#ill come up with more designs later

[nidbaesenpai]

back at it again with the viet beam feat. jackpot combo against the king!

[dizzybevvie]

You're the sunflower/I think your love would be too much

[employee052]

idk, crowsx3 design??? sdkjfh

the heads are all made of porcelain, and can rotate like that one horror short film with kevan brighting voicing in it

[rox-of-iu]

no thought only MQF in brain* (*even more than usual yeah.....)

ok lads listen up. i love allllll Mu Qingfang designs ok? all the interpretations are cool and valid and dear ok BUT. whenever I personally try to draw MQF without a 'stache he just looks to me like a first-year med student ok hjdfhkfd

but anyway. when i was scrolling around and being completely normal about MQF i saw a lot of ppl say stuff like 'this is my 'mqf is actually pretty' agenda' and its alwaysss about peeled mqf SO I HAVE A POINT TO PROVE OK. mqf with a moustache can be also a prettyboy ok?? i can prove it 😭😭

so here are my qingfangs where i turned up the babygirl vibes to absolute max as i could hsdfjkhdskfh 💜

[marblerose-rue]

click for better quality!

i dont draw my own characters unless its for a special occasion so drawing noah and cedric is a bit of a treat :]

[dreamsy990]

i drew silly gijinkas of my dogs

the dogs in question

[honkowo]

MORE MEAT CARSSSS (AND HOTROD!!!!!!!!!! <3<3<3<3<3)

from top 2 bottom: some bigass meat car models, HOT ROD<3, & examples/sketches of possible modded meat cars heehee

so the 2 other factory models r the mole, a meat car used for underground travel & excavation for permanent settlements, & the walking city, a meat car built for carrying many angels( about 40-50 on average) and/or their stuff across long distances.moles are one of the only factory models with a base that ISNT of angel origin for once; its a subterranean mole instead :). the mole can also come in a fair few sizes, with the one in the picture being the biggest.

I FINALLY GET TO SHOW U GUYS HOTROD TOO YIPPEE!! hotrod is clink's only custom meat car & is his pride and joy lmao. hes entirely a speed-based custom, being capable of 200mph max & an even faster diving speed, & hes quite agile too :). unlike ur average meat car, hotrod has a more prominent personality; often getting himself into trouble because of how nosy he can be. hes otherwise pretty well behaved.

like usual, gif stills r under the cut :)

[a-alienn]

Villain design for my General Peepers concept + some more doodles

Don't have a name picked out yet but They're quite uptight and likes things to be neat and tidy.

[iridescentipede]

how do we feel about these two

(they both use they/them!!!)

[waywardsalt]

tag rant but man i fuckin hate the new direction for loz

[ruruvxz]

“Where is my friend, smiley?”

Idol!Huh Yunjin x Idol!Reader

↳ synopsis: It was infuriating watching everyone ship you and your label-mate, you didn’t even know how anyone came to that conclusion, you didn’t even interact with her in the public! (Or from public knowledge you didn’t) So why would anyone know about your embarrassing relationship with her?

↳ cw: kinda mean reader, use of language, established relationship, reader is in a fake group, reader was in Produce 48, lovesick yunjin, hidden relationship, tooth rotting fluff (kinda a yapfest abt how much you love her…)

↳word count: 2.5k

a/n: literally my first time writing after awhile, usually my stories are old renditions/proofreads of stories i wrote back in 2023. so this is something im actually really proud of! also this story kinda was inspired by “tingin” by cup of joe more than it was inspired by “where is smiley” by serani poji… LOL

౨ৎ It was odd, and everyone agreed, that the partnership with Huh Yunjin from Le Sserafim and Y/N from Serendipity was perplexing. The only thing connecting both of the girls was the industry they happened to be in, other than that they had nothing in common. Of course, the argument could be made that you and her both participated in the hit reality competition "Produce 48", but everyone knew that was quite a flawed counterpoint.

This was because you were practically thrown out after a few episodes before getting scouted by HYBE to debut months later. And you made it apparent that you didn't want to interact with anyone associated with the production of that show. So with Le Sserafim's debut years after yours, you found it baffling that your company wanted you to "hang out" with the rookie groups, it was infuriating. You worked so hard just to be put with a bunch of girls who couldn't care any less about how much you tried. Despite that, you found mountains and mountains of carefully orchestrated videos of “so-called" proof about you and Yunjin being the "best" of friends.

Whatever it was connecting the both of you was a mystery the fans must solve, and being honest with yourself, you found the whole circumstance mildly infuriating.

So at every turn you tried avoiding that mischievous redhead wherever you went, even when it came to recording meaningless video collaborations, you always mustered up a half-assed excuse. It came to the point where you went out of your way to hide in uncomfortable places just to avoid her friendly banter. Though no matter how hard you tried you could always hear her voice linger longer than it should have in the back of your head. Or maybe it was just how awfully loud her voice was, to the point that it left a ringing sensation in your ear.

It came as no surprise when you heard her voice calling out to your other members inquiring about your whereabouts. This was usually your cue to hide away from prudish questions, last time she had asked you "Do you come here often? You look like you do" unprovoked! Admittedly you knew she didn't mean any harm, but it still struck a cord within you, and knew she was probably going to run towards you asking all sorts of questions. You picked yourself up from whatever task was put on you and quickly ran away from her voice.

Of course, you knew what you were doing was more than ill-mannered, but god forbid she quizzes you one more time about trivial interests. But that was better than confronting her, confrontation was your worst enemy, and so was Yunjin's mannerisms. She was the physical embodiment of what a "dog personality" was, always eager to learn more and help everyone out. it kinda freaked you out to some jealous extent.

So trying your best not to start any conflict with this poor redhead, you decided to best course of action was to camp out around the building's designated lounge. Hoping today would not be the day she decided to check this certain deserted area. All you could do now was fish out your phone from your back pocket to read some forums about your performance and pray that no one would notice you here.

On the other hand, Yunjin was getting more and more hopeless trying to find you around the shared building. Feeling a little lost as she mindlessly drifted across section to section of the HYBE building. Though it hadn't taken poor Yunjin a while before spotting you from the corner of her eye. Her eyes lit up when she saw you mindlessly scrolling on your phone, the energy filling her up with excitement as she inched closer. As she came closer you couldn't help but notice her come closer and closer, realizing your interaction was inevitable.

Jerking your head up to meet her gaze, Yunjin waved her hand as she came within reach of you, letting out a fake smile before putting your phone down. You glanced at her and back to the empty seat resting in front of you, she beamed a bright smile before quickly and "casually" sitting down. Yunjin opened her mouth to speak before you cut her off with a hum.

"Remember, we're the only ones here so make sure to be a little quiet, alright?" You hushed, while she gave you an approving nod, she spoke up this time making it apparent that she was trying her best not to draw attention to the both of you, not like last time.

"Of course, I just wanted to see you it's been so long since I've seen your face..." Yunjin pouts as she looks around making sure the coast is clear from the nosy "enthusiast" who was always oh so curious about you and Yunjin's relationship. Your spine chilling at the thought of people making up such absurd theories about your closeness. The way they could put together such in-depth statements about the both of you always stumped you, how did they manage to procure all this information?

Even Yunjin claimed time and time again that she knew nothing about these fan-made theories, or how her fans managed to get old screen captures of both of you. In actual reality, Yunjin most definitely knew more than he should have! Mainly because it was practically her fault that images of the both of you were wafting around on the internet. See, she wasn't exactly the silent type when it came to friendships/relationships, she loved airing out her own business, which usually came back to bite her in the ass. So needless to say when her old Spotify account was coincidently launched into mainstream media people quickly connected the dots.

For someone who was adamant about avoiding her Juniors, you happened to be insinuated in every one of her, oddly, romantic, playlists. Either that be by a photo of the back of your head being the cover of a playlist titled "The Perfect Pair", or by the fact that all the descriptions were... Unusually corny... even by Yunjin's standards. Each careful string of words all connected with an underlying message about adoration for a certain someone. This didn't help her case since she always spoke about you in high regard whenever she was in a lonesome interview.

And the evidence staked against her was just the tip of the iceberg, it was in fact, much deeper than she'd originally like to admit. If someone with a genuine interest in your relationship with Yunjin researched just a little more about the both of you, they'd probably discover your relationship cut deep. And yes— as much as you tried to avoid how embarrassing your elimination was during Produce 48, you came across one of the greatest person you’d ever meet.

The way she laughed so carefreely, and how her eyes crinkled whenever she smiled, while her gaze brightly met yours. Everything about her made your heart stop, it made you freeze up whenever she looked at you during practice, and it made you such a fool. You knew it was for the better to avoid her, if you didn't, you'd probably be so whipped so hard that you couldn't focus on your own career. But it was so hard, especially whenever she'd run towards you after every practice and performance telling you how well you did. (No one actually noticed anything because you never really got any screen time sadly...) Even if you left fairly early on, Yunjin slipped you her number so you could both keep in contact.

After that day, the one thing you swore not to do, was instantly thrown out the window, as every waking moment you'd secretly visit her to give her your luck. And when things didn't go her way, and she was eventually eliminated, you comforted her in your arms. Before you debuted, you would actively seek your smiling friend, laughing under the neatly shaded picnic table outside the PLEDIS building. It wasn't much nor was it very significant, but being by her side was more than enough for you.

Even after you debuted, you never broke contact with your dear friend, words couldn’t describe how much she meant to you. She congratulated you every step of the way, and you backed her up twice fold, no matter how turbulent her career was becoming you’d stick by her side no matter what. Because to see her smiling face was more than enough for you and you wouldn’t let anything or anyone damage that. So when she finally told you how much you meant to her, you couldn’t help but reciprocate the feeling.

Though when she debuted and years later light babble started to circulate around the corners of the internet, you so desperately wanted to stay away from her, not to damage her career. It was difficult but her happiness, and that smile you treasured so much was on the line, and you wouldn’t—couldn’t let her lose that.

(Of course, she knew what you were doing, she wasn’t an idiot, but it just made her love you even more, the way you cared so much made her heart swoon deeper for you. Yunjin didn’t want to sway your plans because she didn’t want to ruin your career as well, so she too, went with it. But that didn’t mean she ever kept you a secret. You belonged by her side and she didn’t want anyone to forget that. So yes, she was subtly hinting towards her loving fans that her heart fell in the palms of someone else’s.)

So that was what led the both of you to the circumstances you were entangled in right now. Having to camp out in secluded places, where only your faint laughter could fill her ears, and hers only. You reminisced on your past with her, how carefree you both used to be during your youth, but you wouldn’t trade what you had right now for anything. Despite how secretive the both of you were, you were content with having her hands interlocking with your fingers. It was small, honestly not even comparable to how she used to intertwine your lips during rush hour on the bustling streets of New York, but both made your heart race nevertheless.

As she talked about how practice went, your eyes drifted to how she’d scrunch her eyes whenever she laughed about what happened with Eunchae. Despite all the hardships she’s dealt with over the years, she was still the carefree girl you fell in love with. It was honestly surprising how your eyes never faltered off of her even after years of dating. You tried to take the advice from your family and peers that this was some teenage infatuation, but even through crowds of people, you’d pick her gummy smile before anyone else’s.

Your mind drifted to how you’d give her the moon and back, even if no one was watching, you’d give her everything you had. Your eyes, your heart, your mind, anything you could give her, you would. Yunjin couldn’t help but notice your gaze falling from hers and to her cheeks, she curiously stopped her story to call out to you.

“Ah Y/N, are you okay? Are you tired, I’m sorry I shouldn’t have talked your ears off—“ You cut her off by raising your hands to her face, she looked confused as she cupped her face. Yunjin looked even more shocked when you started to pinch her soft cheeks. Squishing them like marshmallows before laughing to yourself silently.

She (very pathetically) tried to swat your hands away before finally giving in with a giggle, placing her hands on top of yours. “You have such an adorable smile, have I ever told you that?” You speak, pulling her cheeks up to force a smile, not realizing she was smiling from your comment. Caressing your hands with her thumb she spoke up once more.

“Yes actually, you always tell me that my love.” She responded, her cheeks flushing red as you continued to play with her face. The way her eyes squinted like a crescent moon made you adore her even more than before.

“Your smile is just so adorable, I’m afraid I might hide it away from everyone.” You joked as you continued, she looked at you even more lovingly than imaginable, if you weren’t in public, you’d probably be kissing her face all over instead of playing with it. You were so distracted by how charming she looked that you didn’t notice a meddlesome paparazzi sneaking in and taking a very sneaky photo of the both of you. (And even if you did notice, you didn’t have the power to stop them, they’d probably run off with the photos before you could even stand up. Though they would probably release the photos later on in the day, and it would rightfully annoy you. You couldn’t deny the fact you were a little grateful that the people knew, the Huh Yunjin was, Y/N L/N’s)

“There you go again— Hey! You know, that was the first thing you told me when we met.”

“Was it really?”

“Yeah, you told me how beautiful my smile was, I was kinda surprised since you approached me in such a huge crowd of people.”

As Yunjin recited the moment you met, you remembered in detail about the interaction, because that’s what changed the trajectory of your life. (The backstage was crowded with everyone getting ready in their bright pink and white uniform, the cameras weren’t rolling so it was awfully loud. Your broken Korean wasn’t helping your cause as you tried your best to converse with your fellow trainees. The sea of faces was difficult to remember, there were 96 contestants after all. Despite how deafeningly loud everything was, and how overwhelming everything felt, your eyes wonder towards a light-brown bob. Her face caught you off guard, she was stunning, and the way she smiled made the world go silent for a few moments. And you needed to talk to her, or this moment would slip through your tender fingers, so you pushed through the crowd just to have one conversation with her.)

“How embarrassing… I hope no one finds out about that.” You sheepishly admit as you move your hands away from her face and intertwine your fingers back to hers.

“I’m sure they’ll find away, but before they do, my smile will always belong to you, Y/N.” She lifted one of your hands back to her face and cupped it to one of her cheeks before smiling softly. Making the already silent lounge even more quiet, as your mind only focused on her delicate smile. The same one you’d turn tides to protect. Your smiley.

opm and ppop lovers rise tf up!!!!!

[shyfoxsky]

I really think that the therian community needs more essays on former trends and general forms of conduct, because I've said it before and will continue to say it, but the way the community was structured in the mid to late 2010s when I was first awakened was fun and exciting and helped me really find the good in my identity, but also was extremely toxic, judgy, and detrimental to my overall journey.

In my first few years in the community, I was embraced into a corner of the internet that was all about animals and the ethical treatment of them and appreciating and worshipping nature as we all considered ourselves more a part of it than "others". I was also dragged by my tail into a corner of the internet that forced me to give up every single personal, little detail about my personal identity and how I felt about it and the step-by-step of how I got there just to be allowed to speak.

That community both sang the praises of wolf therians, put them on a pedestal, to the point that it felt like they were above all other 'types, while also simultaneously tearing down anyone who questioned wolves, especially certain coat colors, to the point that you had to defend a master's thesis in front of a panel of graymuzzles for anyone to allow you the label "wolf therian". From day one, you were conditioned to believe there was no fun and intimate community, no pack meets, no content for you, unless you were a gray wolf, but you had to be educated on par with the top experts in the world on both identity and the species to not be considered "another kid that likes wolves". If you were anything else, you were an outcast in a world of outcasts. You were just "trying to be unique". You never got edits, outfits, etc. without asking creator accounts for them yourself. The community's terminology was structured around wolves. Howls, packs, etc. You either had to accept that you were going to be outnumbered in any close-knit small group you joined, if you were even allowed and it wasn't "wolves only", or, you could make a group designed around 'types similar to yours, which would never be found by others like you, and would quickly only become a failed idea.

That community is what led to my complicated and painful feelings towards wolves. For the rest of my life, no matter what happens, I will always have doubt in my identity because of it all. I will either be a wolf who believes I'm one because of the community's influence, or I won't and will believe I'm not because I want to escape the stereotypes that come with being a wolf.

That community also was riddled with rigid, unspoken rules about what was and wasn't an acceptable therian identity. I never heard of systems during that time, never saw anyone identify solely psychologically, and no one identified only because they felt like that creature. Back then, you were a standard therian with a single 'type, maybe a second if you'd been researching and journaling every single day without fail for more than a year with statistics to back it up. You had a reason for your identity, but it couldn't just be that you imprinted on your pets as a child (that's not enough), or that it developed from trauma or autism (therianthropy isn't a mental illness), or that you simply feel that way (you're just a wolfaboo). You had to be a misplaced soul, someone with past lives, on rare occasions, you could be a permanent walk-in spirit (but definitely not in a plural way). Don't even get me started on the idea of polymorphs, conceptkin, etc.

I personally feel like a standard therian, but to this day, I still question the origin of my identity. So much of my identity as a red wolf hinged on it being endangered and from my area, because then I could be a misplaced soul due to there not being enough bodies for red wolves to be born into. When I first awakened, I thought my identity came from a past life, even though I personally don't believe I can ever find out what those were, if I even have any. Later on, when I realized being raised with dogs and always seeing and being compared to canines likely had something to do with it, and I considered it to have come from imprinting, I still felt as if I was required to find some spiritual side to it as well. I still struggle with this, to the point that I barely know what I believe in afterlife-wise anymore, and I certainly don't understand what led to my identity, if something even led to it at all.

Those kinds of things needs to be discussed more, because to an extent, I feel like it's still present, both in the same and different ways. The newly-awakened alterhumans of today, yesterday, and tomorrow, all deserve to have a truly accepting space to figure themselves out without pressure to conform to an unspoken standard of how one should identify. Tumblr is better about it than most sites, but ones like TikTok might set things back, if they haven't already, despite the attempts of well-meaning individuals who are trying to break through the algorithm and educate others. I just think more discussions need to be had and more perspectives and experiences need to be shared for the sake of awareness and making sure damaging practices don't continue forever.

[lesbomaticlove]

ive talked about it before but i wanna talk about it again and that's

body types in drawing especially in terms of one piece characters

and i know its because official art presents them all the same but it just does not feel right to me, y'know? especially when i look at fanart and it looks like they just drew the same body multiple times with different faces (talent in that yes but god change it up a bit PLEASE)

like with my style i like to draw semi-realistic cartoon type beat, and that means im thinking about an abstract of shape language in the way that i present the characters. i consider their fighting styles and workouts when i think about what their body type would be, not just for op ive done this with mha and jjk characters too because god dammit gege, maki deserves bulkier muscles for her efforts

so here it is. my analysis of more semi-realistic designs for these characters. all my opinion and not meant to be a call out to anyone.

also, not including the women because we all know how unrealistic they look and i dont need to explain that to you im begging just use reference.

LUFFY

rubberhose arms are ESSENTIAL in his design so when i draw him, i never put too much definition in his muscles. real definition should be reserved for gears that alter his muscles

noodly arms and stick ass legs that is his Charm thank you i dont need super definition

ZORO

on the opposite end of the spectrum, zoro.

though, i see many people draw him more bodybuilder silhouette when he should be powerlifter silhouette, youve SEEN how this man works out. stereotypical bodybuilder physique that's all muscle and no fat is EXTREMELY UNHEALTHY TO MAINTAIN and you know theres no damn way sanjis letting someone on the ship watch their weight for the sake of visuals. he should be defined and bulky, but softer edges on the abs.

USOPP

Speaking first on pre ts, what does he excel at most? long range weapons and running.

obviously he gets proper strength training during timeskip, but i really think the best representative for him is olympic sprinters

muscular, but still pretty skinny

SANJI

hear me out. ballet physique.

i see him drawn w the same physique as Zoro and it just feels so wrong. he doesnt train his upper body, so most of his definition would be in his core and legs. not to mention his flexibility tracks with that.

maybe ill come back with a figure study on these later to fully show how it translates into my drawings but. for now. tumblr wont let me add any more images to this post

[heretherebeturtles-comic]

Hello! Many people have said this but ill say it too, I LOVE YOUR COMIC SO MUCH ( ´ ▽ ` ).｡ｏ♡

I really wanted to ask you about how you do the backgrounds? (Something i struggle with) whats the process? Like from start to finish, also, to do the rise backgrounds do you use reference from the show and generally real photo of ny? Or do you come up with them? And last question- The shadow and light on the background- Like HOW

i know it’s a lot of questions but i’m just so curious qwq and wanna learn to be better, thank you again in case you read this and respond, in case you don’t, i hope you have a nice day and a wonderful life uwu keep up the great work! (≧◡≦) ♡

Backgrounds are a really broad subject and I'm always a little overwhelmed when asked this question. Just like drawing the human body, backgrounds take time, repetition, and practice!

My answer got a bit long, so it's going under a read more :) but if you digest info better in video format I found this on youtube

It pretty much goes over everything I wanted to say, but in a much better way. I wish I had found it before writing all this out lol

ok, first of all, I'm not a teacher nor was I built to be one of those cool helpful art tutorial people who do a full coloured tutorial filled with illustrations. This is just going to be a messy "how I do backgrounds / environment layouts from start to finish." kinda thing.

... lets start with a sight tangent.

Sketch from Life!!!

If you want to get better at backgrounds I recommend doing some sketching out in the real world!

When I was first getting into doing backgrounds I went to cafes and parks to just sketch the buildings and objects. Sketch rocks, flowers, clumps of grass, garbage cans, bottles, tables, street signs, etc. If you are drawing a tree observe how the trunks twist, how the bark flows, or how the leaves are bunched.

If you can't leave the house the same still applies! Sketch the interiors of your house, the walls, or common objects like chairs and bookshelves. How are objects stacked? items on the floor?

If you aren't comfortable with drawing outside or in public you can take some photos to draw from! They are good for practice and you can use them again as references later. Alternatively you can find pictures online of buildings and objects to sketch as practice.

All spaces have objects in them, it becomes easier to draw those kinds of spaces when you already have spent time observing and sketching them.

ALSO! They don't have to be good sketches! It's just to build out your mental catalogue and strengthen your perception of perspective.

now the actual thing...

BACKGROUNDS

(the pictures used for this are my own. I dug them out of my 2022 folder)

Backgrounds have slightly different rules based on what you are making them for. Videogame Environment Concept Art vs Animation Layouts vs Comic Backgrounds vs Illustration backgrounds.

They all follow the same basics, which I will go over here, but the intention and function of those designs are going to be different. It's all about how you set up the scene and what it's purpose is!

Brainstorming and Thumbnailing

I like to think about a location as though it is a character. An abandoned old house with creaky sagging floorboards is very different from a futuristic space ship with sharp metal floor panels. A gas station has a very different feeling from a library.

I usually start by asking what is this location's story? Why was it built and for what purpose? What kinds of things does this room need to fulfill that purpose? You don’t need solid answers, but its good to be thinking about it while you are working.

Next, sketch some ideas for how this place is going to look. For me, this usually involves drawing the idea from multiple angles and then making lists & small sketches of the objects I think should be filling the space.

Example: The main character of my original work is a Wanderer. They collect a lot of things on their travels, but those items have to be small enough to be easily carried in a backpack. I wanted his room to be in the corner of an attic, walled off by curtains, and filled with trinkets. You can see some of my brainstorming above.

References

I only look for references after I've done some sketching and planning; this is to solidify my idea first so that I don't accidentally copy anyone else's work. I will make a moodboard with pictures of lighting, colours, items, rooms with specific ceiling beams, old chairs, etc. basically whatever I feel fits the vibe.

Honestly, I don't use references as much as I should. For ROTTMNT fanart I look at backgrounds and screenshots from the series to study the style. I also reference actual photos of NYC to get a feel for how Rise condenses the visual information.

In general, it's good to have references of real life objects/locations, because there are so many details like cracks in pavement, stickers on polls, crowning on buildings, fancy fencing, weird chair legs, etc. that you might not think of. It's the imperfect details that can make a location feel more alive.

Perspective

Once you have your chosen sketch we move to.... the infamous perspective boxes. Doing backgrounds is just learning to be comfortable drawing So Many boxes and carving items out of them.

Many better artists than myself have made videos on perspective, vanishing points, and all the technical bits. Videos like THIS ONE and THIS ONE are helpful (this post is great too!!). There are probably a lot of classes to be found on Skillshare or Schoolism. I learned a lot of this in my college art course, so I can't give you a specific video which helped me.

You can get by and be a good artist without learning this stuff. There are quite a few successful artists who have admitted they never bothered to learn perspective (one of these people even made a whole graphic novel series).

I personally avoided properly learning this stuff until I was in my 20s because I thought it would be boring and difficult to do. tbh I really wish I had learned it earlier because it's so much fun to make those silly little boxes imo. It looks scary and complicated but, just like drawing humans, it just takes time, repetition, and practice to develop the knowledge and skills.

Cleanup

You have your boxes and lines! Cool! Now to make a scene out of it. Fill in the details, get everything placed were you want it! Generally, the lines of each item will point back towards the horizon line, but they can have different perspective points.

Generally you would want to clean it up and get your room completely sketched before doing the lineart. I tend to combine the steps (not recommended)

Lineart

I've mentioned how I do this before. Closer objects have thicker lines and more detailed inside. Further objects have thinner lines and less detail. I didn't quite achieve that balance with the image below, but it's close enough.

Colours and Shading will have to be a separate post. In the meantime, I highly recommend the book "Color and Light" by James Gurney. I used to borrow it from my local library and a good chunk of my knowledge was learned from it :)

[ignivv]

So like... i went a little overboard.. but oh well! It's a living!

Can u guys tell that i gave up on hands🔪

Maybe ill polish it some more later...

Daddy brainriot is real

I love all of them!

Yes, most of them got the gray hair treatment... I couldn't help myself.

It was very fun coming up with these designs! Not gonna lie there's a lot of already established traits in daddies community that inspired me. I hope you'll like my interpretations!

[felassan]

Paste Magazine: 'Dragon Age: The Veilguard‘s Creative Director Talks Restoring the Lore'

Rest of post under cut due to length and possible spoilers.

"“I was the one cinematic person who always snuck their way into all the writing meetings because I love storytelling,” [John] Epler tells Paste. “I love narrative, and they wanted me to be Narrative Director on the franchise.” When the Creative Director position opened up later on, Epler was primed for the role thanks to his experience across multiple aspects of game design.  ‘They wanted someone who had a good relationship with the people on the team, who could work across disciplines, and who knew the story,” Epler explains. “You know, knew the franchise and its storytelling. Because I think for Dragon Age in particular, narrative is such a core part of the franchise’s identity. They wanted someone who could operate in that space, but also knew how to work with gameplay, work with design, work with art, and that was something that, with both QA and cinematics, I had learned to do. I think just a history of being always willing to do whatever was necessary and also having good relationships with most people on the team helped me out.” As creative director on Veilguard, Epler worked with a team that fluctuated in size from a dozen to several dozen depending on which phase of development it was in. And given Epler’s history with cinematic design, that team worked closely with narrative to craft the kind of epic story Dragon Age and Bioware are known for. “Storytelling is huge, probably the biggest part of Dragon Age: The Veilguard,” Epler reminds us."

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"Paste: When you’re bringing back a series after a decade, how do you decide what threads to pick back up on, which characters to use, which lore to focus on, etc.? John Epler: It is going to sound very cliche, but it is true: It honestly comes as we build it. We knew a couple of core parts of the story. From the end of Trespasser, for good or for ill, we pretty much determined where we were going and what we were going to be doing. It was about the chase, the search for Solas. Solas had been very clear in his ambitions to end the world at the end of Trespasser. And, you know, at the end of the very final scene of Trespasser, we stabbed a knife, a dagger, into the map on Tevinter. So we kind of knew we wanted to go to Tevinter. We knew we wanted to chase Solas. Now that said, as the story started being constructed, and we discovered, okay, where else do we want to go, what characters make the most sense in this story, that kind of determines what lore threads we want to start pulling on. So without getting too much into spoilers, obviously, Scout Harding has a story that’s very focused on the dwarves and their history; Shery Chee started writing Harden’s ark, and realized, okay, this is actually something we’re going to want to dive into more deeply. Belarra’s story is very focused on the ancient elves, not just the gods, but who they were. So that became a lore thread we wanted to pull on.  As far as returning characters for us, it really does come down to who has the most to say about what’s going on in the world. Who is the most likely to be involved in this particular story. And I think, most importantly, this is something that we always talk about, is who has more to say in their story, whose story isn’t over. Because one of the things that I don’t necessarily want to do, I don’t want to bring back a character just so they show up and then disappear. That doesn’t necessarily do that character justice, but it also contributes to what you do see in some franchises, which is a sense of small world syndrome, where there’s literally 30 or 40 important people in this whole world, and they all somehow know each other.  But again, you know, you see Morrigan in the in the previews, and as we’re writing the stories like, well, of course, Morrigan, who is the daughter of Flemeth, who was at least an aspect of the goddess Mythal, one of the ancient elven gods, she probably has something to say or something to do in a story about the last two elven gods escaping. So, yeah, it comes down to who has something interesting to say, who has something more to say in their story, and who do we feel makes the most sense for where we’re going and what we’re doing."

"Paste: Sticking to the long gap between the last two games, what are the challenges in trying to make a satisfying continuation of that story without making it impenetrable for new players who maybe weren’t old enough to have really played Dragon Age in the past? John Epler: Well, I think it was funny because, on the one hand, yeah, the challenge is, you’re trying to tell another chapter of a story that’s been dormant for at this point nearly a decade. But it’s funny because I do think that actually ends up working to our benefit. For the second question, we cannot assume anything about what players remember. Because even people who were playing Origins, were playing Inquisition, all the DLC, they may not have done so for quite some time. And obviously some players are going to like—I mean, I see it all on social media, people doing their final Inquisition playthrough before Veilguard, which is great, but you have to assume that people don’t remember everything that happened. You have to re-onboard them back to the world, back to the lore, and you’re also bringing in new players. I think honestly, for Veilguard, one of the things that’s worked the most to our benefit is that this is a continuation of that story, but the context changes so dramatically within the first hour. You know you’re going after Solas, you know the first mission. We’ve always said we wanted it to feel like the last mission of a different game. But then you get to him, the ritual crumbles, the gods come out. And now, even if you’ve been following this story up to this point, for everyone, it’s just a sharp left turn. Solas is no longer the central antagonist of this at this moment, it’s now these two new figures, which means Rook, you know, you as a player character, but also the player themselves… You need to bring them back into this story, because nobody, including the people who’ve been playing forever, know what’s going on at this point. So it’s actually a really great way to do the first couple of hours, because you can’t assume everyone is coming into it with the same level of grounding in the story itself. Some people are gonna have more lore. And one of the things we do try to do is, anytime we introduce a proper lore term, I use Venatori as an example, we always try to pair it with a more commonly understood phrase. So “Venatori” and “cultists” always go together in the first few hours of the game. “Evanuris” and “elven gods” always go together in the first few hours of the game, but done in a way that doesn’t feel like the game is like, “Hey, don’t worry, we’re going to tell you everything.” It feels natural the way the people in the world talk about it. So you encounter Strike and Irelin, two of the Veil Jumpers, early on, and they use the terms interchangeably in a way that allows players who don’t know as much about the world to get what all these things mean. Like I said, it’s just the context of the stories. The story shifts so dramatically in those first couple hours that everyone is catching up, even the characters, even, you know, Harding is still trying to figure out what the heck is going on."

"Paste: Speaking of what’s going on, in Veilguard we have a new character as the protagonist, Rook. What’s happening with the Inquisitor and the protagonists from the first two games? What are they doing in this world now, assuming they survived their games? John Epler: One of our storytelling philosophies is, for us, especially when it comes to importing, is unless we explicitly say so, assume that those characters are still around. So what we do, because this is the story of Solas and the Inquisitor has a very direct tie to Solas, the Inquisitor does show up in Veilguard. I’m not going to tune into spoilers, or what the role is, but it would have been very strange for us to tell the story of Solas without having the Inquisitor involved, because, again, they were part of that story. As to the previous two protagonists, they’re still around; that said, their personal arcs, their stories that they were part of in their games, aren’t as directly tied into this story, either narratively or geographically. We’re now in the north of Thedas. So the Hero of Ferelden, who you know, if your hero survived, one of the things we talked about is they were looking for a cure to the Calling. They’re not going to necessarily be involved in this because they weren’t tied to the elven gods, and the blight is still present elsewhere. And Hawke, depending on what you did in Inquisition, may be deep in the Fade, or they may have gone to work with the Wardens and also engage with the Hero of Ferelden at some point. So we’re not going to say much about them because they’re not directly related to the story, but we want players to understand the fact that we’re not saying anything about them because they’re still alive. They’re still doing something."

"Paste: A lot has changed in the world of games and game design in the last decade. How has the creative process of creating a Dragon Age like Veilguard changed over that time? How was making Veilguard different than Inquisition? John Epler: I’d say the biggest change for me has been leaning much more heavily into pre-production on everything. So one of the things that we’d done on Inquisition, I was a cinematic designer on it, we didn’t really have the sense of storyboarding, of previsualization the way we do now. But with Veilguard, one of the things we did very early on is we built the entire story in Twine so we could play through and see the interaction points, see the word branch, and get the sense of how it was flowing, how it was coming together. Beyond that, very heavy use of previsualization, whether storyboards or actual white box, in-engine—or, I say “in-engine,” but, you know, in Maya—models, moving together, figuring out how these shots work. But I mean, ultimately, a lot of the same processes are in use now that we did then. Writing does peer reviews, they still do the same peer reviews. Take your work, you put it in front of the group, and you basically say tear it apart. Let me know what works, what doesn’t work. But I do think the other thing that’s been a great change since Inquisition is there’s a lot more sense of… if you’re building a level, you’re not just bringing in the level designers and level artists, you’re bringing in the gameplay people, you’re bringing in writing, you’re bringing in, you know, all these different groups to kind of build the feel, build the shape. Not to say Inquisition wasn’t collaborative, but I will say, as someone who worked on it, I felt much more like each pod was kind of an entity onto itself, you know, doing this thing, but not really touching the other parts of the game. In Veilguard, we very much wanted people to understand how their work fit into the whole that we were building. So there was a lot more sense of collaboration. And then, you know, more practically, COVID happened while we were making this game and brought work-from-home, remote work in general. I’m doing this interview from my basement right now, but in general, people are working more distributedly, so there becomes a much higher premium on communication. And like, we use Slack pretty extensively, and the sense of like, talking to people as much as you need to, as much as you can communicate broadly, and information sharing, I think, has become a much bigger part of it."

"Paste: So having the different departments less siloed, like it used to be, how has that impacted the day-to-day experience for a Bioware employee. Are they working more or less hours now that things are more collaborative? John Epler: I think it depends on who you are. And, I mean, I’d say generally less but again, it depends. I will say for myself, I have difficulty because of work-from-home. And this is a personal thing. I don’t always have the best separation between work and life because sometimes it’ll be like, nine o’clock at night and you’ll be like, oh, you know what? I just had this really great idea, I’m going to hop on and do something about it. That used to mean driving back to the office. So I will say now I’m not in the office, which is great. For me, one of the greatest things about this has been, I have a personal rule of I don’t ever do work between the time my kids come home and when they go to bed, which means I get to be fully involved as a parent. But then, like I said, 9:30 comes along [and the kids are in bed], and, you know, I think because I’m creative director, it’s a little bit different. I gotta jump in and be like, oh, I want to do this. So I think, you know, it depends on the person. But I think what it’s done is, in general, allowed a lot more freedom in defining your hours. And we do have some people who are not morning people, so maybe they don’t get up and jump on as early, but then I’ll see them later at night, and they’re doing the work that they would have done. And I think that freedom for me has been, and I think I can speak for a lot of people, has been probably the best part of how things have changed."

"Paste: So something else that’s changed in games over the last decade, I guess it really became standard right before Inquisition came out, and it’s something that’s been a constant problem for many people who are creatives in many different mediums. But some of the fans and fan accounts online and how they react to games and designers and games media, starting with what they call GamerGate. What are your thoughts on that type of fan interaction and how has it impacted the Veilguard team? John Epler: Anytime you get fan feedback, the question I always ask is, what is it that they’re actually saying? And, you know, sometimes it is literally what’s coming out, what they’re typing. But a lot of times, from whatever group it’s from, there’s a sense that they’re speaking to something deeper, something that’s, you know… I think ultimately, for me, it comes down to understanding and being confident in your vision which means you take the fan feedback, you can look at it, you can decide what you do or don’t do with it. But one of the most—I don’t want to say challenging, but one of, I think, the easiest traps to fall into is a feeling that you need to be, “oh God, they don’t like this, and they don’t like this, change this, change this.” And I think there’s a sense of, if you have a vision that you’re comfortable with, are confident in, you continue to stick with that vision, you can make make adjustments, make tweaks based on what people get excited or don’t get excited about. But I think the other side of it is, when you’re releasing news, you’re doing press events, you’re talking about the game, you’re only giving people a small slice and a decision that may, for them, like, “I cannot believe that, why would they do this,” makes a lot more sense when you know the context of the decision as a whole. And I’ll say it for myself, one of the bigger examples of this was when the Yakuza series went from action to JRPG, turn based RPG, and I’m like, “Oh, this is so weird. I don’t know. I don’t know how I feel about this. You know, this feels like a very strange shift.” When I played the game, like, “oh yeah, holy smokes, this makes so much sense.” They made it make sense narratively. They made it make sense from the gameplay perspective. So I always try to remind myself, like we know the game as a whole. We know all the pieces and how they fit together. When you get that feedback again, you can look at it. Some feedback is obviously better than others. Some feedback is more, you know, is more interesting, and more does more for us than others. But again, it comes down to know the game you’re building, be confident in the game you’re building, and don’t try to design by committee, because ultimately, everyone has a different thing that they want out of the game, and a lot of people, even themselves, will have two very contradictory things that they want out of a game. So you have to be careful not to overreact and water down what you’re building into something that I would describe as, you know, mushy. You don’t ever want to be in the mushy middle. You want to make a strong statement with your game and how your vision evolves, and stick with that."

"Paste: Where do you hope to see Dragon Age go from here? John Epler: Honestly, I love telling stories in this world, and I think one of the fun things about the ending of this game and some of the seeds that it sows for the future is the sense that everything you thought you knew, maybe you weren’t as right as you thought you were. And that stuff like using the unreliable narrator. It’s fun to be able to take that and apply it to things that you as a player experienced, and then see that there’s an additional layer. Context that you didn’t have at the time that now throws into questions some of what’s going on. So again, I’m trying to be as vague as possible to avoid spoilers. But I do like the idea of—because one of the things, the other side of it is Thedas is one continent in this world. There’s still a whole other world out there. And I think, you know, for myself, I kind of want to know what’s out there. I kind of want to know what’s going on in a world where, over the last 15 years, Thedas has almost ended the world three times by themselves. If you’re from a different continent, how are you feeling about that? I’m gonna guess, probably not great. So I think there’s a lot of fun stories to tell there. We haven’t said much about the rest of this world. So there’s just this giant blank canvas for us to start playing in, which I think is, for me, the most exciting thing about moving forward with this franchise."

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