERIES IN THE UNIVERSE" and the thumbnail always looks exactly like this

[wyfy-meltdown]

It's mentioned that in every timeline Sayaka contracts and becomes a magical girl, she becomes Oktavia.

I think this says a lot about Sayaka's mental state. Even if Hitomi doesn't confess to Kyousuke, even if Sayaka and Kyousuke were to date, Sayaka would still become Oktavia.

Maybe it's a case of regretting what she wished for, or falling out of love with Kyousuke, or that her relationship with Kyousuke didn't work out how she had wanted it to. Regardless, something always goes wrong when she makes her wish; and I find that very fascinating.

UPDATE: Sincerely unhappy with how this original post came out (too much focus on Kyousuke which reduces Sayaka's character in a way I don't like); please go to the reblog version.

[egophiliac]

I was wanting to try doing an art piece in the style of the signature spell poster art pieces you create. But I’m not really the best at coming up with a composition for such a thing.

Do you have a process for how you come up with the compositions for them?

oh, awesome! it is an INCREDIBLY enjoyable style to work in; I hope you have fun with it! :D

I'm not great at putting my thought/art process into words, so my apologies if this doesn't make a lot of sense, but I'll try! my first step is always to do a LOT of thumbnails to figure out both the idea and how I want to show it; not trying to do a real sketch or anything, just little doodles to figure out what exactly I'm trying to portray. (I also call these "garbage passes" because they're not meant to be any good, they're just there to throw things out. aha. ha. ...anyway.) I think it's important during that first stage to really focus on the idea and the layout and not to get too bogged down in the actual drawing yet!

I tend to save my final thumbnails, so I'll use 'em as examples (I posted the ones up through episode 5 here if you're interested!) (and, uhhh, spoilers through episode 5 also in this post, hopefully that won't be an issue!)

the main thing I try to think about in composition is balance -- not necessarily in terms of symmetry, but in where each element is placed and how much space it's taking up. remember, empty space is still space! it's also really important to think about the parts that don't have anything in them, as much as the parts that do!

personally, I like to divide things up roughly by both halves and by thirds -- there's a lot more in-depth info out there on why the "rule of thirds" in particular works well visually, but in short, our brains tend to focus on things that are placed closer to imaginary division lines, instead of in the exact center of an image. so even when I'm doing something that is very centered and symmetrical, I try to keep that in mind and generally aim around those for landmarks like faces/eyes (or...where they would be, anyway) and other focal points.

it's not a formula of "the character's face should be in this division of this grid" or anything, more like "our minds like to focus on these areas, let's think about how to use that", if that makes sense! and of course rules are made to be broken, art is lawless anarchy, and so on. but it can be a good starting place for deciding where you want to put things!

(blue - thirds, red - half)

and against the finished versions, because they do usually end up changing a lot (including the empty space of the border):

(...these actually lined up a lot better than I thought they would. :') it makes me look like I do things way more intentionally than I do.)

other stuff I just try to keep in mind is that our eyes like following arcs and paths, which can be a good way to guide the eye:

and frame and control the focus:

honestly, composition is one of those things I feel like I struggle with a lot, so I'm not sure how much of this is helpful or actually makes sense outside of my head. but hopefully it helps a little! it's all just stuff to think about while drawing and not anything hard-and-fast, so don't, like, stress out about making sure things are lining up exactly on the thirds or anything. again, it's more "our brains think these are the dopest parts of the rectangle" than anything else! take advantage of the cool parts of the rectangle!

NOW GO HAVE FUN DRAWING seriously though, it is always super cool that other people like this idea and style enough to want to do it themselves and for other/their own characters! thank you! ❤️❤️❤️