#i have like an actual storyboard sheet

[sabertoothwalrus]

tips for getting people to like your ocs

*disclaimer: this is based on what’s worked for me, aka an artist that likes to make comics/storyboards. so this advice is directed at people who do that

you can do things like this:

Which is fun! Character sheets like this are great, especially for personal reference! But frankly, I don’t think most people engage with this (at least I personally don’t). You could have the coolest character in the world, but it will be harder for most people to feel invested when they’re presented so neutrally like this.

My main piece of advice is: get better at writing.

That might sound harsh when said like that, but let me explain what I mean! (Not trying to imply you’re bad at writing either!)

What I tend to do is just throw characters into situations with as little handholding as I can. Give enough context that readers can follow along, but don’t feel like they’re being explained to.

what can you learn about the characters through their designs alone? (age, personality, economic status, occupation, etc)

what can you learn about the characters’ relationship though their interactions alone? (are they close? familial? romantic? is there hostility? are they tense/relaxed?)

what are the characters currently doing? what were they doing previously (how long have they been talking)? what are they going to do next? can you convey this without dialogue?

how do they feel about what they are doing? are they content? focused? over/understimulated? would they rather be doing something else?

where are they? does it matter? would establishing a setting in at least one panel clarify the scene? is there anything in the enviroment that could tell some of the story?

what time of day is it? what time of year is it? what is the weather like?

Now, with all this in mind, I'm going to give you another example. I'm going to use completely brand new characters for the sake of the experiment, so you won't have any bias (aka I can’t use Protagonist from above, since you already know all about him).

Did this get more of an emotional response from you than the first example? Why do you think so? Who are these characters? How do they know each other? What else can you infer about them? What happened? Who is "she"?

Now, you don't have to actually answer all those questions. But think about them! You can tell people a whole lot about your characters without ever showing them a list of their likes and dislikes.

Obviously, comics aren't the only way to get people invested in your original characters! But regardless, easily digestible formats will grab people's attention faster than huge blocks of text, and comics are a lot less work than doing wholeass storyboards.

Now go and share your ocs with the world!!!

[empty-movement]

OLD SCHOOL ANIMATION NERDS, I SUMMON THEE TO ASSIST

Hey! Vanna here! So I recently, in a rage at the loss of the end-of-series lot of production materials, bought a cheaper lot I had been curious about, and I kinda struck animation history gold with it! Try as I might to pull the whole context together, I need y'alls help accurately naming and identifying what I have!!! There are MANY MORE of these, all from the same episode, an Utena one, a LOT of Nanami, and a group shot even, all following this similar formula. But let's be honest, Vanna and Yasha wanted that sweet Touga smugness. Analysis and questions below the cut! These aren't ALL the sheets, there are ones for the face shape and sleeve also but to demonstrate. Also, fucking amazingly, I also have the storyboards for this episode, so I can even tell you the shot number is 287 ISNT THAT COOL

So Utena fans. You may or may not know, but episodes 6 and 8 had very chaotic productions, and did end up getting swapped in the end. Per Ikuhara's directory commentary in the Nozomi Blu-ray:

He makes explicit reference here to Akemi Hayashi, credited as the animation director for the episode. I can't recall where I saw it now, but I know the difficulty of drawing Touga on model is mentioned somewhere in all the production stuff I have.

Now. Here's the problem. I DON'T FUCKING KNOW WHAT THEISIWEUGWEYGF what do I callll these. My understanding is the the douga is the final line art, transferred onto the cel, and that is the only thing that you call a douga. A douga is the 1:1 match to its cels in a sequence. With an anime like Utena, it's pretty often going to be included with the cel, if you obtain one. These are douga, the final line art that creates the animation, scans donated by JadeSabre and edited into sequence. The frames are numbered in the top right, and there are no notes or anything drawn on the sheets.

Now. That is NOT what I have above. So none of these materials are douga, they are...genga? Help? (This will get wild with Nanami, where I even have a green sketch that is clearly like, VERY FIRST draft of the shot...)

What I have are the key frames, to my understanding. Meaning these represent a point much earlier in the production process. On first glance, the white sheets are significantly cleaner, but they are also so far off model they're flying along with the Voyager probes in interstellar space. They're very capably drawn, don't get me wrong, but they're clearly done by someone who is not on the Dorito face bandwagon. This is apparently pretty common? You get your initial key frame sketches (genga??) made, and then the animation direction (Hayashi??) grades your work by making messier, but more on model versions of the shots. These are the yellow 'correction' genga?

The douga of this shot are likely with the cels. There are 11 distinct cels of Touga's face (others for the sleeve), guided by the 4 key frame sketches I have here. Looked at individually, I can even see where the filled in frames struggle a bit more to be on model than the key ones, even in the final product.

So clearly, what I have are some pretty early process materials where there was a bit of a back and forth about how to draw the characters. The others I have are similar corrections, but this is the absolute most drastic one. It's like they said 'just do it like kinda shoujo and we'll iron it out later.'

The question I have is...can I safely assume these yellow correction sheets are actually Akemi Hayashi originals? Or would there have been another person in this process doing this correction work instead? Would there be a way to know who drew the original ?genga? That may not be possible to ascertain, but it would be really cool to try, since this episode was a Chaos Production, since I have the actual storyboard for it, since I now have a neat piece of context about what the Chaos might have meant. This shot always stuck out to me in the first arc, because it's true that for a lot of the first arc, Touga and Saionji look....far more like the first drafts here. The strict adherence to the Hasegawa style gets enforced later in the series, but this is an example of the exchange that needed to occur to get folks on board with what was a pretty unique art style.

PS. This is torture, the shape of these means I actually need to make two scans of each one and stitch them together, which is nervewracking when you want them to overlap properly and also you don't want to wreck your toilet paper ass production materials pressing them into the scanner bed. Also several are fucking taped together and lemme tell you, 25 year old 'clear tape' don't stay clear and don't stay sticky.

Basically, any context or knowledge anyone can impart I would appreciate a lot! I know I've got something really cool here, but I am struggling to get much clear information about it, because Google is broken.

[foodfightnovelization]

More Foodfight! Material DISCOVERED

That's right, I'm back. Just like I prophesized in my last post, yet another treasure trove of Foodfight! goodness has been uncovered, and this might be one of the strangest to date...that's right, official Foodfight! Cinnamon Sleuth Cereal was sold at Albertsons back in 2007, over five years before the movie finally came out!

Okay, not really, but I had you going for a second, right? So, this IS a proposed packaging design for actual Cinnamon Sleuth cereal, but it never went into production, it never made it to stores and there was certainly never any actual cereal to be eaten. This, among several other designs and a collection of behind the scenes material, was sent in recently by a Foodfight! crewmember, who explained they were mockups created to show off possible tie-in products. I'm not sure why they chose Albertsons for these mockups but it's likely they were in talks with them at the time and wanted to show off designs including their branding. In any case, I just had the Cinnamon Sleuth box printed because I thought it'd look cool next to my collection of Foodfight! merchandise, and I wanted to see if anyone would be convinced this really existed.

I've included all the designs above in case you want to print your own- there are several more including another cereal, brownie packaging and milk cartons. Curiously, the milk cartons have Farmland Dairy logos on them, with Farmland Milk actually appearing in the finished film at several points. I'd say this confirms my theory these mockups were created to show to companies they were already actively working on deals with, but I can't say for certain that was the case.

Equally curious are these character sheets from 2002, seemingly showing off almost every model created during early production. There are so many fascinating layers to this- Sunshine is still a human instead of a catgirl, showcasing a very different model to the one seen in the initial trailer, and Maximilius Moose is still a dog named Panzer Pup, both aspects that were changed once the decision was made to change Dex to a dog. However, it may be that Dex's human design was edited out and replaced after the fact, given Dex's model here appears to be the one from the finished film (you can tell by the weird hands). In any case, it's fascinating to get a closer look at all these characters- while the majority of the models for the main cast were found recently (see my last post for more on this), there are a bunch of side characters here we've only seen brief glimpses of before, including the Pringles man and the scantily-clad Cherry Waifer. The most fascinating to me however are the Red and Yellow M&Ms- I've read through their scene in the movie's script, I've seen multiple versions of the storyboard, even rough layout animation in the workprint, and it's only now I'm FINALLY getting to see their actual character models and how they would've looked in the Foodfight! artstyle. Sure, they more or less look exactly as they did in M&M commercials that aired around the same time, but it's still amazing to actually see these characters modelled and rendered after analyzing so many different iterations of the scene as it went through development.

The crewmember in question also sent a folder containing over a hundred stills which while at first glance appear to be from the finished movie, are actually subtly different in multiple ways- usually lighting, facial expressions, or background textures like the sky or color of a hill. A lot of these are labelled "fix" which makes me speculate if after the movie was completed, the crew went back and tried to touch up the animation to make it look more appealing before release. Is there a slightly better looking version of Foodfight! somewhere out there in the world? Who knows, but really it would've been like trying to polish a turd. The movie was already ruined by then, and I don't think any number small changes would've done much to salvage it. However, that does bring me to my next interesting point...

There are also storyboards dated May 2011, depicting an alternate opening to the movie giving a much more cinematic introduction to the main characters. It's crazy to think they were still working on storyboards so late in production, but there IS actually a reason for this. I unfortunately can't upload the entire sequence due to this site's image limit, but what you might notice are a lot of characters being described as "flying over the audience", "flying into the camera" or knocking things "into the audience", with some of the boards having "(3D)" written in parenthesis next to them. It's my belief that very late into production, Kasanoff wanted the movie to be 3D, made popular by the then-recent Avatar, and this new opening sequence full of flashy 3D effects was drawn up to show off what they could do with the technology. It's not clear if any of this was ever actually animated, but imagine going to see a movie that advertises itself as 3D but only the first minute contains any 3D elements. Of course, Kasanoff requesting this is only speculation on my part, but given how the movie was ruined by the crew having to cater to his whim of directing the whole thing with motion capture (made popular by the then-recent Polar Express) it's no stretch to assume the 3D opening sequence was a similar situation.

There's a ton more that was sent to us as well, so much so that I could never hope to talk about all of it. However, it should be on archive.org at the time of writing this if it isn't already, and you can now access everything Foodfight! related through the official Foodfight! collection on there!

That's right, so much Foodfight! material has been uploaded over the past year that the Internet Archive gave it its own archive, allowing you to find everything in one convenient place (including my scans of the novelization and Deluxe Sound Storybook). It'll also be updated periodically whenever something new is found, so it'll always be the home to all things Foodfight!. Whether you're wanting to take a look at some concept art shown in ROTTEN: Behind The Foodfight, read through an early draft of the script, or check out something I've talked about on my blog, it's all here at your fingertips.

I don't think there's ever really going to be an end to the depth of the Foodfight! rabbithole. I thought I was done a year ago when I finished analyzing the novelization, and look at everything that's been found since then. Every time I think I'm out, this movie pulls me back in. So...in my next post I'll FINALLY show off my collection of Foodfight! merchandise and talk about what this movie means to me, but that doesn't mean it's the end for this blog. Whenever I say I'm done with Foodfight! I end up jinxing it, so if I try to conclude things now in a few months some CD will show up with a bunch of lost footage on it, I'll get mailed concept art of a bunch of characters we've never seen before, or it'll turn out Larry Kasanoff was actually D.B. Cooper the whole time. So as long as there's something new to discuss, as long as there's a Foodfight to be fought, I'll keep updating this blog from now until forever. You better duck when they launch the cream pies!

[aa-ash3r]

I have decided to try this challange, perhaps to force myself to motivate myself aswell! So have some fun ig? And please don’t spam too much!!/g (i can allow about 10 notes per person!!)

† 20; I’ll drink more water

† 40; I’ll organize my desk,,,

† 60; I’ll start saving more money for myself

† 80; i’ll begin spoiling myself more

† 100; I’ll hide the razors.

† 120; I’ll start weitting this klemapollo fanfic i have in mind

† 140; i’ll begin going out on walks weekly on the weekend

† 160; Finish reading the books i started

† 180; Save money for my own Laptop

† 200; I’ll finish my comms sheet and post it online

† 220; I’ll post more content on socials

† 240; I’ll write the krismi Fanfic i have been meaning to write...

† 260; I’ll try to be more social

† 280; Save money for my own plane trip.

† 300; I’ll try to animate or storyboard something??

† 320; i’ll make myself a portfolio with some of my favourite works.

† 340; I’ll try to work on an animated serie, or a pilot of one.

† 360; i’ll actually take care of myself.

Color notes:

If the challange is on Red, it most likely means im beginning to work on it!

If it’s Orange it means im working on it!

If it’s Green, then it means its likely, done!

Thank you for participating!

[sillygoblinantics]

I CANT TAKE IT ANYMORE

I’ve held my tongue for too long about my feelings on madhouse but fucking hell!

Unless by some fucking act of arceus or universe hands me the fucking concept art that went into this horrible webcomic- I got room to rip and tear!

This is:

Goblin’s Valid Autopsy of Lily Orchard’s PokéMadhouse

Before we go forward!

Hi. I’m Gobbo or Bri (pick ya poison), I’m a current student at Savannah College of Art and Design (as for campus I ain’t saying nothing) Im working on my bachelors in Animation and minoring in Creative Writing. My Concentration starting as 2d animation later switching it to Story and Concept in animation (back in 2021). I started in 2019 and it’s… 2024 now. Don’t judge me! I’ve been mentored by comic artist, storyboarders and many more in the industry! I’ve taken storyboarding and a plethora of writing classes to have enough qualifications under my belt to properly discuss the shit writing, lacking worldbuilding, disorganized plot hole ridden lore/arcs and horrible inconsistent art. So let’s not waste another moment and dive fucking in!

Story:

I’m not using Lily’s self review tvtropes to cover this. It’s disingenuous ego stroking at full blast.

We follow the highs and lows that are the “will they won’t they” relationship between the stated as sisters, Lily and her Gardevoir, G (yes that’s her fucking name). In a Sunday newspaper comic page esc structure. With bits and pieces of trivia and lore that rarely comes up if not to push and pull sympathy points for lilys self insert as she gets assaulted and violated in physical and mental ways. An arc being called “Violate” and later following the would be time span for gestation of a baby that would then become the labeled cryptid child.

I’m gonna be real there’s no point in reading it because the moment something big happens out of the blue there wasn’t a page missing to explain it which god fucking dammit Lily do I need to give you one of those brainframe sheets or outline templates if you decide to write a story? Because I’ll gladly provide them!

How do you consider yourself a fucking writer at all with your fundamental lack of care for lore and story like- for fucks sake woman it won’t kill you!

Characters

Lily

G

Mikayla

Marah

Bonnie

Mismagius

Other hardly seen or used Pokémon that get thrown away out of nowhere

Countless stolen ocs

And Dr Ponytail (yes that’s the fucking name of one of the “antagonists” and I’ve reread it so many times and found nothing!)

Lily has her “antagonists” being either ex friends or partners or someone who tries to call out bullshit! Fucking hell, the way Lily has g written it’s hard to not see HER AS ONE!

You have all these characters and you neglect so many of them to focus on making your favorite Dollies kiss and scissor or do nothing!

You don’t punish actual rapists either like legit what do you do when your Pokémon who’s been raised like a sister your whole life admits to mindfucking you in a weird soul bond type deal (that you wrote the explanation of yourself), then out of fear swaps dna of a Pokémon of her CRITICALLY ENDANGERED SPECIES can match with to save it with your own dna to baby lock you to staying together, what’s the thing you decide to write?

Case in point: stick an entire cactus up your urethra Lily.

I need a break from this… I’m moving on to the art misdirection.

Lily you are the one commissioning these panels from Mikayla. Meaning you are telling her how to draw these making you the literal art director of this shitty comic!

You want my advice?

USE MODEL SHEETS

Like holy shit. I need to copy paste my spiel about what it is one second:

Make a turnaround for your character(s)!

(Excluding front and back you need to make left and right versions of the rest!)

Front

Back

over-the-shoulder

3/4 view

profile

expression sheets

color pallet reference

(if it’s online/digital rgb if it’s for print it’s cmyk)

include the hexcodes for artists if it’s a small production!

lineup for height and scale for comparison to:

other characters

backgrounds

props

etc.

elements of the world + floor plan in small settings

action poses

hair guide (trust me it’s important)

these are the elements every artist who wants to tell a visual story be it animated or comic always needs:

✨A PITCH BIBLE✨

And Lily, if you’re making any story that is

A. Tied to an existing property

B. Has real world/geopolitical/historic relation

C. Needing a basic understanding to science

Do everyone and yourself a favor

AND DO YOUR FUCKING RESEARCH IN MLA FORMAT INSTEAD OF SOMEONE ELSES OPINIONS AND YOUR ASS OF HOLDING BULLSHIT!

Class

Dismissed

Your homework is to get these books:

[genericpuff]

As someone who can't afford to go to animation school n adores your work- are there any advice or tips they taught you could share that transfer to art or comics? I know you talked about learning how to properly reference things which I admit I think I and a lot of other artists struggle with knowing how to do

Ironically enough, as much as I learned that I do NOT have the patience for animating (which is... ironic, considering all the patience that's required to make a comic LMAO) I did still learn a lot from it that I was able to take into comics. Storyboarding was one of the more obvious ones, as storyboards are basically just the "still versions" of an animation before it's been animated, with establishing shots, camera pans, dialogue shots, etc. all of which you'd find utilized in a comic.

Alongside that was learning how to draw consistently. Turnaround sheets are a shared practice in both animation and comics, they're necessary to creating an ongoing project that features the same core cast of characters. Learning how to draw the same characters the exact same way every time in a way that's both consistent and efficient is crucial.

That said, aside from those little starting tips, I do hope that some day you're able to find the means to go to school for animation or whatever it is that you're desiring to go into and learn. Yes, post-secondary schooling is expensive, and there are a lot of risks in pursuing a diploma/degree that can affect your future. That said, as someone who went to a school that literally no longer exists (like fr I don't even know if I can get my transcript anymore so for all I know, the year I spent in animation college only exists in the student loans that I'm still paying off, rip) I still learned and gained so much that I simply wouldn't have in high school or on Youtube. The biggest of which was the environment - being put into an actual dedicated space for learning art, with peers and teachers who were all unified in that space working towards the same goal, made so much more of a difference in my learning than I initially anticipated. I got so much feedback and guidance thanks to my instructors, and it really put me into a space where I was forced to try new things, I couldn't keep relying on the same tricks and comfort zones anymore. If it weren't for my instructors pushing me to step outside of that comfort zone, I never would have learned how to draw from life or use other mediums that subsequently became the foundations of the stuff I make today.

And while a lot of the things they taught I could have learned on Youtube or CTRL+Paint or Draw-a-Box, being in an actual classroom with grades and a schedule to abide by actually kept me moving in a forward direction and gave me so much more help on a personal level than some guy on Youtube could have given me reading from a script or, in this case, some rando on Tumblr responding to anonymous asks LMAO

Obviously, I'm never gonna recommend that anyone put themselves into financial ruin for post-secondary schooling, ESPECIALLY right now with the economy being what it is, but I do hope that if you genuinely want to go to school that you can find the means to do so, whether it's opting for community classes or applying for scholarships/bursaries/grants/etc or even just signing up for a local art class. Do your research on what's available and feasible to you - even art clubs can be super helpful in getting you out there and talking to people! As much as we may all be slaving away over our desks creating our next big piece, art is still a form of community and interpersonal communication - whether it's between you and an audience, or a peer with whom you exchange new ideas and feedback, or a mentor whose skills you hope to inherit and pass on to the next generation.

Until then though, keep creating and keep getting inspired. If you've never drawn from life before, set up a bowl of fruit and draw it as closely as you can to the real thing, or go to the food court and see how quickly you can sketch the people walking by before they're gone. If you've never tried storyboarding before, grab a piece of paper, find a scene from a live action movie you like, and storyboard it as if you were making an animated film. Try things! Fail at it! Try it again! See what happens!

[ameetoe]

Hi Amie! I’m looking to start storyboarding and I wanted to ask you how should I start? I use Clip Studio and I was wondering how to do so like a professional. Thank you!

i always suggest starting by studying your favorite films and shows! watch them alone or with people that are cool with pausing a bunch lol and just roughly draw the shots you see and try to understand why the director chose to shoot them that way. all that matters when it comes to boarding is that your choices are clear and convey your vision, not so much how clean and detailed they are.

my process for actually starting a board project is printing a script, taking blank sheets of paper, or going to a blank canvas on procreate and scribbling out stick figures and ground planes in rectangles to get my rough ideas out there. then i'll go to storyboard pro and actually start boarding.

i've never used csp for storyboarding so i unfortunately cant help you there (i imagine it's similar to boarding on photoshop, but i also have never done that LMAO), but storyboard pro is the industry standard and super easy to use! if you're a student, toom boom gives you a discount or you can pirate it idc lol

[66sharkteeth]

Weekly thoughts! Ep 171

Oh man, this one hurt haha. I'll have you know, as much I tease the 14 Desmond enjoyers, I DID tear up writing and storyboarding this ep.

This ep was pretty straight forward and I don't think it leaves me with too much to say (whoops, I think I said last week I'd have a lot of thoughts on this ep?). Desmond's main character arc was his self-loathing about being a blank. I've been pretty open about writing this series from a queer perspective, and in that sense, I've always viewed Desmond as representation for..... I dunno, Catholic guilt or something haha. You know, the kids who were raised to hate what they are and try as much as they can to not be themselves because they've been told its wrong. I'm happy I got to write him fully overcoming that and learning to love himself, even if it was a really tragic scenario.

Other than that, just a couple of notes addressing a few questions/comments.

Shnee's still just in the building. Ik a few people asked and I really only addressed it in little "like the episode" end tag. Fun fact, he originally was in this entire scene, and I even drew him at first in group shot at the end of 167, but then he just wasn't in frame for the next couple eps, and by the time I had to draw ep 170, I just forgot he was there and left him out of a bunch of wide shots... So it was easier to just go erase him from the group shot in 167 and add that little note about him being inside than add him to all the wide shots of 170 LOL

Claude's extra scars at the end of the ep...

completely an artist error. i have his asset sheet set up so i can switch out the scars depending on what angle the asset is facing, and i just accidentally turned them both on... Normally an error I'd actually fix since it's the final panel of the episode, but my episode buffer has never been so low so i cannot give myself any extra work rn or i'll actually implode into a black hole. :)

[skemford]

Decided to refresh my knowledge of bendy protagonists personalities/quirks and i can say that i forget how distant canon Audrey is from fanon one sometimes

Here's relatively short list with Audrey character analysis+random tibbits (environmental/gameplay/voice lines)

(I'll appreciate if someone will interact+most of it is under the cut!)

1. Her workplace is an unorganized mess

On the right side: a couple of empty teacups, empty paper sheets, unopened envelope, books/notebooks, a toy ball and keys in the middle of the desk, storyboards that are UNRELATED to what she was working on;

On the left side: donut that she kept close to her elbow & storyboards while she was drawing + to-do list for a day

There's no WAY she'll be able to keep anything tidy. If you hc her and Bendy to have a familiar bond post game, she'll be as messy if not messier. Her home might be a wreck.

2. She easily distracts

- Audrey is working overtime and claims that she has "only eight hundred more frames to go" until the next deadline

But was she actually *actively* working?

She has unrelated items on her desk (listed above) and jumps on the first opportunity to get a coffee.

If she really did wanted to have a drink, she literally has a soda machine close to her office doors.

Some brands of soda do have caffeine in them, right? Getting a coffee looks more like an excuse for a walk.

Bonus point: if you'll stay in her office without getting up (for 15 minutes), she'll acknowledge that she has no time to waste and will return to work instead.

- "Well, the coffee's good and all. But this work's gotta get done"

Worth to acknowledge: this girl has "employee of the month" award and some kind of animation award (boris statue) in her office .

Does she stays overtime everyday to finish something? Or other Archgate employees are even worse at their jobs, somehow?

3. She uses dry sarcasm or makes jokes a lot

Honestly, it happens really often and should be brought up in fan content more imo.

Due to the images limit i can't put a lot of examples with screnshoots but I'll quote some of them.

- "i think you and i have very different definitions of alright" (toward Allison)

- "Looks like he's having a bad day" (about dead lost one with the gent pipe)

- "Ok! Yeah! And that totally makes sense" (reaction to an easter egg)

- "That's one leap of faith i definitely won't make" (about the pit in animation alley)

4. Audrey gets defensive when someone starts to talk over her or when she feels overwhelmed

Audrey either will deny what was said or will acknowledge it by being sarcastic

Prominent example of this is her reaction to Memory!Joey at the hotel:

- "Oh,now you knew my father. Well, newsflash! I didn't even knew my father...or my mother. Or anyone else in my family" (after Joey says that she has "adventurous spirit of her father")

- "What? Are you crazy?... Who do you think you are?" (after the reveal of her being created by the ink machine)

+ Similar behaviour can be seen in her short interaction with Twisted Alice (Susie).

Audrey prefers to keep conversation equal between both sides and when it fails to work, she'll either stay silent or will express frustration (which can be seen with her replying "no" to Twisted Alice and not saying anything afterwards)

5. She seems to trust Allison enough to be vulnerable around her

After leaving the spider lair, she'll try to reach to Allison through the speakers

- "Alice? Are... you there?... Alice!"

She'll acknowledge that she feels scared and after Allison won't sound reassuring enough, Audrey's hand will be visibly shaking.

Allison is the only character Audrey has opened to; you'll never see her being that vulnerable with anyone else

(She is honest with Henry but not on this level)

It makes me wish they had more interactions; Allison for sure was really important in early development of the game.

6. She's blunt

Through the game Audrey is a type of person who says whatever is on her mind without hiding her intentions too much.

She's emotional and rarely thinks twice (most of her decisions are impulsive or sometimes irrational) which reflects on the way she talks.

It's often slips out through sarcasm when she gets defensive/tries to cope but it's also happens in relatively safe environment (for example, when she talks with Betty):

- "Are you...very old?" (Wilson's mansion, bedroom)

This one liner is the most random question you can say to a stranger; I doubt it was very well thought out from her side

7. Audrey easily trusts people which makes her easy to manipulate

I couldn't skip this one.

When Wilson has created a story about his "poor lost father" as a bait and Audrey did believed in this, there are multiple reasons for "why"

This either could come from her being "goodhearted" or the circumstances being used against her

- She went through whole "father trauma" in one day without being able to process anything & get proper answers:

An idea of "saving" another father (Nathan Arch) who she could've knew more than her own father (Nathan says in one tape that he meet young animators at least once) could've hit her really close to home

- Audrey never actually got a real answer on how to leave the cycle, teaming up with Wilson (who was able to enter and leave) could've looked like the only one way back

(I do acknowledge that writing in DR could've been better at places but if you do think about it in this way,it makes sense)

7.1. She is empathetic

I think that this part says everything for itself and it doesn't need to be explained. Thought, she's the one who decide if someone deserves it.

- She felt bad for hurting Bendy on accident & apologized when she was able to

- When she met Allison for the last time, she "gave" her this name, remembering that she doesn't like to be called 'Alice'

- At the end of the game she wants to try to make the cycle better for everyone.

Twisted Alice (Susie) was included which means that Audrey doesn't hold grudges against her (even with the latest one wanting to kill her previously)

8. Audrey puts her arm through an ink container without hesitation or any side thoughts

IT IS a game mechanic and lore wise you can relate it to her being an ink creature

But honestly? It's in character for Audrey.

We're talking about someone who decided to go to great lengths to catch an aquarium fish (that's kept as a pet) and wanted to use it...for a recipe.

8.1. She doesn't mind eating out of trashcans

If you think that wanting to use someone's pet for a recipe is too weird, you're actually wrong. But eating out of trashcan (when you have other options) may be.

Thought, she drives a line on a food that has flies or other insects on it (like "chocolate cake")...i guess in other cases, it's fine to her.

~~~~~~~

Trivial things:

- Bendy seems to be her favourite cartoon character.

She calls him "little guy" in prologue and keeps close to her storyboards where he's the main character:

In the cycle, she acts joyful when she first stumbles upon the real deal.

- She loves chocolate donuts

- Audrey uses dark eyeshadows (can be seen only in prologue custscene. It's hard to notice at first)

- Her breakfast from to-do list are toasts

- She has abstract Bendy painting in her office

- It can be speculated that she's uncomfortable with being touched (or with someone being physically close), unless, she's the one who initiates it

~~~~~~~~~

[sylenth-l]

Hi, I wanted to ask if you might have a continuation of this art somewhere? At the bottom of the sheet were described pages, it looks like something like a comic book and I was very interested!

🫣

Oooh that. Yeah um. That's a little comic I wanted to do, but after finishing… I think it was 4 pages… out of 16, I got so frustrated with how it was turning out and hated it so much that I kinda uuuh threw it away. 

I really like the idea and storyboard I made for this though! I hope I'll get to drawing it properly one day… But after trying to do this, I realized I need more experience in comics before jumping into drawing something so lengthy and complex (for me) OTL

Anyway, thank you for bringing this up, I'm actually touched you've noticed a tiny detail like that and in such an old post too! 🥺💙

[pixieperson19]

blog masterpost!

(bc I repost a lot of stuff)

~

Welcome!!

~

my name is Pixie (they/them), I post artwork/comics/silly posts/tutorials

I post about tmnt, rottmnt, Sonic, and other cartoons!

I AM A MINOR!

~

my asks are open! pls use them if you’d like, and you can always recommend drawing or writing prompts, in fact- I encourage droppin drawing prompts for me :DDD

~

things I do not support (DNI)

-racism/sexism/anti-semitism (discrimination or hate of any kind)

-maps

-zoophiles

-neo-nazis

-incest

-TERFs

-anyone who is anti anything that/whom this is a safe space for

this is a safe place for:

-age/pet regressors! (Im an age-regressor myself actually!)

-people with disabilities (physical or mental or both! no hate here!)

-mental health (this is a safe space for anyone struggling with mental health, I support you!)

-systems (I do my best to understand and learn about DID/OSDD, but I'm not perfect!)

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-BIPOC

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-religion (as long as you're not hateful and aren't pushing your beliefs on anyone, any and all religions are welcome here!)

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-therians/alterhumans (similar to my knowledge with systems, I do my best to learn, but I'm not an expert)

-"cringe" people (I support anyone and everyone (who isn't on my DNI list), whether you make kandi, cosplay, are a gacha kid, or are/participate in other stereotypical "cringe" things, you're always welcome here!)

-alternative views/tastes/style (goths, emos, scene people and of all the above welcome!)

links to my posts and tags below ⬇️

mini blog update (politics)

LEGENDARY

rottmnt x epic

‘favorites’ ask

rise Leo drawing (marbled)

rise Leo comic sketch

reblog text post (the outsiders fanfics??)

sleepaway camp text post / poem attempt

the golden guard fanart (draw w me!)

Viktor Arcane (S2 SPOILERS)

2012 "raised by Shredder" au

inspirational quote (photography)

spidersona sketch

silly reblog chain!

WYJEMP fanfic planning sheet

rottmnt goretober day 2

Mabel doodle to get out of art block😣

Dipper w allergies doodle

ask to irestuff (yall should support their shop and art its super cool!)

daily clicks reminder & link!

TMNTember Day 3

TMNTember Day 2

TMNTember Day 1

silly ask to claws and paws

discord server promo!

rottmnt au storyboard

breakfast text post

Lunar’s agere ally button (not made by me, but important to my blog)

fanart of hatekawa’s 3 months AU

Poll

Allergy Text Post

Yaelokre fanart

TMNT 40th Anniversary comic

2012 tmnt fanfic fanart

Sonic fanfic fanart

25 reblogs!

au rottmnt comic

au sort of vid rottmnt movie

womp womp

Limited Space rottmnt au

Sonic and Tails

Lunar’s DTYIS

Hey Sunshine text post

Tails

Mystic Mikey

tmnt comic

rottmnt new years

poll

original character

arcane text post

shooketh text post

mm Leo and Amphibia Anne text add-on post

how to add images into ao3 tut

rottmnt Mikey ballet

Amphibia artdump

The Owl House artdump

Kraang Prime drawing

TOH Flapjack tattoo post

TOH skill issue

ROTTMNT turtles

Marcy Wu - Amphibia

my tags: (first four)

[maxwellatoms]

The first few pages of the character clean-up sheets have something that's got some of my interest… The provided storyboard examples have the artwork in a 4:3 square as expected, but also inside that box is a rectangle, and a smaller 4:3 box that overlaps it.

I get that the smaller 4:3 box is a safezone so that no vital imagery gets left out/obscured by the overscan area, but what was the 16:9 rectangle for? Was this the original plan for broadcasting Billy & Mandy episodes in widescreen?

This was from my "sane" revision to the official CN storyboard paper at the time. Since "widescreen was coming" we had to start boarding for it. But because of the way CN chose to handle framing, we'd be losing everything above and below the horizontal lines. CN was worried that black bars on the side of the screen would cause people to think their TVs were malfunctioning. That was actually a popular theory at the time, believe it or not.

The large inner box is 4:3 Title Safe - meaning that anything beyond that point might disappear behind a curve or obstruction on older Television sets. If you have text that needs to be read, you want it inside that box. At the time this panel was drawn, we were also supposed to consider a 16:9 Title Safe box and a "safe zone" for the CN logo. Hence my "sane" revision to clear up some clutter.

The worst part of this was that I had designed Billy & Mandy as characters that were, like, two heads tall. It was already difficult getting medium shots of the characters without the framing looking bizarre, but trying to do that in both framings was almost impossible.

There are definitely times when you look at the show and suddenly the kids will have these really long torsos that extend off the bottom of the screen. We sort of had to do that to avoid short people standing on the TV frame.

[tenjad129]

THE ART OF AN AMERICAN TAIL: FIEVEL GOES WEST (1991)

Today, all of Tumblr, may I present to all of you something VERY rare this way comes:

A series of 10 photos that I just happened to find on the Worth Point website of a rare portfolio, though already bought by and sold to someone on eBay long ago, of actual, rare storyboards, animation production cels and drawings, and even concept art for Amblimation's work on An American Tail: Fievel Goes West (1991).

And inside this extremely rare portfolio, though long since bought out on eBay by someone else long, long ago, are some 20+ pieces of storyboards, animation cels and drawings, and even conceptual artwork done for An American Tail: Fievel Goes West by Steven Spielberg's London, England, UK-based Amblimation studio (which was founded on the back of the success of 1988's Who Framed Roger Rabbit, and which is also the ancestor of today's DreamWorks, the latter being the studio most famous for Shrek, as well as Kung Fu Panda and How to Train Your Dragon) between 1989 and 1991...among the rare pieces of art in that portfolio includes some of the following things:

Some rare animation art that were done for and during the making of Fievel Goes West, including a storyboard panel of the struggling Mousekewitz family, a colorful drawing of Tiger being held captive by a tribe of Native American mice (who obviously decided to adopt him as some sort of god), a rare prototype logo for An American Tail II before they eventually changed the final title to An American Tail: Fievel Goes West, a model sheet of the sewer mice crowd, an animation drawing of Fievel, and some Fievel facial expressions, plus a running Fievel drawing, a drawing of the train that took the Mousekewitz family out west to Green River, Utah, some kind of animation layout drawing, and a map of the continental USA with different kinds of cheese depending on each state, plus a drawing of a falling candlestick, all done for Fievel Goes West.

And finally, last but not least among the twenty plus pieces of storyboards, animation cels and drawings, and conceptual artwork done for An American Tail: Fievel Goes West by the Amblimation studio between 1989 and 1991, are two production drawings that really intrigues or even fascinates me the most...

An early drawing of the cowboy outfit worn by Fievel the cute little cowboy mouse done for Fievel Goes West...

And a cleaned-up production drawing of the dress worn by Fievel's sister Tanya Mousekewitz after her beautiful and pretty saloon showgirl makeover some 48 minutes into the 75 minute long Fievel Goes West movie. (maybe I really liked or especially admired the latter design for some reason, but I just don't know, for sure, but anyway...)

Well, yes, I know it's been over three decades late for all this, but I really do wish that there really could have been a beautiful coffee-table book on "The Art of An American Tail: Fievel Goes West" or something like that!

But, anyway, what do you think, Tumblr?

[oheck-trainwreck]

Late breaking update on my AP art portfolio (which I decided to work on right before the QSMP exploded in fire), I got a 5! (Which, for any non-americans, is the highest score you can get)

The theme of my portfolio was 'The process of creating an animation,' and it explored character design, lipsyncing, and various methods that I used to tell a story through animation.

The characters and story I used was the events of Badboyhalo's egg streams, and specifically Dapper and Pomme, set to 'Will the Sun Ever Shine Again' from Home on the Range.

I never finished the animation, since i got very burnt out with the sheer volume of projects I was working on (I was in theater and also robotics, and several other AP classes), plus all the QSMP drama at the time. I think i'd like to finish it at some point, as a tribute to a phenomenal arc and the incredible acting from Lumi and Shade, but now is not the time. For now, please enjoy all of the pieces gathered together:

Storyboard

This is a scene-by-scene breakdown of the song, focusing on compositions, with little notes for movement and stuff.

2. Character Sketches

This was me figuring out the style I wanted to go for. I decided on something more cartoony than I'd normally use, so I needed to figure out how elements of their designs would translate.

3. Pomme's Reference Sheet

4. Dapper's Reference Sheet

5. Expressions Practice

Practice with the expressions that the babies would have throughout the animation (so they're all sad), + some poses to show the size comparison

6. Color Palette Experiments

Various possible color palletes, including monocromatic, dicromatic, and a fully colored version

7. Thumbnail

'Lineless style, vignette. Portrays isolation and mourning. Characters only have each other.' (-The description that I sent to the AP people for this piece)

8. Thumbnail sketches of all backgrounds

9. Lineart and Coloring Experiments

I couldn't submit gifs, so the AP people just got a png. L.

10. Lipsync tests

For a part of the song when Pomme would say the song lyrics out loud.

11. 3d House to help me draw backgrounds

This was technically a 2d portfolio, but backgrounds are hard so i made a version of the house to help me.

12. Practice using the reference in #11

This piece actually has a title: 'The Last Good Day' (okay im gonna go throw up now-)

13. 1 type of animation (Zoom Out)

14. 1 type of animation (Full body movement)

15. 1 type of animation (Smaller expressive movement)

...

I miss this project. I hope I can finish it someday.

[whosthere54]

I have many thoughts about specific songs that I wanted to share if ur interested it’s here :3

So these are some ideas I’ve had for maybe CMVs, or certain audios I want to film to when I complete my Icarus cosplay. (Most of these will be Icarus probably)

I’ll start with specific CMV scenes I had in mind for ones I may storyboard around,

Song - Disembodied mind by sparkbird.

So I have thoughts about this song, many of them, but I have one specific part in the song I think about as the Icarus ascention and what comes after. I feel like the majority of the song is Icarus in various points of fable, but whenever I hear it switch to the music before saying eyes shut tight” is Icarus’s ascention. They’re in the worldport in the next verse, and it’s them switching things back to what they had been before, trying to get a hold on being quixis.

When it goes back to the vibe change of the next “Say goodbye to the stranger on the other side” they were able to fix it, all the sheets are back to normal and the world of fable is fixed. Then when it goes back to the “I am in trouble with myself again. I am in trouble trouble trouble trouble.”

It’s Ven guys. Ven gets there. The last “I am in trouble” being them making eye contact with Icarixus.

Song - Murders from Miracle Musical

Now I’m actually working on finishing the full storyboard for a CMV idea with this song. Because I think about corruption too much to not. So I’ll share a very specific idea I had that sparked the idea of making a full CMV!

These are directly from some of my notes -

“Finally the night and day remembered how they came to be-“

Starts as Sherb being nice and letting Haley out, just following and observing. When the music gets more intense sherb starts actually pursuing her/chasing her.

- Softer music is Haley running and then the “Ba da da da da da da” sharper notes in between that would go to corrupt sherb chasing after her. Good sound for one shot of sherb taking off to the end islands. One of the last of the sharper notes is the arrow. Then the transition to the soft piano is Haley’s death.

——

All for nothing at all would make sense for them with their whole spiel to enderian “is this what you wanted!?”

——

Back to music is when they are by the grave with Rae, uncorrupted for just a moment.

“I was in the Forrest looking to see the trees but none were there…”

——

I did also write that whenever “shadow with nobody there” was said it was Enderian.

Song - Call them Brothers by Regina Spektor

“A shot rings out, nobody wants it”

(On nobody wants it it shows Haley’s death and Momboo)

“Nobody wants it to stop”

(On stop it flickers between sherb “I don’t need her down there I need her dead” and the hysterical laughter on the island that may end in tears)

I also have thoughts about this song, did you know.

I do also want to record something to Icarus by Luvbug

Tiktok audios :0

I’m not going to list a lot because I definitely have 273 audios favorites specifically to use for them so-

1 - I really enjoy that Isle of Dogs has made comeback through Tiktok audios because that move- mmmmm. I did cry.

Okay there that one audio that compiles both of the “I bite” and “I don’t know why I bite” scenes into one, but I would split that into two deprecate videos. I think one would be Icarus talking to Rae, “I am not you pet, I never liked you, I don’t care about you, I won’t wait for you,l. I bite.” Because oh me when brothers. Me when they argue and Icarus pretends not to care about him to create some distance. “I’m not your brother”.

The “I don’t know why I bite” scene would be them sitting with someone they love, I always imagine it’s them talking with Centross. Them feeling guilty about fighting with their family or smth, or it’s them talking to the things “why do I hurt everything I love?” Energy.

2 - “Fight little Wolf Fight!” Me when whisper duo. I just looked through my audios and ahhh I can’t not say the whisper duo ones.

3 - “why can’t you accept that she might be living a good and honest life? Because I wanted that mom!” It’s Rae. Rae wanted that dad. Rae wanted that brother. Ones that were good and kind to him. Ones that loved him the way he did them.

4 - ghost of Chicago but it’s Haley Hallucinations-

5 - “you’ll be a blemish in the street nothing but a memory a bad dream I’ll make you scream” it’s S2 prison arc.

6 - “what’s the bravest thing you’ve ever said? …Help.” Uncle Centross times

7 - “Those kids look up to you” “I know” “yeah you know, but you don’t know.” The whole whatever happens is your fault. I think of this as maybe Ulysses yelling at Fable or Ari talking back. Smth like that.

That’s all I’ll bring to you if you read this thanks for taking time out of your day too look at my silly lil ideas :)

You are loved and appreciated <3

[literary-illuminati]

2024 Book Review #22 – Fevered Star by Rebecca Roanhorse

This was a bit of an odd read for me. I grabbed it because I have vague but generally quite positive memories of reading the first book in the trilogy a few years back, and having finished this I’m not really sure why. It’s not that it’s necessarily an awful read – it’s engaging, the moment-to-moment prose is fine, I finished it easily enough. Hell there’s a decent chance I read the sequel at some point. But my main feeling finishing it is that it’s an artistic failure, that I can see the things it was trying to do and generally speaking it just didn’t manage them. Which is a pity, really.

The book picks up right after Black Sun ended, with the crow god reborn massacring the Watchers and plunging the city of Tova into chaos, and world into permanent twilight as the crow and sun gods battle in the heavens. Inconveniently, the actual sun priest survived, having faked her death and fled to the undercity following a coup shortly before everyone involved died, leaving the ritual incomplete and Serpio (vessel and host of the Crow God) alive. The story basically follows the fallout from this, with the sun priest, crow prophet and three other POVs each showing the political trajectory of some different part of the world as things spiral inevitably toward war.

Which is the first problem, really. This is the middle book in a trilogy, and oh you can feel it. The entire book is spent moving pieces into place and just, table-setting for when the actual dramatic plot kicks off in book three. Now, personally I actually quite enjoy books full of intrigue and conversations on the road as people travel places, but it gets a bit excessive. It doesn’t help that half the POVs get barely any development and feel like they end the book in the same basic emotional/ideological place they started it with no progress at all to their arcs. The whole thing ends up feeling like a giant prologue to the actual story.

A feeling which is not helped at all by the book’s length. I’m not at all opposed to fantasy books being less than 400 pages. I am in fact incredibly in favour of it, the ideas of reading another 1100 page tome just makes me exhausted. But when you’re trying to do a George R. R. Martin-style continent spanning politics-heavy cast-of-thousands epic fantasy, you really need the extra wordcount. The result felt incredibly choppy and rushed, almost more like an outline or storyboard than a completed story. Each main character rushes from pivotal scene to pivotal scene with barely any time for establishing status quos or building relationships and connective tissue – instead things are basically introduced once and then the POV’s internal monologue just explains its importance to you, pivotal events in the plot explained either after the fact or not at all. Maybe one or two character dynamics in the entire book actually worked for me, the rest just felt like reading the ‘relationships’ section of a character sheet. It made getting invested in the whole thing remarkably difficult.

The feeling of reading an outline of a book wasn’t really helped by the lore. We got lots of interesting tidbits and implications, even some grand revelation – and essentially none of them are ever followed up on, or given the weight they really need to really land. The revelation of the Sun Priest having no shit miraculous magic powers after three hundred years of them violently suppressing any sorcery especially is, not exactly brushed over, but certainly no one seems to react to it have as violently as you would expect. Similarly, there’s a great book in here of just Tovan political intrigue and festering generational grudges and conspiracies colliding in the dark, but then that would require cutting out Xilla and Balam’s entire plotlines to make room for it. (I still kind of love the idea of the entire Golden Eagle hierarchy being pretty bitter that the coup they’d been carefully planning for years got derailed because a rival house pulled a messiah out of their ass and wiped out the entire governing elite of the city).

Then there’s things like the magic system – or honestly I feel like I should put that in scare quotes. There’s this idea brought up a few times that every form of magic fits into a neat schematic, associated with a particular god and specifically opposing and counteracting one other type of sorcery. Which I honestly kind of hate, for the same reason that I kind of hate the fact the crow god of shadows and death apparently really is exactly as vengeful and cruel as you might expect from that. Which might be building up to a big reveal in the third book! Who knows. But as is, the entire metaphysical setup just feels terribly like something out of a midbudget tabletop rpg setting, and not at all in a good way.

Which is a shame, because generally the setting is just a delight. No small part of that is just from the novelty of an epic fantasy stories that’s painted in the colours of pre-Columbian Mesoamerica instead of Medieval Europe. But even beyond that, the interplay of the different cities and factions within them is very fun, and it’s just a breath of fresh air to have no straightforward hereditary monarchies in one of these at all. I can’t say is felt really real (it is an agricultural society, plunging the world into permanent twilight as the winter ends isn’t dire and ominous, it’s an imminent famine of apocalyptic scale), but the aesthetics of everything were certainly entirely on point. I was left pretty sad this isn’t a series there’s more high quality fanart for, really.