#is this a common practice???

[and-her-saints]

hey is it normal to charge for zine applications? like... tickets to enter your art into a zine?

[ciderjacks]

contracts written in blood

+

[demaparbat-hp]

Golden Boy (and Silver Girl) for the Kintsugi AU.

[ironinkpen]

The dynamic in Rise between the rest of the team and Leo is. so fucking funny. Because like you've got these three extremely talented individuals who all seem like perfectly reasonable people at first glance, right, but then if you squint hard enough you realize they're actually all batshit insane (affectionate) and the clown boy standing behind them is secretly their common sense.

Clown boy will occasionally put himself and the others in danger to Prove Himself or Prove Someone Wrong (see Minotaur Maze and the movie) but like otherwise... i think people forget Leo's overwhelmingly the voice of reason in most situations?

Raph, Mikey, and Donnie are all incredibly powerful boys with very specific skill sets. They are also, as a direct result of this, the WORST decision-makers on god's green earth lmao. When presented with a problem, Raph will smash, Donnie will blow shit up, and Mikey will razzmatazz. They will all run straight toward death with the same oblivious enthusiasm of a dog about to run straight into a screen door. None of them realize this and all of them think they are Extremely Good At Problem-Solving.

And the guy cursed with the common sense to realize this is literally the LAST person anyone would expect.

When you look closely, the entirety of Rise is actually a chronicle of Leo trying to find new and creative ways to keep this team of superpowered fools alive while simultaneously white-knuckling his Cool Fun Guy persona so the others don't realize he's secretly the Boring Responsible One. Haha, you know what would be Cool and Fun, guys? Not going after the Spine Breaking Bandit lol. Getting home before the sun goes up lol. Evacuating that civilian lol. Not telling the guy dangling me off a roof "you won't, no balls" lol.

The sacred struggle of every iteration of Leonardo is thanklessly wrangling the most trigger-happy siblings in the world, and Rise Leo has not escaped it. He just does an occasional shenanigan to avoid detection and his brothers fall for it every time.

[flickering-nightfall]

Playing with some ideas mostly regarding gender/reproduction in RW, and slugcat colonies.

Full transcript under the cut!

Creatures in Rain World are typically simultaneous hermaphrodites but require partners to reproduce, with either individual capable of being a genetic donor or carrier. Alongside what we are familiar with, this has lead to interesting reproductive strategies such as rotating donor/carrier roles, or dual/simultaneous genetic swaps.

Rotating donor/carrier roles - A K-selection reproductive strategy. One partner carries the first child, the other partner carries the next child, and so forth. Allows each partner to recover from the demands of childbearing.

Rain Deer aren't quite monogamous, but they tend to choose the same breeding partner whenever mating season rolls around. They serve as a donor one season, then bear and raise a child the next. Calves are raised away from the rain and worm grass, in places that have less food but more safety. Calf wool is softer, not yet gunked up by the dirty rainfall. Their legs are sturdier as children, allowing them to run for cover while the parent wards off threats.

Dual/simultaneous genetic swap - An r-selection reproductive strategy. Parents fulfill the donor and carrier role for each other. The more children you make, the more likely some are to survive!

Multiple batflies lay thousands of eggs in a single "blue fruit." Several eggs congeal and become nutrient paste for the surviving eggs (and for hungry slugcats). Like some plant seeds, batfly eggs that are consumed before pupating can survive passing through the digestive system. Ew.

Ancients also fell under this umbrella. Their genders (and the genders of iterators by extension, who have no sex anyways) could have been determined by a variety of other factors, such as societal role, donor/carrier preference, or simply different categorizations of personal expression.

It's difficult to say how well their common pronouns would translate to ours, but it seems they can translate to an extent, given what Moon and Pebbles use canonically.

Slugcats, like real slugs, can have children with a partner or self-fertilize. Unlike real slugs, they are often known to adopt.

In the case of self-fertilization: children who are born from one parent may display a large amount of genetic diversity despite the circumstances. Maybe slugcats have some sort of... genetic reservoir independent of their own genetic code?

Slugcats live 20-30 years on average... if they manage to reach adulthood. Their mortality rate is sadly rather high, especially in pups. If they were to develop as a civilization, it's likely their lifespan would increase dramatically.

Slugcats in a colony are more likely to have more children, and to successfully rear those children to adulthood, than those who wander alone or in small groups. The safety and stability of a colony cannot be understated.

Colonies either have a set, cycling migration path, or wander continuously. Survivor and Monk's tree home was a nesting site that their colony frequents about once a year. So it's likely that they'll see their family again!

...also, the strength of large colonies are why scavengers are likely to become the dominant species. In the time of Saint's era, continuous migration has become more of a risk, and it has become more difficult to support large populations. Slugcat populations have shrunk back to the more forgiving equatorial zones.

Saint's tongue is pretty unusual and probably unique to them, or to a small population that they hail from. Fur (of varying thickness) is much more common.

Meanwhile, scavengers are bulkier and covered in thicker insulating fur. They:

have seemingly massive populations

have a burgeoning society (the existence of merchants, tolls, bartering, elites and leaders)

are adept at communicating (non-verbally)

manipulate their environment

can build structures (scavenger-made structures were a scrapped idea from Saint's campaign)

can create complex weapons and tools

may have agriculture behind the scenes (unsure if scout parties prioritize exploration or hunting)

I would wager on scavengers developing more quickly than slugcats, but it would be nice if there was a future where both could co-exist.

[elodieunderglass]

Accidentally found this picture of a serious child sabering champagne and now can never know peace again

[avicecaro]

i think it’s important everyone knows about the little roman girl who died at only five years and seven months old, and her grave reads "dum vixi, lusi" or "while i lived, i played"

[ricky-mortis]

I heard that Corey Dorris sang Show Stopping Number at Innit- so I present: Corey!Hidgens

[fangrurin]

Fashion of the Great Houses of Westeros: House Greyjoy of Pyke

[justjettithings]

jedi gifting each other river rocks and sea shells because they can feel the living force through these objects and sense the beauty and life flowing through the environment it once inhabited

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[milkbreadtoast]

quick warmup csp doodles ^^

[show-tunes]

President of silly land

[autocatastrophophile]

concept: dom gives you "assigned reading". Could be porn, could be a thermodynamics textbook, could be whatever the dom is reading. The two of you discuss after you've both finished.

[shoku-and-awe]

Hmm. I have never really been a doughnut person, but it seems like MisuDo is working to convert me specifically…...... Look at this!

I am not particularly knowledgeable about sakura, so I just now learned the four stages, which (from left to right) are:

Bud (蕾 tsubomi), represented by a pink sakura interior inside a brown kinako exterior.

Half-bloom (五分咲き gobuzaki), which is half strawberry dipped, with a cherry and red bean whipped cream filling.

Full bloom (満開 mankai), which has a sakura bean paste glaze with salted sakura petals and sakura chocolate flakes.

Dancing petals (舞桜 maizakura), which has red bean paste filling plus a half-sized decoration of sakura chocolate petals and a milk chocolate branch against a white chocolate background.

Wow. Actually, does anyone else find some of these........ kind of extra? Maybe it's my inner killjoy speaking, but there's just so much going on! I'm still trying to process the concept of a bean paste glaze, let alone a sakura bean paste glaze. Might still try it though.