#i can't draw real people...

[bixels]

I'm not explaining why re-imagining characters as POC is not the same as white-washing, here of all places should fucking understand.

[bacchuschucklefuck]

space sweepers but they're delivery people and are at no point on screen through the entire movie

[vibinginthebg]

✨Some doodles of the siblings to try to see how to draw them ✨

(I am super late to the party hello)

[hiding-under-the-willow]

Sorry, I rewatched the sonic movies and remembered they were everything to me

Anyways, *puts your faves in the Leyendecker painting*

[silusvesuius]

nnnnnnnnnnnnno maa'am

[junk-heart]

They're falling down that specific canon related hole

Love how Hidan's hair stays in place even though he's falling (the amount of who knows what he puts on his head makes his hair as hard as concrete)

A closer pic

[radley-writes]

I don't understand people who say things like 'but it doesn't matter if we don't pay artists/writers for their labour, or use free AI programs to replace artists/writers to improve our profits, because in a perfect world everyone would have UBI so it wouldn't matter xxx'

like. yes. but until we reach that perfect world, artists and writers need to eat?

why are you promoting AI replacement of creative people instead of working towards UBI? Until we have UBI, supporting generative AI in the creative field is no different to supporting supermarkets laying off all their till staff to turn to self-check out, or supporting factories who shut down and move overseas to exploit workers in countries with fewer human rights legislations?

Yes, in a perfect world, everyone would receive UBI. Therefore, people across the globe couldn't be exploited by corporations, and artists could create for the joy of it, in whatever way we desire - including with AI!

But we do not live in that perfect world.

Do you seriously expect this move towards generative AI to encourage people to support UBI, as opposed to people being forced into jobs they hate to make ends meet or no longer being able to support themselves financially?

Especially all the disabled people who make a living creating art and writing/editing, because that is, in fact, a career that is often far more available to disabled folks than a regular 9-5 or a retail job where you're expected to be on your feet all day (miss my disabled ass with the 'anti-AI = ableism' stance lmao).

This is not going to create your army of revolutionaries. This is just going to result in more independent creators being crushed under the boot heel of capitalism, as anyone who would've hired them flocks instead to the free alternative, and they're forced back into an incredibly exploitative labour market.

I agree that generative AI by itself is just a tool and is not inherently a problem.

But it is being abused, in ways that hurt creators.

If you support generative AI... what are you doing about that?

[sailing-ever-west]

One Piece is proof that in the end there's nothing a creator can do to stop fans from completely misunderstanding it at a base level. Like imagine being handed the most punk, anti-establishment narrative of the century where the characters all come from wildly different often marginalized backgrounds and punch tyrants all day long and then watching the live action where the cast was chosen by the og creator and going "why are there black people in this :/"

[goodtimeswithgrian]

local cat desired carnally by every bird he interacts with

[deoidesign]

.

[capn-twitchery]

collecting the variants of grace's stupid "your obedient servant" letter signoffs to file away for replies & there's so many. and not a single one doesn't feel at least 20% homoerotic

[greenerteacups]

Hi! I am an ardent fan of your writing, and I hope to be as sorted and planned as you some day in my own writing journey.

My question is: you have a keen eye when it comes to planning character personality, dynamics, and such. I've also been wading through your ask replies, and your insights into how you write people and how you make them play off of each other is so wonderful to read. If it's not too personal a q, how did you learn how to write like this? Did you go to school for writing, does it come from years of observing people, do you have reading list recs for "how to write real people and real interactions"?

Thanks! This is a really flattering question. I'll try to answer it honestly, because I wish someone had been brutally honest about this with me when I was a young writer.

I didn't go to school for writing. I started doing it when I was about nine years old. It sucked very badly. I kept writing throughout high school, and it still mostly sucked, but some of it was occasionally interesting. ("Interesting" here does not mean "good," by the way.) I took a break in college, and then came back. I've been writing ever since. Sometimes, I feel good about it. A lot of the time, I don't!

I hate giving this advice, because I remember how it feels to get it, and it's the most uninspiring, boring-ass, dog shit advice you can get, but it's also the only advice that is 100% unequivocally true: you have to write, and specifically, you have to write things that suck.

I do not mean that you should make things that suck on purpose. I mean that you have to sit down and try your absolute hardest to make something good. You have to put in the hours, the elbow grease, the blood, sweat, and tears, and then you have to read it over and accept that it just totally sucks. There is no way around this, and you should be wary of people who tell you there is. There is no trick, no rule, no book you can buy or article you can read, that will make your writing not suck. The best someone else can do is tell you what good writing looks like, and chances are, you knew that anyway — after all, you love to read. You wouldn't be trying to do this if you didn't. And anyone who says they can teach you to write so good it doesn't suck at first is either lying to you, or they have forgotten how they learned to write in the first place.

So the trick is to sit there in the miserable doldrums of Suck, write a ton, and learn to like it. Because this is the phase of your path as an artist when you find what it is you love about writing, and it cannot be the chance to make "good writing." This will be the thing that bears you through and compels you to keep going when your writing is shit, i.e., the very thing that makes you a writer in the first place. So find that, and you've got a good start.

Some people know this, but assume that perseverance as a writer is about trying to get to the point where you don't suck anymore. This is not true, and it is an actively dangerous lie to tell young writers. You are not aiming to feel like your writing doesn't suck. You are aiming to write. You are aiming to have written. Everything else is dust and rust. And of course, you'll find things you like about your pieces, you'll find things you're proud of, you'll learn to love the things you've made. But that little itch of self-criticism, in the back of your brain — the one that cringes when you read a clunky line, or thinks of a better character beat right after it's far too late to change — that's never going away. That's the Writer part of you. Read Kafka, read Dickens, read Tolstoy, you will find diary entries where they lament how absolutely fucking atrocious their writing was, and how angry they are that they can't do better. A good writer hates their sentences because they can always imagine better ones. And the ability to imagine a better sentence is what's going to make you pick up the pen again tomorrow. And the day after that. And the day after that.

Which is what I mean, and probably what all those other annoying, preachy advice-givers mean, when we say: a good writer is just someone who writes every day. It's that easy, and that hard.

[triglycercule]

small leisurely moments like these mean more than expected

ok hi triglycergang. it's AUGUST?!?!?! ugh,,,, anyways here's my like once a month art piece because i am a slow ass artist. the mtt are supposed to be chatting at a park during sunset!!! also new au just dropped

you wonder why killer dust and horror are wearing those DISGUSTING outfits??? you wonder where killer's soul is??? well it's all gone in this au which is called uhhh.

jk fashion au... wooooo!!

first things first to know: this au is NOT my idea. it was originally someone on twitter's idea to dress sans aus up in nanchatte seifuku but i think their account got deleted/banned. and i cant find the account because it was a japanese account and probably has some random username. so just remember that this isn't my idea but i guess my own twist on it. i really wish i could find the og creator,,,,

second thing to know: what the fuck nanchatte seifuku/jk (just kidding) fashion even is. here's the link to read for yourself: https://aesthetics.fandom.com/wiki/Nanchatte_Seifuku. yeah that's jk fashion. i really loved this au when i found it originally because i myself dress up in jk and also i just really love soft fluffy things like this. this au isn't gonna be angsty or particularly elaborate or anything i just wanted cute things and women in my murder time trio. also this isn't gyaru btw

third thing: uhh my inspirations for this??? well my main one that i really wanna focus on is that feeling of happy sentimental melancholy. you know like after you finish a really fun day hanging out with your friends and youre on the drive home and look back at how fun the day was? that's what i wanna encapsulate :3 also i think that the day to day school life is really cute and sweet and i wanna make more designs for the other aus so my trio can have more people to hang out with

well uhhh i think that's it?? mayhaps i shall begin drafting up other designs for the other aus. i wanna make little mini comics for this too like 4koma because i love those short yet sweet comics!!! should i tag this? i think i should tag this perchance. also extra mtt notes/full designs below became i love these three they're my daughters

[codexu]

Oh my god make it stjop pljeasf

Eddsworld shipping is popping OFF I tell you. I made this at like 3AM and it kinda sucks but thats okay

[forsty]

feels like we need to be way more vocal about bullying people who do AI generated stuff

no fucking tolerance for that soulless piece of crap

[hephaestuscrew]

I'm still thinking about that scene in Victoriocity S3E7 where Fleet runs back towards the Beast so as to lure it into the path of the train...

Clara's exclamation of 'Teamwork, Fleet!' after Fleet says he's got a plan reflects her conviction that any plan that Fleet has will be a shared plan, something they do together.

This conviction is a kind of trust, and that trust is part of the reason Clara takes a moment to realise Fleet has headed back towards the Beast. She trusts that he's following behind her. She keeps talking to him, her words full of optimism.

When she realises Fleet isn't there, she immediately realises what that must mean he's done, and her voice sounds more small and scared than I think we've ever heard it before.

Fleet's attempt at self-sacrifice is a kind of betrayal of Clara's trust, but when he echoes her celebration of their teamwork in a more somber tone, I think it suggests that he understands the weight of that betrayal.

If Fleet's plan is that Clara won't realise he's gone until it's already too late, then he thinks "Teamwork, Clara" will be the last words he'll ever speak to her. In what he imagines will be their final conversation, Fleet affirms Clara's understanding of them as a team who work well together, even as he is making a choice that rejects the possibility of their teamwork in this scenario. It's a recognition of what their dynamic has meant. It's a goodbye and an apology, even if Clara doesn't understand it as such at first.

I don't think Fleet sounds scared as he initially faces down the train. When he shouts "Yeah, this way, you stupid machine! Come on then!", he sounds defiant and grimly determined.

In fact, I don't think he sounds afraid until Clara appears, until she might be at risk of being in the path of the Beast or the train as well. It's when he shouts "Clara, stay back for God's sake!" and "Please, get back!" that there's real fear and desperation in his voice. He can confront the idea of giving his own life, but not the idea that doing so might put Clara in danger.

Another thing about these lines is that the move from 'stay back' to 'get back' suggests that Clara didn't obey his first instruction but got closer to him (and therefore to the path of the Beast and the train) between those two lines.

Then Fleet gives what might be another attempt at his last words: "I'm sorry! I'm sorry."  A repeated apology before an attempted self-sacrifice is an implicit acknowledgement of how much losing him would hurt Clara. He regrets causing her pain.

Even so, he's accepted that he is about to die and that it'd be worth it to destroy the Beast. But Clara very much hasn't accepted either those things. She's still trying to yell over the noise of the train; she's pulling off her ring to throw at him.

I think it's a good illustration of how Clara's optimism is a kind of strength. She always believes that they can "make a new plan" and that it'll be one in which no one has to die. I think Archibald Fleet needs someone like that, someone who'll tell him to drop to the ground when his death advances from both sides, someone who - even in a dark tunnel with an murderous metal monster and a speeding train - won't stop shouting that there's hope.