#i have some ideas of things i want to work on but ive been in such a dissociative haze its hard to concentrate on anything

[3liza]

everyone arguing with material analysis/assertion about how art is a "luxury" has rarely if ever spent rent or food money on art, if they even pay rent or buy their own food, and if they did that would be considered extremely dysfunctional, and thats what i/we mean. artists are not providing a necessary service.

our plane crashes in the Andes and you are not particularly excited about my "can draw that Playboy centerfold of Marge Simpson from memory" like that is not an essential survival skill. lots of extremely skilled workers work in luxury artisan and craft jobs, it's not an insult to say even a very famous and very talented and influential artist is not producing a commodity necessary for the furtherance of human life. none of us are doing that, no matter how we stretch and strain the definitions of "essential" or even things like "morale" or "group identity". i will burn my copy of Finnegan's Wake to stay warm and thats what it comes down to.

i get foamy crazy snarling and biting about the idolization and obfuscation of what artists actually do because it is a labor issue! the public conception of artists as people possessed of a divine talent they dont consciously work to develop like any other skill, and the public idea that we are simply pleased and privileged to make art all day and "not work", something people say to my face every time i get asked "what i do", is largely responsible for the absolute dogshit reality of how subsistence and working class artists have to survive. we usually dont have health insurance unless we're so poor we qualify for medicaid AND live in a state that will enroll us. most of us are too disabled or crazy to go to a real job every day. most of us have tried, over and over, to enter the normal workforce, and have failed, and been forced to develop alternate skills that allow us to make rent in the ten hours per month we're actually functional. many of the artists i know work from bed because standing up is dicey. this has been turned into a charming eccentricity of famous artists and writers instead of people wondering why a person would need to stay in bed all day and take the enormous bother of bringing their stupid pens and paper and writing board or typewriter or whatever to their bed instead of just getting up and getting dressed and going to work. ive done this, i spilled ink in my sheets. its a huge hassle.

and artists play along with this mystique because people dont want to buy paintings from sadlords! they want to buy paintings and books and marge simpson nudes from cool guys who get a lot of chicks and wear rockstar outfits and party a lot, because of the transitive properties! of course!!! this is basic marketing!!!!! and if the artist doesnt play along they turn into Sad Story Artist where they're doing emergency commissions and posting about how sick they are all the time. this is not cool or fun or sexy. it's a sand trap and its very hard to recover from. im struggling with this right now!

famous and successful artists and writers are constantly ending up 60-90 years old with cancer and multiple sclerosis and dementia, being the subject of some sort of public, last-ditch, humiliating GoFundMe because painting paperback covers fr 60 years means you dont get a pension, you often dont even have kids who can take care of you, you dont have life insurance, you dont have health insurance. 'died penniless and alone' is one of the stereotypical artist endings for a reason, that is not fiction. this happened to more artists than i can list on two hands. look up what happened to Peter S. beagle, the guy who wrote The Last Unicorn. you write a book like that you should be set for life, right? NO. thats not how it works

i'm not saying 'all artists are disabled and working class or poor' because that isnt true, observably. nepo babies and trust fund artists exist, obviously. but they take an outsized portion of the spotlight when the public thinks of the concept of "artist". they are not actually the norm. the average artist is probably making under 40k and living in extremely precarious circumstances and has had periods of homelessness, illness, extreme debt and/or bankruptcy.

this is true even for the 'successful' artists. having one or two or ten good projects and being a household name does not save you from just not having the safety net provided by a normal career path. i was very close with a major, famous 2000s network television creator and team that you have heard of. they won awards, they changed culture entirely, they were a big deal. one of them was turned down for a half dozen projects by the same network that made millions or bilions on their franchise over several years (each pitch is completely unpaid btw, imagine carefully preparing a PowerPoint for morons for months at a time for no reimbursement and thent he morons ask you if you can put a teenage witch looking for her lost cat in the alps in it and you're like, haha, well, it's a 4 part hard sci fi miniseries set on Europa and takes place entirely inside a pressurized lander settlement, i mean Ridley Scot said he was interested already and he pitched a bottle episode about a carbon monoxide poisoning, soooooo....and the executives look at each other and they're like "it's jst not really what we're looking for right now, thanks for coming in" and you go to coffee bean and tea leaf and kill yourself and thats sort of what its like. i made that example up it didn't actually happen i'm using an illustrative example), worked on a canceled film, and just. gradually ran out of money. thats what happens. that guy ended up slowly selling off all his belongings, getting roommates in a one bedroom apartment, and then eventually having to just live on a friend's couch for years. famous guy. you probably know his name. another major member of that same team ended up in GoFundMe/commission hell for years (might still be there) because they had to take care of their two dying, dementia patient parents by themselves. these are people who go to GenCon and sign autographs for four hours at a time. THE PUBLIC IS NOT AWARE OF THIS SHIT and i'm sick of it. im sick of going to a gallery opening night ("vernissage") and drinking bad wine and having a guy with an email job that pays six figures and benefits tell me being able to push "undo" on the computer is cheating. that's a real example, that has actually happened to me. more than once.

artists currently have zero labor protections whatsoever. all of us are undercutting each other in an unregulated market and relying on welfare and private insurance and not having families or buying houses. zero security until we get so old all our illnesses and dysfunction finally ground us permanently and then we get turned into a charity case by fans (humiliating) or just fade away into ghosts and die

whats my punchline? idk i dont have one. it's possible and likely that any given artist you meet is permanently in precarity and will be until they die, even the famous ones. the culture of selling art demands that artists do not admit to this in public unless shit gets really really bad. i guess my point is you should know this, as a person who looks at or listens to or reads things that people have made for your amusement, not for your survival

[prof-peach]

Bit ooc but I have a question. How you do go about planing out your PLA comic? Like how do you actually turn your ideas/ storyline into comic form? Is it chapter to chapter or do you have the whole idea already planned out? Trying to find my own way in comic making so I’m just wondering if you could give any advice. Feel free to ignore if you don’t feel comfortable answering

So, at first this was al i could think to send.

because its incredibly accurate to my process.

Jokes aside, a lot of how i work is back and forth chaos, fighting with ideas until im happy with them. I will start with a list (usually not written down because im unhinged and keep a ot of it in my brain) and organise it in a way that makes sense to the situation, in this case workign with a game with an established plot...not that its a very strong one.

with a set of ideas, and a game to work around i will ramble and rant to a few choice people who i bounce well off, and also stare into space for hours on end building the ideas. This process can be days, it can be years. For context, i have some notes from 2019 about things i wanted to include that are still relevant. I have been scheming how to break and rebuild this OC for ages. Theres no correct time frame, so long as you simply do the work.

Once i have a fairly loose plan, i start to solidify the benning and the end. What is required to make a character compelling, what makes them believable, what makes them human in a way that we recognise. this isnt always a positive thing, people like to call characters who do bad things problematic, but its human nature to make mistakes and be damaged or difficult, the process of the story is not always rainbows and sunshine. For me, this hits even harder, as im trying to tell a story from the perspective of someone fundamentally broken, so showing those breaks and cracks has to be done wisely.

This is the point where i make notes about things that need to change from the start to the end. And ill say one thing, this story in particular, I have not solidly planned the middle. I am allowing space for me to come up with new ideas at points. Being locked into a dead set of ideas can be quite limiting, and as creators we consume and process things constantly to generate new stories. Id be a fool to make a plan and stick to it. everything i do is vague guidelines.

However, I know exactly how the story ends in Hisui, and where it goes to from there. And i think me personally knowing the end goal makes it easier to plot steps towards that, and some of those steps are anything but progressive.

If nothing else, the end was the only thing i saw clearly, and it has only become more complex and loaded and emotional as the rest of this has fallen into place. If you can see the goal, you can work out how to get there with time.

Regarding the chapters, i tend to draft plan up like 3-4 of them at a time, and then go in order to sketch out one after the other, so i have plenty of time to change things while i adjust. its constantly a process of seeing what you make, seeing issues, and scrapping whole parts just to redraw something better or new, unique even. I dont think a single page ive posted has resembled the very VERY first draft thumbnail ive made, and thats just how i do. Every panel, how big they are, the angle you hand the viewer, the way you light things, the expressions, this all dictates SO SO much.

Taking time over it is kind of the job, and let me stress, this is normally a job done by a team, especially the highly popular comics. one inks, one colours, one shades, one handles text, one edits, theres so many people behind it, so dont be bothered by the pace at which things are made if youre working alone like i am. One person means longer production times, if you can, spread the workload out, but its not required. Its why i always say it doesnt matter how long it takes to make, so long as youre still making.

I think its also worth noting, comics are consumed quickly, the bakcgournds and small details can be lost in the ace of the storytelling, pick and choosing your battles is wise, save your time on panels where you want the reader to shift along quicker, keep that pace high, and add in more detail and depth to panels you want to champion or get the viewers to hang around on more. its ok to let go of a "perfect" image in favour of getting content out, if youre being driven nuts by it. Again, time be damned, be happy with it. And if you can let go of petty details, id suggest doing it when possible, so long as it doesnt effect the storytelling.

I mean what else can i even say. This work is a passion project, I love it, more than i can even put into words, and i think you kind of have to, to make comics without monetary motivation. sure you can get lucky and find ways to make it big, but for most of us, its the love of the story. So maybe try not to be your biggest hater, its easy to slip into the behaviour, so try be gentle on yourself and the process. I should take that advice myself haha! but i really do mean it. This is HARD work, so be kind to yourself over it.

anyway, with a rough idea, a bunch of sketches, and time, they get inked and fussed over, i make a billion changes to layout and story, and eventually posting can happen but not after fighting with the monster that is creating. Idk what else i can say. This is not work for the feint of heart, but anyone can learn to do it.

Good luck, comic artists can always use it!

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[mc-tummy-blur]

I’ve been so busy with other stuff but I really want to get back to drawing WHF art so I went and cleaned up a wip. Not sure how I feel with some of the angles but I just needed to get this out of my system

Based off of this clip

Click for better quality

Check my pinned post to see links on how you can help the people in Palestine

[chiquilines]

Hi guysssssss its been a minute

I havent posted in a hot while due toooo many things one of which being im not that much into mha anymore... i still really really love all my girls, tgchk mmjr midjoke miryumi etc still hold a dear place in my heart, and I'm gonna keep drawing them, just less. I might start posting more art from different media, but regardless im not gonna be able to post much in the coming months cause I am about to have a very very busy time academically, so Im gonna have less time for drawing :( anyways, thanks to everyone whos been liking my my hero art, it means a lot to me and i appreciate everyone who takes the time to look at my silly self endulging wlw!! This isnt a goodbye btw, im just taking the opportunity to be sappy :) see yall in the next post!!

[corviiids]

complaining about creative writing post

[thebirdandhersong]

Lol

[perilegs]

my sweet little baby man is no longer with us

[s0fter-sin]

this is a bit of a what if scenario if soap and ghost met before the practice studio and the rest can be found on ao3!

before they ever try and workshop a routine, before their first dance, before johnny ever meets simon, price tells - orders - ghost to sit in on one of gaz’s classes.

“learn his style; see if yours meshes anywhere,” he says, wrist deep in an exploded camera and ignoring ghost’s stink eye from over in the corner. he’s gotten used to it after all these years.

he’ll have to pull out something new after this if price’s decided to sink to this level of petty.

and it is pettiness, no mistake; clearly he’s poked him too much about his boy recently.

“i’ve already seen ‘is style,” he dismisses with a disgusted scoff that’s only half put on. flashy, meaningless; the personification of viral with half the sincerity. it’s a laugh that garrick accuses him of stealing routines as if half his moves aren’t prepackaged and recycled from every plastic clout chaser before him.

“videos don’t live up to an in-person demonstration; you know that,” price chides and ghost rolls his eyes. “i’ve got a client making noises about choreography and if i can’t talk ‘em out of it, you’ll have to learn how to be in the same room without bein’ at each other’s throats.”

“they want a joint routine?” ghost demands, already going tense at just the idea of it.

“they want the best of the best,” price counters. “and unfortunately, that’s you two.”

he pulls out a part, friction-shiny and jagged where it’s rubbed against another piece, and flicks it over his shoulder to be lost in the mess of the garage. “you know, that breakdancer i showed you ‘ill probably be there.”

he raises an eyebrow but ghost doesn’t give him the satisfaction of a reaction. wily old man…

he asks about one dancer once and suddenly he’s all price wants to bloody talk about. it was professional interest; just looking into a style out of his wheelhouse and obviously it made sense to look at recent competition winners.

nothing more.

“i’m not asking you to join in,” price finally allows, pulling out a file and tapping off old shavings on the edge of the toolbox. “just watch. live up to that name of yours.”

“i got better things to do than haunt your little protégé,” he scoffs, chafing at the thought of wasting any more time on kyle garrick than he already has.

“and yet here you are, sniffin’ up my ass,” he shoots back wryly and ghost shoves off the wall; ignoring his snickers.

“play nice,” price adds but he’s already out the door.

if he asks later, he can just say he didn’t hear him.

[orcelito]

I'm at the painful "confession" scene during the kage summit arc. It really is so emotional, but also... hm.

When I was younger, like 13 or so, I was a big Sakura and Naruto shipper. They were the first pairing I read fanfic for even. And in a way, I do still enjoy the two of them together... but it's moments like these that really drive home the fact that it Doesn't really work in canon. Not the way that it's set up.

As Sakura puts it, "Sasuke, Sasuke, Sasuke! That's all you think about!"

She's told that Naruto has feelings for her and decides to use it to convince him to stop going after Sasuke. She does love him, but not in the way she's trying to confess. The love they share is one of comradery, not necessarily romantic. The love of two people who have gone through such pain together, and who have leaned on each other throughout it all. And the fact that she's turning around and saying she loves him "simply like everyone else", now... it's trivializing. And the fact that she's trying to convince him of this, the fact that she thinks she Can convince him of this, is pretty hurtful. They've come a long way from when they were kids, Naruto the goofball vying for her attention while she yelled at him for being stupid. Sakura respects Naruto so much more than before, and Naruto respects her too. So the fact that she's still doing this... She's desperate, really. She thinks the promise he made to her to bring Sasuke home is what's driving him to let himself be hurt over and over and over again in the pursuit and protection of Sasuke.

But she's wrong.

That may be part of it, but it's only part. Naruto wants Sasuke back for himself, too. He let himself be beat up to avoid selling him out. He chases after him with single minded determination. Sasuke is his entire drive to get stronger, to catch up, to bring him home. Sasuke, Sasuke, Sasuke indeed.

As it is, Naruto knows she's lying to herself. And no matter what she says, he will keep going after Sasuke. Because that's just the person that Naruto is.

[potatochip-oc-dump]

what if we were both lonely

[veryloovy]

Cyn is the administrator of every Disassembly Drone, and Cyn (the Solver?) also has backups of them should they die. Uzi is also a Solver-user and she is now the administrator of N and V.

I feel like Uzi could have backups of our N and V, which is only important should they die. Granted, Cyn's backups come with a body (likely produced from the mass the Solver has consumed) and Uzi's backups would likely only be able to copy their mind into another body. Which I guess makes our clone N and V able to be Workers again should the opportunity present itself (something that, should it happen, would probably only happen towards the end of the show). Otherwise, I assume that "Tessa" brought unused clone bodies for N and V with her in one of the other pods, which could be used in case Uzi needs to put her backups into a body too (and prevent Cyn's backups from going in).

I think this the main reason for bringing up the whole adminship thing with Disassembly Drones. So far it's mostly been used to stop memory wiping and block out memory access on them (ep5 and ep7, the only exception to the adminship memory stuff is Cyn blocking AS on N in ep1). It's definitely seems memory-tied, and backups also tie into that since they capture memories.

(I'm super congested rn hoping this reads soundly)

[theworldisabrokenbonebutitishome]

Kang Yo Han is the walking embodiment of I'm Not Okay (I Promise) and relates to Three Cheers For Sweet Revenge far more than is healthy. In this essay I will-

[incorrectquotesideas-deactivated]

Person A: Do you want a beer? I’m paying.

Person B, going through the restaurant’s menu: No. Ugh, where’s the good stuff?

Person A, half jokingly: I thought you were an alcoholic.

Person B: Exactly. I’d need at least, like, four beers — without food — to get slightly buzzed, and my stomach can’t fit over 2 beers in it. I’m small. I’ll have a rum, neat.

[skrunksthatwunk]

have just been introduced to a kitten named rascal who lives on my floor and whose babysitters (who are not his owner?) were trying Really hard to goad me into adopting which like. he's a little baby and he's so so so silly and he barely even bit me but like also. this cat isn't yours???? anyway if the owner's giving him up then I might finally have a cat which like AHHHHHG

[dragons-and-yellow-roses]

Me: I should probably clean my room, unpack, find my laptop and finish the work tasks that were due yesterday

Also me: I think I'm going to hot glue flowers, vines, and ribbons to a basket instead :)