#i should make more stuff stylized like this

[lunavagans]

Wish drawing for my fic would motivate me to actually continue it. Oh well. Have a scene from the next chapter. No context except that I plan to make reading it as chaotic and disorienting as looking at whatever this is. Setting the stage for what‘s to come, if you will.

I‘m probably going to link the chapter here once it‘s out but for now… eh.

[king-magppi]

🪅Viva Piñata stuff I promised! Some new, some old that I still really liked! I hold this franchise very dear to my heart.♡🍬

Even the neglected and forgotten need someone to mourn them... So The Reaper does it personally.

[theswedishpajas]

The man truly can’t take a genuine compliment 🙄

[gayabeilles]

me, a former homestuck cosplayer, seeing all the other alastor cosplayers at the con wearing gray facepaint:

[spacedlexi]

i may still be recovering from the psychic damage done to me by my high school art teacher but at least it taught me early that art teachers dont always know wtf theyre talking about

[otterloreart]

What's in the Box?

PONY PONIES IN THE BOX

If you've been following along you may have seen that @queenofsquids printed the Takara-inspired BJD last week, both in a "mini" test form and a full-sized one. The full-sized one was supposed to be in yellow, but the pure yellow resin turned out to be a more orangey tone. She incredibly generously offered to send me the orange pony BJD

And then

She incredibly incredibly again generously sent not only the little test takara-bjd in grey BUT ALSO printed my original takara 3D model and sent that?! This is so unbelievably kind and generous. I was so surprised when I opened them all!

I'm not sure if you were all aware but I actually dont have a print of the original "Takara duplicate" doll. I did get the seapony PLA printed at the library (and it was my first ever 3D print!).

For my second print, I got the Dollightful bunny doll printed because I wanted to have experience with jointed dolls made by other people before I put more complex models out. So I figured it would be a while before I got the chance to see my newer models printed.

So like its actually so kind of @queenofsquids to send these but also it's really meaningful to me because I started the takara project where I became obsessed with them over a year ago. It's so amazing to see this thing that frankly I spent so much time fiddling with (even if there are some imperfections; more about that later) and hold it in my hands 🥹 I just keep looking at them and smiling

Also I immediately stole the clothes off my NaNaNa dolls and put them on mini-takara-bjd. They're a little short but fit pretty well!

Some design notes/planned adjustments under cut

-The neck and arm balls are definitely too blocky, this doesn't impact the movement but it is very visually obvious

-Queenofsquids mentioned this but the arm bean is too big and gets stuck in the arm sockets.

^^ These two issues are the most obvious upon brief inspection but are also easy to fix so I'm gonna put out a version ASAP adjusting the file. Call it the version Version 1 Hotfix. Both of these should be fixed in the existing models with a bit of sanding.

-The legs are like just a touch too blocky and I think you can also see lines in the head and chest areas ;-; I think this would depend on the printer, like it might be fine in PLA due to the lower resolution. This can also be buffed out but I can adjust it with some effort

-> I think the blockiness issues come down to the fact I was trying to make the models not too high resolution because then the file size is massive, can't import into cura properly, and even slows down *my* beefy computer. that's why it might take a bit for me to adjust all of these pieces, especially the legs because they have a lot of booleans that lag blender. basically i leaned in the other direction and went a bit too far with some pieces.

-legs are very thin at the bottom (ran into this issue with the dollightful bunny doll too and had to redo quite a bit actually to make it neat)

-The bottom of the heart on the knee in particular is an imperfect fit. I was getting errors in Cura because of some issues related to the knee so I had to remesh it, if you'll remember, so I will need to maybe go in and redo that one :/

-The line around the eyes could be a touch more pronounced, its supposed to be somewhat stylized eyelashes

-I need to play with the arms/legs more to figure out potential issues with the existing joints. But they do at least work and hold poses. I'm not sure if people would prefer anything more complicated like locking joints or if this level of poseability is acceptable

Other things I want to experiment with

-hand pose variation

-nose/mouth variations? it is actually kind of funny to imagine you could switch the expression out to a little :o face or a c: or :3 type of thing

-pegasus/unicorn/fluffy hoof variants like i had planned before

so much stuff :0 and I haven't even finished bunny doll, although at least her paint job is basically done. Once I string the big BJD I can also test posing.

[fuckyeahisawthat]

i rewatched Dune Part Two recently and one of the most striking shots for me was the one of the Fremen attacking the Sardaukar on wormback, while holding the Atreides flag.

Like, we just saw the Sardaukar forming up with their numerous flag bearers, even trying to maintain their flags raised after the nuclear detonation (in a shot that mirrored the famous "Raising the Flag in Iwo Jima" statue to me btw, nice nod to imperialism).

And then the Fremen arrive, but they're not bearing their colors, their flags, not fighting in their own names, instead it's the Atreides colors. The colors of their new, imperially appointed rulers. New pawns in the warfare between Great Houses, soldiers instead of freedom fighters. Urgh. Wish i could make gifsets.

Yeah yeah yeah it's horrifying!! You are watching a national liberation movement get successfully co-opted by a superpower and it's awful!

They did such a good job making it feel creepy and foreboding when the Atreides symbols and motifs start re-appearing in the last hour or so of the movie. The second Gurney shows up he immediately re-introduces the Atreides way of looking at the world, and it's disturbing how easily Paul falls back into thinking like that, seeing the planet and its people as tools to be used in an inter-imperial power play. (It's right after Gurney tells him about the family nukes that Paul has the signet ring out for the first time since the beginning of the second act and we're like OH NO.) This is before he drinks the Water of Life; he is already starting to think like a colonial duke again some time before he declares himself one.

After the opening montage where we see the piles of bodies being burnt, we don't see the stylized Atreides hawk symbol for most of the movie. The next time it appears is on a vault of nuclear weapons, which are never treated as anything but a curse. It's so important that Stilgar and Chani are with Paul and Gurney when they open the vault so we can see their horror at these weapons and the gleeful, casual way Gurney talks about them. Chani is also seeing an aspect of Paul that she hasn't really witnessed before--Paul, the Future of House Atreides--and she does not like it.

And then of course the whole ending battle is making the point over and over again with repeated imagery that Atreides and Harkonnens are exactly the fucking same. All the imagery from the initial Harkonnen attack on Arrakeen in Part One--which at least shows the Atreides as brave in the face of overwhelming odds--gets inverted into something that's supposed to make us shudder. That scene of Gurney hacking his way through the crowd of soldiers with someone carrying the Atreides flag behind him? Nightmarish.

All of this stuff is super important to what the movie is trying to say because it is very very easy for us to buy into the Atreides' propaganda about themselves being the good guys. If we're paying attention to what Chani tells us in the literal first 3 minutes of the first movie, we already know we should be viewing them with a bit of critical distance. And while I think there is plenty in the first movie to make us side-eye their noble image (Leto saying we will bring peace to Arrakis?? fucking yikes dude), it's easy to forget that because Leto generally seems like a good dude to the people close to him, and he dies tragically so we never get to see much of what kind of colonizer he would have become. And I think it's easy to start thinking well if only Leto the more reasonable parent had lived then things wouldn't have turned out this way.

But fucking desert power?? That was Leto's idea. This is Leto's dream being realized. The plan was always to use the Fremen as pawns in the power struggle between the Great Houses. Maybe not quite in the way that Paul does cause he definitely goes off with it, but the end result is just as much a product of Atreides imperialism as it is of Bene Gesserit religious colonialism. The Atreides aren't inherently any more noble or benevolent than the Harkonnens in their intentions, they just have better PR. But the end result is exactly the same: a pile of dead bodies being set on fire.

[aresonist]

hi hope you don’t mind the question but how do you draw heads? i can never get them so diverse and that makes me same face syndrome really annoying but you draw heads and faces so well!!!!

Hi!! no worries i dont mind!! some question abt how i tend to sketch stuff out is here! the style i draw in changed a good bit since then but the technique is basically the same.

this is kinda a hard thing for me to explain in a way that makes full sense to anyone but me

but if u mean headshapes, bc my style is very simple and very stylized i honestly just tend to assign some peeps i draw shapes based on their features? i tend to round up the face if i feel it looks softer or sharpen it up if its more square ish or well sharper

im not exactly sure how to explain it but its kinda like this

and i dont know if you mean faces as well but it also kinda applies to jsut the headshapes but having an idea of how the person looks like also helps, i personally tend to base my drawings on what i remember being the most prominent features and tend to focus on that with maybe some reference help if i feel like it (listen im a hobbist i can allow myself this privellage of not caring)

here its the damn eyebags and his face being more on the softer side

and if i dont have a reference pic i sometimes jsut like to imagine what the prominent features should be like the nose, eye shape, wrinkles, or mentioned earlier shape of the head

also worst thing ill ever say but i do gotta admit sometimes jsut doing random studies of faces does also help a good bit with noticing features which is a shame cause i wish i had everything in my head since birth really

so sorry if this is all jsut useless ramble but like i said i do genuienly dont know how to properlly explain all of this in a way that makes sense to anyone that is not me, i do hope it helped a bit tho

[neomel]

Alrighty fellow insane sonic fans i have something very cool for you today: a WORLDBUILDING theory!! this is something that's been kicking around in my head for so long that i forget it isn't something I've shared with many others yet lol

[ This post primarily covers stuff from Sonic Adventure, Sonic Adventure 2 and Sonic Advance, and ignores Sonic Chronicles and Sonic Pocket Adventure as they have been struck from canon (see: Encyclo-speed-ia) ]

[ It should also be noted that this theory is built on the idea that "the world" as depicted in Sonic Forces is not accurately depicting the entire globe, but rather depicting Eggman's takeover of just the island archipelago where the animal cast lives (South Island, West Side Island, Mirage Island, Northstar Islands, Angel Island) as to explain its geography and lack of human characters ]

Right! So, a big theme in the environmental design of the original Sonic Adventure was having the Sonic cast sort of "cross over" into the human world more - the wording on this was initially nebulous, but with updated translations and clearer official word recently, we now know that it means that the "human world" is moreso like a mainland populated by humans that exists separately from the animal-inhabited island archipelago of Sonic 1, 2, CD, 3&K and Superstars (see: Sonic Origins). My immediate first point of comparison - of all things - is something like the first Madagascar movie, where the lemurs are able to be a fully functioning society in a region completely isolated from humans.

Except it's not quite like that movie, is it? We see in Sonic Adventure (and further in Unleashed, 06) that animal characters like Sonic and c.o are able to exist just fine within the human world, to where Amy has flat-out moved into Station Square. Big and Tails, too, have settled down by the Mystic Ruins close to where Angel Island (sometimes) crashes down by, Rouge owns a club in Sonic Battle - you get the gist. Animal characters, the majority population of the islands as we see in Forces and the IDW series, are able to migrate into the "mainland" human societies, but it appears to still be a rarity, likely not even something everyone has the opportunity to do (Big might've been born on Angel Island, Tails and/or Sonic can fly any of Sonic's friends to wherever they want to go, etc.). The most contact humans have with the animal world is through the Mystic Ruins site, or Eggman using his excessive wealth to fly in and try and effectively colonize the islands as we see in Sonic 1, 2, Superstars, CD, 4.1 and 4.2 (for note: CD, 4.1 and 4.2 take place on the same island of Mirage Island)

Sonic Adventure 2's level select is obviously to be taken with a grain of salt as a stylized take on a world map, but it seems to infer the same thing that Origins' main menu and Angel Island's close proximity to the Mystic Ruins both corroborate - the island archipelago inhabited by the animal characters seems to be quite close to the mainland "United Nations" landmass, most evidently close to Rouge's Route 280 level. And given how often Eggman lays his sights on the islands as a primary target for his schemes (Heroes may well also be taking place on the islands, as Seaside Hill is confirmed to be near/on South Island), it would make sense from the United Nations' POV to try and make access to the islands more accessible. For example, to enable easier import and export of goods, help citizens evacuate from possible disaster (eg. how the Metal Virus in IDW described how it was impossible to evacuate to anywhere else but Angel Island), and so on - a way to connect the two societies more smoothly only makes sense.

With ALL that context and preamble out of the way, this is my theory, and where Sonic Advance finally comes into the picture:

Radical Highway in Sonic Adventure 2, and later Neo Green Hill Zone from Sonic Advance, were together depicting a brief attempt to connect South Island to the United Nations mainland.

You may think this is a bit of a nutty conclusion to draw given how little of a story Sonic Advance actually has, but I think there's a lot we can glean from just the environmental design of Neo Green Hill Zone alone. Compared to the original Green Hill Zone, and most of the levels in the Classic Sonic games that aren't just flat-out urban cities/facilities seemingly built under Eggman's control (Star Light, Spring Yard, Chemical Plant), Neo Green Hill Zone's touches of human infrastructure are far more...friendly, for a lack of a better word. There's parasols and wooden scaffolding, a grind rail or two along paved sidewalks, yet the natural beauty of the area is left entirely in tact. Nothing about it appears like Eggman's work, yet it is quite evidently structured for human interests, for tourism and walking/biking rather than all the funky ways in which Sonic's animal cast are comfortable moving around. Then there's of course the name: NEO Green Hill Zone, as if it's reinvigorating the idea for a fresh new facelift, re-marketing it!

But how does all that connect to Radical Highway?

Radical Highway (and Mission Street by extension) have a quirk unique to them when compared to almost all other urban city levels in the series - as you can see in the image above, they're themed around still being under construction. Compared to a level like Lethal Highway from Shadow the Hedgehog (or the aforementioned Route 280 from SA2) the holes and gaps in Radical Highway are presented as being specifically because the winding roads are still under construction. You can see this on the level map above too - Route 280 and Route 101 appear to be part of a long, linear, already-finished stretch of road, wheras the area of Radical Highway and Mission Street is filled with gaps, inlets and breaks in the road. Route 101/Route 280 already appear to fill the function of letting people cross between the two city areas depicted on Adventure 2's world map...so then, what exactly is the construction and general wobblyness of Radical Highway for?

Well, let's look at Sonic Advance again: Specifically, the end of the Neo Green Hill Zone stage, and the way the game progresses immediately thereafter:

The natural beach environment of Neo Green Hill Zone Act 2 suddenly bows out before the Eggman boss fight to give way to something quite interesting: A red bridge extending out from the island's coast. The bridge's architecture doesn't quite match that of Radical Highway, most notably using tall suspension wires hooked up to some off-screen upper portion of the construction, but I think the idea alone is fascinating enough: This is drastically more modern architecture compared to the rickety wooden bridges otherwise seen in Green Hill Zone. We're still a bit unsure of if Advance 1 takes place before or after Sonic Adventure 2, but if it's before - it may also be possible that the work on this bridge began on the South Island end of things *before* the mainland Radical Highway-end were finished with their work, with the idea of joining the two bridges somewhere in the middle.

Let's again also consider where this bridge takes our characters in Advance - to Secret Base Zone, a shockingly urban facility which we still don't really know the location of. Sonic and c.o need to zip-line into its entrance, with a background that only features light and buildings far off into the distance - is it possible that the Secret Base exists sort of like an oil rig in the middle of the ocean, inbetween South Island and the mainland, as some sort of production facility for the UN? Regardless, it serves as a pit-stop in the Advance campaign - after it, we can pretty cleanly chart a roadmap for where the cast travels. Casino Paradise's ocean background seemingly depicts it as being part of the coastline (bottom left of the SA2 map), Ice Mountain is pretty clearly meant to be another area of Ice Cap Zone given how it leads to the Angel Island Zone - which is, in reality, a dilapidated Sky Sanctuary. Effectively, the campaign seems to go from South Island, to the bridge connecting South Island to the mainland, to a coastside Vegas-like casino wonderland built by Eggman, which is near the Mystic Ruins and thus near Angel Island by extension (it may be connected to Night Carnival from Sonic Rush?). And all of it connected thanks to the works of a bridge, seemingly set up in Adventure 2 with Radical Highway being under construction, possibly with the goals to connect the two core parts of Sonic's world.

Whew! That's pretty much all the words I have, and I've now reached the max cap of images per posts. I truly don't know how many Sonic fans care about these granular details and concepts about the environment of Sonics world in games from 20+ years ago, but I hope it got some gears turning - and if there is some merit to this, it may further get you wondering as to why the path connecting the two was seemingly cut off in the end? Given the cityscapes we see in Forces and IDW, it's possible that this mutual relation between the two worlds lasted for a fair while - what could've possibly led to that bond being broken? Maybe Unleashed breaking the world apart had something to do with it...

Thanks for reading this far if you did - and feel free to add your own ideas or things I might've missed in all of this!

[felassan]

Snippets from shinobi602, cut for length.

Comment made after the character trailer, before the gameplay reveal:

"I know I sound like a broken record at this point but I'd really wait for the gameplay footage before writing it off. I agree that the tone of the trailer isn't how I would have personally revealed the game lol. But it's definitely a mature story...(with classic DA humor of course) I think people will come around when they see it in motion." [source]

Comment made before the gameplay reveal:

"I just got a sneak peak at the gameplay being shown on Tuesday. A small sample, but enough to get a good taste. It feels like a much better Inquisition to me. Absolutely not Fortnite or Overwatch." [source]

Comment made before the gameplay reveal:

User: "Maybe this gameplay showcase is going to show us all the character creator options, the RPG mechanics and skill trees, the expansive dialogue choices you can make, the minute to minute gameplay and how the world works." Shinobi: "You won't get all of that. But it's a solid chunk. This is just the first step in a long several months ahead. They have to save stuff for more beats down the road too or else you run out of gas lol." [source]

Comment made before the gameplay reveal:

User: "Very excited to see a glimpse into that for the gameplay reveal, hoping the game's beginning is as memorable as the other entries" Shinobi: "It is a massive boost in quality for the series. I'm not talking art style or anything, but just in terms of sheer quality and technical fidelity. Really hard to keep my tongue bitten lol, but I'm excited to see what everyone thinks tomorrow." [source]

Comment made after the gameplay reveal was teased:

"Yup, that's what it looks like, but there's so much more goodness. Looks amazing imo." [source]

Comment made before the gameplay reveal:

"it feels like the ME2 of Dragon Age." [source]

Comment made before the gameplay reveal:

"Oh just wait. The hair tech is phenomenal in this. Even I was thinking "aye is this a Bioware game!?" lol." [source]

Comment made before the gameplay reveal:

"They look different but to be honest the more you see them, the more you get used to it. I love the way Harding looks now. It's more stylized, but also a huge boost in technical fidelity in Frostbite." [source]

Comment made after the gameplay reveal, before the press who saw the demos at SGF shared about what they saw:

"Pretty much every person I've talked to across a dozen different media outlets, ~95%'ish, has walked out of the private demo sessions with glowing praise." [source]

-

"I don't mean there aren't any open ended areas to explore. But it's a tight game, with a focus on not wasting the player's time with bloat. They took a lot of that feedback from Inquisition." [source] [re: the game not being open world in design]

-

One preview from a large outlet basically boils down to 'Bioware is back'. [source]

-

"I'm optimistic. From conversations I've had, they are genuinely serious in trying to make a Bioware classic here. They do not want a repeat of Andromeda or Anthem. I can only go based off what I've heard obviously - haven't played it. We all have our opinions on the combat, but they learned a lot of hard lessons since Inquisition, taken a lot of feedback to heart, and want this to feel like that tight, structured high quality experience we used to get from them. Andromeda and Anthem came in hot at launch. I felt some warning signs before those came out, but here? Right now they're just polishing. It's all polish from here to release. I'm really hoping this is the start of their return to form. That team's been through a lot, I hope it works out for the best." [source]

-

User: "I think there certainly is a decent contingent of legitimate dissatisfaction or concern around the game, but I'm not sure that that's an overwhelming segment, but I do think it's something BioWare in EA should not and cannot ignore." Shinobi: "They've definitely taken notice. There's a lot more to show between now and launch." [source]

-

"One thing I'm particularly happy about and can't get over is how much better the hair rendering is. It might be a small thing to some but it looks incredible. It's in another stratosphere compared to DAI." [source]

-

"Everyone in the previews was gushing about how robust the CC is in Veilguard so there might be a decent chance to make some wild Qunari designs." [source]

On the Next Mass Effect:

"ME will look very, very good. Don't worry." [source]

[tossawary]

A handful of random thoughts about the "Ultraman: Rising", with some vague, marked spoilers here and there:

I like the fact that they didn't explain kaijus or where Ultraman came from. After so many superhero origin stories where we have to be slowly introduced to the existence of the supernatural, it's refreshing to get dropped in the middle of a "second-gen" (unclear how many generations of Ultramen exist in this universe so far) superhero's story. The movie isn't apologizing for its genre or its premise. It just goes, "Yeah, you know what a superhero is and what a kaiju is, so let's go already. No, we're not even really going to explain how Ultraman's powers work. That's not what this is about!!! It it about our protagonist's daddy issues!!! Keep up!!!"

If I think about the world building, I do have some questions, like who built the protagonist's fancy tech house that's also a superhero base, but it's not too important. I assume his dad built it and then moved out to give his kid space? OR: "Why do the kaijus seem to attack this place specifically?" This movie works mostly because it's like "this is classic superhero stuff and we're just not dwelling on the logistical setup too much"! It leaves you to fill in some blanks on your own or just suspend your disbelief, which works.

The pacing was a little weird in places and the movie does get a little ridiculous in parts, I'm never quite sure of what the capabilities of these characters are, but it's a superhero vs. kaiju animated movie and that's to be expected. I still enjoyed myself well enough.

A few of the character designs didn't super work for me, like the big-headed kid characters. The kaiju baby is maybe a little too cutesy, but she was very cute and I've forgiven them because they didn't shy away from babies being gross. (There is... A LOT of baby kaiju vomitting.)

I did really like some of the other character designs. I liked the protagonist's big nose and pierced ears and bangs falling in front of his sharp face; he looks like such a dirtbag pretty boy. I like the lean in the industry right now towards more stylized and geometric 3D character designs in general, because I think that the shapes are fun and they'll age better this way.

Dirtbag guy to single dad is a winning story formula, huh.

They did a lot of 2D-style effects in this movie that I thought looked fun. I dig that trend in the industry right now as well. Some of the scenes were a little clean, almost bare, in terms of environmental design, but the colors generally looked great. Some of the scenes were really bright and vibrant and pretty.

(Mild vague spoiler?) There's no romance in this movie, which was surprising when they definitely set up a female journalist in the position for a love interest. No, it's a "strangers to friendly acquaintances" relationship for them. The female journalist is also a single mother, which was interesting, because you don't get a whole lot of career-minded single mother love interests in animated movies.

(Unimportant spoiler:) She told the protagonist to his face that she thinks he has daddy issues. Not stated quite like that, of course, but it was pretty funny. She was also right about that.

The emotional focus in this film was instead about the protagonist, Kenji, repairing his relationship with his father and also taking care of the kaiju baby. Kenji's only friend and co-parent for a chunk of the movie is an AI assistant (Mina) his parents made.

(Unimportant spoiler:) Stumped by an issue, Kenji makes a frustrated comment about how maybe he should ask Siri instead. Shortly after, in response to a different statement, the AI assistant Mina makes a passive-aggressive comment about how maybe he should ask Siri instead. I found that pretty funny.

(Mild spoiler:) Ultraman in this universe is a known and popular superhero and has been for decades. At one point, the baby kaiju gets out into the city, and Kenji has to go get her before she gets hurt or hurts someone else, and he publicly tells her to "Come to Daddy." And this is overheard by a bunch of nearby civilians, who gasp loudly. It is quite funny. It doesn't really come up again, but even if that wasn't recorded, you just KNOW that the news and the internet went wild over that revelation. "Ultraman had a baby with Gigantron???!!!"

(Another mild spoiler:) At one point, Kenji asks the female journalist for some parenting advice, and she IMMEDIATELY asks him if he has a secret love child. (No one is quite sure why this baseball star suddenly came back to Japan from the U.S., as they don't know he's Ultraman.) Kenji denies it, but I'm pretty sure that she must still think that he does.

(Continuing:) Kenji's baby kaiju parenting struggles (along with his ego) are fucking up his baseball career, due to stress and lack of sleep and conflicting commitments. We aren't shown a lot of interactions with his team, but I desperately hope that he also asked a couple of his teammates for parenting advice or something, so that his team could also immediately assume that he has a secret love child.

Like, "Yeah, yeah, Kenji Sato's secret love child, we all know about it. The poor kid is really bad at hiding it. We're trying to keep it hidden from journalists for him, but the whole team knows he's a new dad, for sure." (They do not know that Kenji is Ultraman and the baby is a kaiju.)

All in all: this movie was fun! Very silly, but cute! I think that I might try to pick some other "Ultraman" shows or films out of the dozens that exist, and try some of those ones out. The property seems to exist in a similar vein as "Transformers" where Rule of Cool rules world building and canon is whatever the newest iteration wants it to be.

[racketballz]

how do you get past the stage of needing references for absolutely everything? i feel like every time im doing a sketch or trying to get something down, even for something simple as an eye, i end up needing to look at my collection of references or other people's art that I've studied, or else I'll hate what I draw. it slows me down so much!

You need to build your intuition! I will say it takes a minute to know what you’re looking at if it’s unfamiliar to you but you should be actively learning while drawing so you can rid yourself of certain references

Basically I think that starting off with something or like various versions of the same kind of reference rather than just one can be useful this way you can teach your brain anatomy and poses rather than just mocking a single image.

Kinda creating an image in your own head rather than just looking at one picture to reference which I already think is super stifling. Things you should be looking at is how the body moves what doesn’t or does happen when the body moves in a certain way. For example: where the shoulder ball lays or where the elbow meets the chest these are important thing to reference when you’re making your own pose or make it look more accurate to life

So if I were to break down these images in my head there’s a couple things I’m looking at that I can use for my pose

I was on Pinterest for not very long btw since they tend to group images like this together but I liked the body lines and the axis of the shoulder and the hips in red but the arm being main focal point for the all of these really makes it the focus since it’s in the forefront. They all have like a bent arm aspect and the line for the back is creating an interesting direction that compliments the arm as well. This is the sketch I came up with:

Whether or not you’re looking at an image of creating one out of thin air you might like to use these things to inspire your line of direction to make it look interesting honestly even if it’s not accurate to real life sometimes but having the general knowledge of the body and how it moved you will feel when something Is not right so this is me now adding my own stuff on it because it’s not interesting enough to me!

I like the inclusion of straight lines because it makes the bent ones look more interesting to me I made the body longer and I made the head smaller it adds more depth!

Anyway you build your intuition by not referencing so hard the right in wrong you get from the image turned into the right and wrong in your head (this is also how your build stylization) if rn you’re kinda doing that try giving yourself a time limit to how long you can look at the image and then go in to the drawing and don’t look at the references at all and when you’re done (or frustrated whatever comes first) look at the image for a second and then go back and adjust

[gffa]

I adore your batman stuff very much. I recently read the Wayne Family Adventures, and now I really want to read some more. Do you have recommendations on comic lines to follow?

Hi! I'm glad you're having fun with getting into comics and enjoying the posts around here, it's always nice to have new blood (or returning blood, in my case)! <3 I would give a gentle caution in that Wayne Family Adventures is sort of in a class of its own in a lot of ways, the characterization is much softer and fluffier, while the mainline comics are darker and messier, the characters are definitely not always as nice as they are as in WFA. That's no shade on either of them, just that I want to give a quick warning that if you're stepping from one to the other, the culture shock can sometimes be more than you're expecting. (And also keep in mind that comics are a shifting landscape, there's no one "true" version of many of the landmark moments of characters' lives, you'll see events often retold, you'll see comics that later get retconned, you'll see comics that are in different continuities/set before or after a universe-wide reboot, etc. Don't worry about it, just recognize that you're reading a story to enjoy that story, not as Hard Continuity!) That said, some of the lighter comics that I think would be fun if you're looking to come over from WFA are:

Li'l Gotham is a cute parody series that's super adorable, has some lovely art, and is nice little self-contained stories that are humorous. It's not in mainline continuity and it's even softer than WFA, but it's deeply charming and it's a fun, quick read.

Super Sons (2017) by Peter Tomasi is in mainline continuity and it's focused on Damian Wayne and Jonathan Kent becoming friends, bickering all the while, and getting into hijinks. It tends to lean more humorous and cute, so it's a nice stepping stone up to regular comics.

Robin and Batman (2022) by Jeff Lemire and Dustin Nguyen is a good litmus test for whether you might like regular comics--it's a short 3-issue mini-series focused on Dick's early days as Robin and the complicated, thorny relationship he has with Bruce about it. It's one of my favorite, it balances what a terrible gremlin he was with what a little angel he was and the emotional beats are painful in the best way.

Robin: Year One (2000) and Batgirl: Year One (2003) by Scott Beatty/Chuck Dixon and Marcos Martín/Javier Pulido are good places to start for both characters, and hold up okay considering their age. The art is a bit stylized in a way I really like, it lends it a charming old-fashioned vibe while still being pretty to look at, and there's some solid character moments in both.

Nightwing (2016) by various (starts with Tim Seeley, but it's been several authors by now) is one of my go-to recs, I think it's a great jumping on point, has a lot of really nice art, and often tells fun stories, as Dick has some of the best connections to various other characters in the universe.

Nightwing (2016) by Tom Taylor starts with issue #78 and is a great jumping-on point and Taylor's writing is just very light-hearted, action-packed, quippy, and fun. Starting here saves you from having to slog through some of the worse arcs of Dick's series, you get Bruno Redondo's fantastic art, and you can feel the affection for the character, the author and artist love this character and want to make him very cool, as well as they love his relationships with other characters, so you get good Bruce guest appearances, Babs appearances, Damian appearances, Wally appearances, Jon appearances, etc.

Robins: Being Robin by Tim Seeley and Baldemar Rivas was a fun self-contained mini-series that had all the Robins working together and I don't think it should be taken super seriously as a case story, but it had some quality banter, some hilarious moments, and a great look at these chaotic gremlins all shoved into a mini-van together to go solve a case.

Batgirls (2022) by Conrad Michael W./Becky Cloonan and Jorge Corona is focused on Babs, Cass, and Steph as a trio and being adorable together, with some humorous moments, cool art, and fun Batfam moments. It's nice that they get the spotlight and the chance to shine (it's their book, so they get the majority of the cool moments) and it's not super-long and you can jump right in.

Batman: The Knight by Chip Zdarsky and Carmine Di Giandomenico is a "Bruce travels the world to learn the skills he needs to become Batman" and I'm really in love with the way Zdarsky writes a Bruce who is deeply complicated, messy, coming from a place of loving deeply, but also this man has twenty seven different flavors of fucked up trauma going on in that hell brain of his. Zdarsky's current run on the main Batman title has been my jam, but that's a bit of a darker leap than this one, and I think this one is a great way to get to know Bruce Wayne as a character.

Batman: Urban Legends volume 5 has a story called "The Murder Club" that is basically "Thomas and Martha Wayne are time traveled into the future and see what's become of their son, they're not thrilled about it, but come around when they see the people that love him so deeply--primarily Dick, Damian, and Alfred." and was an absolute BANGER for me for feelings, gorgeous art, and some great character moments.

Batman/Superman: World's Finest (2022) by Mark Waid and Dan Mora is an absolute knock-out, it's Bruce and Clark in their early days of their friendship, where Waid is one of the best writers in the industry for how fun his stories are but also how well he knows the characters, Mora's art is often THE portrayal I think of when I think of the characters, and there's a ton of bonus guest appearances from various characters across DC's universe. Also, I am biased, Dick tags along a lot, as he's still Robin at this point in time, and it's a great dynamic between the three of them.

Batman: One Bad Day: Mr. Freeze by Gerry Duggan and Matteo Scalera was easily the standout of the "One Bad Day" stories for me, it's set in the early days of Bruce & Dick as Batman & Robin and it has ADORABLE sunshine gremlin baby Dick Grayson, a genuinely touching story about Mr. Freeze and his wife, and some beautiful art.

Year One: Batman/Scarecrow (2005) by Bruce Jones and Sean Murphy is a fun look at the early days of Scarecrow, but also has absolutely banger baby Dick Grayson content, there's a scene where Bruce literally just grabs him by the scruff of the neck to haul him out of the way of a crowd about to stampede and it's the funniest thing because that 12 year old could destroy your face with his fists but also Bruce can literally pick him up one-handed. There's some great banter in there and it's just a super fun dynamic.

As you make your way through this list, keep the author/artist and year listings in mind, as often times there are multiple series under the same title and some are more relevant to what you're looking for right now than others. Like, there have been three different volumes of "World's Finest", but I want to direct you specifically to the 2022 version because I think that'll work better for you. Similarly, Nightwing 1996 is one of my faves, but I think the 2016 version will work better at drawing you in right now. This is definitely biased in favor of my faves, but I honestly think they work for good jumping on points for someone new to comics and who's coming from WFA and might not want to get into the messier stuff of the mainline comics right away. Hopefully, you'll enjoy these and anyone else who wants to transition from WFA to reading mainline continuity comics, feel free to join us! Yeah, comics fandom can be a bit of a pill sometimes, but genuinely there's a lot of really fun moments to love and the characters are so much more fun when you're reading their stories with all the history and depth behind them!

[kieran-granola]

Material Boy

(This one is available on AO3)

When he’s not busy being a vigilante, Tim likes to think that he’s a pretty simple guy. He has normal, civilian friends. He's awkward when he talks to people he wants to bang. He likes skateboarding and playing Warlocks & Warriors. He dropped out of high school.

He also, like many kids of his generation, grew up collecting superhero merchandise and memorabilia.

And yes, maybe he never got out of the habit of collecting super-trinkets even after joining the vigilante game — a fact he keeps between himself and God, he can only imagine how much shit Steph and the others would give him if they knew — but it's not like he steals stuff from the heroes he knows. He just... buys things. A lot of things.

Which brings him to his current problem: the amount of merchandise created depends a lot on a hero's popularity. This means that Superman has insane amounts of merch. Wonder Woman and Batman too, to a lesser extent. In Gotham, Robin does pretty well for kids' stuff, and Nightwing has inspired more than one, uh, adult line of toys.

…But Red Hood? As tacky as brands can get with their products, they know better than to create merch of mass murdering rogues and villains, and unfortunately people aren't sure whether Red Hood qualifies a good guy. This means that Tim's haul is Very Poor when it comes to Hood. Which is an issue on account of Tim's massive crush on Jason.

How is a man supposed to pine in dignity when he can't even find a decent body pillow to warm his lonely bed? How?!

Tim obviously has to fix this problem. He has to rehabilitate Red Hood and ensure a steady supply of bling for his display cases. And shelves. And furniture. And possibly wardrobe, he's not picky.

He has to.

Which is why he ends up raving about Red Hood, his crime-fighting exploits, and his charity work on social media. He uses all of his covers' accounts and even creates a few more, enthusing people and posting praise until, finally, his amateur PR campaign snowballs.

He knows his job is done when his hashtags start trending outside of the Gotham metro area, and the first Red Hood plushie comes out of Build-A-Bear.

___________________________

Jason is bemused when he first gets wind of his rising popularity. Sure, it's nice to be appreciated and the genuine testimonials from Gothamites warm the cockles of his dead, dead heart, but where did the hype come from? And why are people trying to ask him for autographs? He's a crime lord! He's dangerous and scary, and people should definitely not feel comfortable enough to ask him for selfies!

…Oh fuck, is that it? Is someone trying to sabotage his reputation?

Disturbed, Jason reaches out to Oracle for some help with finding the person behind this heinous plan. He's not entirely sure why Babs laughs for five minutes straight after hearing his question, but she eventually tells him that the original accounts extolling his virtues belong to Red Robin's covers.

Shrugging to himself, he suits up and heads to Tim's nest. He busts in, ready to deliver the wrath of the Hood on Tim for making him look like a hero when he's a Very Mean, Very Dangerous Badass… only to find Tim eating Froot Loops out of some violently lime liquid, while wearing what looks like chibi Red Hood pajamas, complete with little cat ears over the stylized helmet.

Suffice to say, that display takes the wind out of Jason's sails. He holsters his weapons back and takes off his helmet so Tim can properly appreciate how appalled he is before speaking.

"Okay, what the fuck, Timbo?"

Tim blinks. "You wanna be a bit more specific there?"

"I wouldn't even know where to start. Just. What the fuck."

"Well, I'm having dinner?" Tim tries, shoving a spoonful of cereal in his mouth.

"Froot Loops in, what is that, cucumber juice? That's dinner?" Jason stares harder.

Tim swallows his spoonful thickly. "It's Mountain Dew, actually."

"Okay but that's worse. You get how that's worse, right?"

"Did you seriously come here to talk about my meal plans?"

"I came here to ask why you decided to ruin my street cred, and to kick your ass—" Jason winces as Tim eats another mouthful, "—but apparently you're doing a great job at hurting yourself on your own."

Tim gives him a blank look. "I ruined your street cred? How?"

"You told people I'm a hero," Jason says accusingly.

"Ah, I see what the problem is. Look, Jason, this might come as a shock to you and I understand if you need to take a minute to process this very new piece of information but… you are a hero, dumbass."

Jason seriously considers throwing his helmet at Tim but, with the state Tim is in, he's pretty sure it would feel like pouring water on a drowning man.

"I'm not the kind of hero they make jammies of! I mean, what the fuck are you even wearing?"

Tim pulls on his shirt to show off the design, perking up. "These? They're Red Catting Hood limited edition PJs. They're cute, right?"

You're cute, Jason mutters under his breath, before taking a few menacing steps forward. "They're ridiculous. I'm not a cat. And I'm definitely not cute."

"We're going to have to agree to disagree there."

Jason stares at him. "You think I'm cute?"

"No, I think you're a cat," Tim deadpans, still eating his disgusting mixture.

"I… I tried to kill you, remember?!"

"Yeah, you did. And now I have little cartoon kitties of you on my jim-jams. Life's full of curveballs, isn't it?"

Jason is pretty sure he's having a minor breakdown in Tim's kitchen. He opens and closes his mouth silently several times, confusion robbing him of his words. Tim watches him for a couple of minutes, then he stands up and shuffles closer to pat him on the back.

Jason lets out a very unmanly squeak of horror when he spots matching Red Catting Hood slippers on Tim's feet.

Tim shushes him. "Hey, it's okay, dude. I understand that you don't know how to deal with people expressing positive emotions in your direction after getting the Bruce special growing up, but it's gonna be fine. Just breathe. You'll get used to it."

Jason stares at Tim with wide eyes. Then he gently takes him by the shoulders.

"Timmers. Tim. You crazy little birdie. Telling me I'm cute, talking about emotions... Are you okay? Is this a cry for help? Talk to me."

"You ask me that now?" Tim gives him a judgmental look. "I can't believe that's where you draw the line. I mean, where's your 'Be my Robin' enthusiasm?"

"It drowned in your bowl of Mountain Dew next to the Froot Loops. No, but seriously. If I'm your last resort, then you can tell me what's wrong. No need for tacky PJs, I'll listen."

Tim's eyes narrow. "Okay, then listen to this. First of all, my PJs aren't tacky. Second, I like you, dumbass, and yeah, I think you're cute. And third, I hyped you up on social media because I wanted Red Hood merch for my collection."

Jason takes a second to let that confession wash over him. He regrets removing his helmet. He's blushing, he knows he's blushing. In fact he must have been a redhead in another life, because he must be reminiscent of a tomato at this point, and oh no. He's a grown-ass man, why is he blushing like a nerd for this incredibly sleep-deprived, adorable maniac?

"You have a collection?" he squeaks.

"Uh, yeah. I started it when I was 4." Tim raises his eyebrows. "But nevermind that, are you seriously going to leave me hanging? I just told you I like you, man."

"I don't know what to say," Jason chokes out. "This... You're—I'm not good for you."

"Sorry but the entire internet would disagree. You're a hero, remember? And I can take care of myself, thank you very much. I don't need to be patronized."

Jason gestures at Tim's dinner. "That is demonstrably false."

Tim pouts. "Well. If you were my boyfriend, you could make sure I eat properly."

"Is that what you want? To be my b—" Jason's voice breaks. He swallows before trying again. "To be my boyfriend?"

"I mean, yeah?" Tim shrugs. "That's not why I hyped you up, I'm not kidding about the merch thing. But. Yeah. That would be… Good. Nice."

"Oh."

"Is that something you'd like too?"

Jason licks his lips. "Yeah, I—I think so. Yeah. There's just one thing though..."

Hope sparkles in Tim's eyes. "What?"

"It's just... I can't let people think you like me more than I like you."

"What does that mean?"

"It means—" Jason tugs on the fabric of Tim's PJs, "—that for every Red Hood item you own, you have to get me some matching Red Robin merch."

Tim grins a wide, bright, genuine smile that almost offsets the deep purple bruising under his tired eyes. "It's a deal."

___________________________

(They show up to the Manor together two months later to announce their relationship. They walk in hand-in-hand, Jason wearing a Red Robin hoodie, Tim in a Red Hood henley. Damian doesn't even have to pretend to gag at the sight.)

[feyspeaker]

Hi! I made an account just so I could follow your work. Your art is brilliant and honestly and inspiration to where I want to be. I’m an older artist who has all the anxiety when it comes to improving my process. I’m trying to get into digital portraits and I have so many ideas in my head, but it’s frustrating because I’m not where I want to be to make this happen. What are some tricks that help you/software do you use? Of course, you don’t have to share anything that makes you uncomfortable. I currently have procreate and an iPad, but I feel a little lost. Wondering if I need a different writing tablet and photoshop. Not sure. I just eventually want to find that 3D, but also artistic look you are able to achieve.

hey there! thank you so much!!

ultimately, I will sound like a broken record but I always recommend you sign up for local figure drawing or painting classes. have people pose for you at home and sketch with charcoal and paper. go to the zoo and sit down in front on an exhibit for an hour and try to draw the animals in front of you as fast as you can and fill a couple of pages, move on to a new exhibit and do it again!

nothing is more powerful of a tool to learn than whatever writing utensil you have in your purse and the back of a napkin when you see something you'd like to capture. I've spent quite frankly my entire rememberable life doing this. I used to spend every single day in middle school/high school/my brief failed stint in community college with a pack of cheap sharpies and a beat up binder full of old worksheets and homework to draw on the backs of.

drawing/painting from life will teach you better than anything.

I use a very outdated version of Photoshop, and only got a "nice" tablet in the past 7 months.

Also, a huge tip to you and anyone else reading this: do NOT get too focused on a "style" that you want. Obsessing over that just ruined me for years and years. I wanted so, so, so badly to be the next Matsuri Hino when I was a kid. I copied her work religiously and it NEVER looked right. Frustrated me to no end. And you know why my stuff never looked like hers? Because I'm not her! You can't force your art to come out any way that isn't natural, and the sooner you can accept the art your hand wants to create, the happier you'll be and the easier art will get for you.

The past couple of years before I started diving into this more realism based work, I was just shoving myself through trying to make what art I envied of others. Very stylized/textured watercolor comic book style stuff. And I just was NOT getting any better at it. I have always been more inclined toward realism work, but I've hated it and yearned for stylized work. Yoshitaka Amano? God, I just drooled over that artstyle and beat myself up for never being able to capture it in studies or otherwise.

I finally essentially restructured my entire career around making the art that makes me happy instead of what I "wanted" it to look like. I was extremely depressed, my life was falling apart, and I still needed to make art to survive but I couldn't "art" if I was depressed and hated doing it, so I just had to step back and stop worrying so much about what I thought I wanted to make, and started making what felt most natural.

there's no easy way, and art can be a soul destroying path at times, truly. your software and hardware should come very last place compared to practicing from life (it doesn't matter if you want to paint cartoony stuff of realistic stuff, always start from life). naturally you will find what makes your heart sing the most.

I get a lot of messages from people telling me similar stuff "oh your art is EXACTLY what I want to do!" but I promise you that kind of thought process is chasing a dragon that is likely to harm or drag your creative process down. art style is such a deeply personal thing, so of COURSE it's important to find inspiration, but the second looking at someone else's artwork stops inspiring you and starts frustrating you, put it away.

There are some artists who I love, that I do not check up on often because their artwork ignites, like, serious bitter jealousy in me. It's the truth. I get so mad at myself for not being more like them, and it's such a poison. I think more artists should be transparent about this feeling because I KNOW the art community has a lot of jealousy and ugliness in it.

A fact of being an artist is that you will never be completely happy with a piece you make. You are always going to see the flaws, and that doesn't change whether you'd been drawing for 2 months or 20 years. Occasionally, you will get one piece that you are like "how did I make that???" and then get frustrated that you can't recreate it lol! It's a tough beast.

It's just really important to step back and work on yourself and where you are at, because at the end of the day, the way your soul wants to express artwork might be WILDLY different from what your brain wants, and it can be really detrimental to let those two go to war.

I hope this helps. I'm very passionate about this, and when I started out I ALWAYS ignored the artists who gave the same exact tips as above. I thought they were so annoying and unhelpful, but now I /get it/.

[imagine-a-sanctuary-like-this]

Some early thoughts on Arcane S2

Just a few thoughts on the 1st Act of the new season. No strong commitments or opinions just yet, it's still early on in the story. I'll start with what I especially liked, then cycle into things I'd have liked to see done differently.

Animation

Visually, this season's a step up from the last. I've especially enjoyed the differently-stylized into sequences to each episode (the charcoal-like funeral, the overlords' last supper and the Grey, respectively). I've read some complaints about the music-video-esque treatment of the fights, but I enjoyed that. The music's not my thing, but it fits the steampunk/sci-fi-fantasy aesthetic pretty well.

Vi/Cait

Good to see it become canon! I also like the tragedy they seem to be setting up, and I do like how they wrote their relationship. Again, have read complaints about them getting together and breaking up too quickly, but I think it makes sense - the kiss is a pay-off to almost a season's worth of build-up. The breakup is the result of the gap between the characters' beliefs, conditions and natures. There's always been tension between them, and they're not perfect for each other, so them getting together all at once would not have been believable. Also, since Act 1 sees basically everything uprooted and thrust into chaos, it makes sense for them to make impulsive decisions trying to find comfort. Sure, they're probably not deeply in love, they've known each other for a short time, but they've clearly liked each other for a while. I don't really get where the people that think it's rushed are coming from.

Cait's arc set-up

I really like where it's going! The arc they seem to be setting up looks like it'll be about the effects of grief on perpetuating hatred and violence, which fits right in with the story. I do wonder if they'll attempt to take Cait to the 'extreme' and then bring her back in a sort of redemption arc. It seems like that might be difficult to do after some point. But I'm excited to find out where it's going.

Jinx, Isha and Sevika

Not much to say here, I like how Jinx's family themes continue even after Silco's death. All kinds of nice parallels going on. I like it.

Alright, now for the stuff I'm not so positive on. There's quite a bit, but simply because it is easier to criticize than to praise, especially when S1 has set a very high standard.

Too many plotlines

I've seen people talk about pacing issues, and I do agree, but to me the more fundamental problem (which is the cause of the first) is that this season's juggling too many plotlines. Just the ones that come to mind:

(1) Zaun vs Piltover, undercity uprising (2) Mel and the Black Rose (3) Ambessa's Noxus interference (4) "The Arcane is waking up" (5) Vi, Jinx and Warwick family drama (6) Victor's becoming (7) Vi and Cait relationship drama (8) Singed

My hope is that these will be bettered by uniting some of the plotlines. Victor and the Arcane will probably end up one storyline, same with the Black Rose and Noxus. Still, the story feels over-loaded with STORIES, and not in a very water-tight writing kind of way, but rather in a 'there's too much going on' kind of way. I'm afraid that they will not have enough screentime to set up, develop and pay off all of these, while also doing justice to the character arcs. I might be wrong, we will see.

For now, I feel like they should have cut one of the plotlines above to make more space for the story to breathe. It's also a little thematically messy. There's usually at least a loose thematic connection (family, using magic/science for good/bad, dangers of the arcane, oppression), but sometimes it feels too loose. Again, I'm sure some of this will come with time as we get these 'looser' plots developed, like the Black Rose, Noxus's political interests, etc. Hopefully, they can pay it off right.

A consequence of so much going on is, yes, some moments are not given enough time. This was most evident for me in the Jayce/Viktor goodbye scene. Perhaps it is meant to be underwhelming and this will be relevant later, but as it stands, it's rushed. I've seen someone given another good example, Jayce and Heimer's reunion scene - it should have been tensed with residual conflict, but there's kind of... nothing.

Another consequence is that some characters screentime feels insufficient for their story importance (e.g., Jayce, Viktor, Ekko), while others', excessive (Maddie, the enforcer dudes). Isha's screentime is fine, since she works as a parallel to Powder, and Salo's is also alright because of politics plotline. I've seen some leaks about Maddie which I will not detail here, but I'm not sure that they justify her abundant screentime.

Scale of conflict

I quite dislike the seeming shift away from the core Zaun vs Piltover conflict towards a more 'global' feel. Makes sense for S2 to have a bigger scope, but this is a little too big for my liking. Both the Arcane waking up and the Noxus stuff is very global, and since the show is more about Arcane than about world politics, I would've preferred to have seen the latter cut down in favour of more screentime to the former, as well as main characters from S1.

I also quite dislike the 'let's put aside our political differences to save the world' direction that this all seems to be winding up to, because it kind of puts the more interesting, interpersonal conflict on hold, and takes what I'd consider the 'easy way out' of the moral difficulties of the conflict. I do not know if this is what they will do this season, but it feels like they're edging towards that with the Jayce, Ekko, Heimer and Victor stuff (and possibly the Grey?).

Viktor and Agency

Once again, with so little screentime it's difficult to tell, but the set-up seems to suggest a certain direction here, which I can't say I like. It's unclear whether Viktor is controlled or mind-addled by the Hexcore, but I do dislike the seeming lack of emotion. If he's controlled, it kind of takes away from what S1 was building towards. I do like that Jayce is pushed to use the Hexcore on Viktor (he chooses to do it, despite promising to destroy it), but I feel like the fallout would have been more compelling, especially in terms of Viktor as a character, if he'd seemed more in-control.

They seem to have chosen to go with something else, and I don't doubt they have an idea for his arc, but I wish there'd been more of the original League concept in Arcane's Viktor. As it stands, all the desperation from S1, the anger and helplessness, have sort of... gone, without a good conclusion (I don't really consider Sky's death a good conclusion). Or at least, without one for now. I thought that S1 had been building up to the Machine Herald stuff. Maybe this is an intentional subversion. I've never found Viktor's character to be very compelling, but he was at his best when pushed to desperate measures by his dying body.

This is a matter of personal enjoyment, but I do genuinely hope they bring some emotions back for him, and I really hope he is not controlled by the Hexcore.