#it slays of course

[here-for-a-good-time-hopefully]

The day after a Slytherin party

Sirius: I mayyyy or may not have tried crack

Remus: …. Ok

Sirius (shaking): Last night. I don’t think I did. But if I did I liked it.

Remus (side-eyeing him): ……. Ok

[metanarrates]

what I find very interesting about the narrator's choice of reward - ie. an eternity of supposed bliss inside the cabin - is that while it seems on its surface just another instance of him projecting his desires onto you, it actually isn't. he himself probably thinks that he would desire an unchanging eternity like the one in the cabin, but...

when he is talking about his reasons for wanting to remove death from the world, his focus is almost entirely on connections to others. he talks about the greater good, having loved ones, wanting better for them. it's those connections that drive him to submit to death in the hope of defeating it. he is definitely selfish, but if he was totally selfish, he wouldn't have been able to do that. he believes his own death is a worthy sacrifice for the continued existence of his world. his vision of an ideal eternity, as he describes to you, is one where connections are endlessly and joyfully rediscovered.

in his ideal ending, you've killed off the only being you could ever meaningfully connect to. and this is one of the main reasons his plan dooms itself. who could bear the weight of an eternity alone? not him, certainly.

[abby-howard]

I'm going to be asking a lot of artists I follow this question, but how did you develop your style? It SEEMS like most people find their style and stick with it forever, just making improvements and iterations. I tend to work in a lot of different styles because I enjoy doing that, though I know there are things I gravitate towards as well. But I wonder what your journey was and how you got feedback and improved while staying true to what you enjoyed?

Hi there!

I definitely wouldn't say that I've found my style and stuck with it forever-- I feel like each of my projects has asked for a certain kind of art, and has presented new challenges that push me in new directions.

Some of that comes from seeing someone else's work and having something click into place that might fix errors/faults in my own, and then I might try to incorporate that, such as bigger outlines on my characters to help distinguish them from the background, or maybe a way someone else simplifies eyes that can help make mine look less weird.

When I first started drawing, I can see where I encountered certain influences because my sketchbooks suddenly switch to incorporating some new stylistic element that I liked from whatever I was reading/watching at the time. But it was never QUITE right, it was never just copying, there was always something ~wrong~ with it. And that wrongness was my style! As much as I hated it, that was what distinguished my art from being just a copy of someone else's. I hate it less now, and understand that other people see something there that maybe I don't, because it's just what happens when I filter other people's work through my head. My soul, if you will.

There are definitely through-lines with my work, driven by what I like drawing and what comes easily to me-- hatching is almost always a major component, and I like making expressive characters. Here's some of my earliest available stuff, from my old webcomic:

Then not long after that, I started The Last Halloween, which pushed me to challenge myself in both layout and style:

And here's the same comic, years later:

And here's a series I did for kids, where I had to use full color and lay off on the hatching, as well as learn how to reconstruct animals that we have no photo references for, which is definitely a place where style comes majorly into play, whether I wanted it to or not:

Then there was the horror book I did, where I tried to push my work to be less cartoony overall, and to work very hard on improving my hatching:

Then I started work on Scarlet Hollow, where I incorporated a limited/muted palette and had to once again push myself to make less-cartoony art, as well as learn more consistency so I could draw sprite sets. This was a big challenge for me, and has helped me grow as an artist so much!

And most recently, I wrapped up work on Slay the Princess, which required that I go back in the cartoony direction, but in a very different way than I was used to. This took a lot of sketching to figure out, and there's still a decent amount of artistic stumbling in Chapter 1 while I settled into it.

She's drawing on anime/Disney influence, but each Princess required a bit of stylistic variability. Some are more anime, while some are more realistic than even the Scarlet Hollow characters.

So I wouldn't worry too much, honestly! A person's style is often something that reveals itself over the course of their career, rather than something they choose and then try to stick to forever.

Even if you don't think you have a style, you do. It might vary a lot piece by piece, especially if you're trying to closely imitate another person's art, but the more work you do, the more you'll figure out your own strengths and interests!

[see-arcane]

Mina: "I screamed when live ammunition pierced through the glass. I suppose I am a coward. Makes sense they don't want my cowardliness around."

Also Mina, after reading that Jonathan screamed and ran when the vampires loomed over him: "He's so brave to have endured this despite how scary it was"

Mina: "I'm such a coward for screaming aloud over a measly little gunshot!"

Jonathan: "Then you think I'm a coward for screaming at the Weird Sisters?" 🥺

Mina: "No, never! How could anyone think so pitilessly of someone in fear for their life?"

Jonathan: :3

Mina: "...Damn it, you tricked me into improving my self-esteem again."

Jonathan: "And I'll do it again <3"

[nonpoppie]

tianjiu (food 4 me specifically)

[bizarrelovesquare]

Miraculous Ladybug

London: At The Edge of Time

[birdmitosis]

all possible voice combinations!

Okay, unless I am missing something, all the possible voices you can get together in each chapter...

(SPOILERS for the Pristine Cut under the cut!)

Adversary: Stubborn

Fury: Broken, Cold, or Contrarian

EOTN: Hunted or Skeptic

Beast: Hunted

Wild: Broken, Contrarian, Opportunist, or Stubborn

Den: Skeptic or Stubborn

Damsel: Smitten

Burned Grey: Cold

HEA: Opportunist or Paranoid

Nightmare: Paranoid

Wraith: Cold or Opportunist

MOC: EVERYONE

Prisoner: Skeptic

Drowned Grey: Cold

Cage: Broken, Cheated, or Paranoid

Razor: Cheated

Arms Race/MAD: Hunted + Broken, Paranoid, or Stubborn

No Way Out/Empty Cup: Contrarian + Broken or Paranoid

[Either Path: EVERYONE]

Spectre: Cold

Wraith: Cheated or Paranoid

PATD: Opportunist

Stranger: Contrarian

no path, no possibilities…

Tower: Broken

Fury: Stubborn

Apotheosis: Contrarian or Paranoid

Witch: Opportunist

Wild: Cheated, Paranoid, or Stubborn

Thorn: Cheated or Smitten

Not counting the EVERYONE chapter of MOC, the EVERYONE extended sequence of Razor (only the ones you can get at the very beginning of her Chapter IIIs)… or the potential short "extra voices" sequence in Fury��� the only impossible voice combos at this point are:

Broken/Cold

Broken/Opportunist

Broken/Smitten

Cheated/Smitten

Cold/Contrarian

Cold/Hunted

Contrarian/Opportunist

Contrarian/Skeptic

Contrarian/Smitten

Hunted/Smitten

Opportunist/Skeptic

Paranoid/Stubborn

Skeptic/Smitten

Smitten/Stubborn

And just to list the data in one extra way (because I liked doing this):

The only other voices you can't get with…

Broken: Cold, Opportunist, Smitten Cheated: Smitten Cold: Broken, Contrarian, Hunted Contrarian: Cold, Opportunist, Skeptic, Smitten Hunted: Cold, Smitten Opportunist: Broken, Contrarian, Skeptic Paranoid: Stubborn Skeptic: Contrarian, Opportunist, Smitten Smitten: Broken, Cheated, Contrarian, Hunted, Skeptic, Stubborn Stubborn: Paranoid, Smitten

Which also means that Smitten has by far the least voice combos, still lacking routes with 6 other voices, while Cheated and Paranoid are tied for the most voice combos, each only having 1 other voice they don't have a route with!

ETA: I MISUNDERSTOOD SOME CONVERSATIONS I WAS SEEING. You cannot, in fact, get Smitten in Fury. He can show up in a short sequence along with Cheated, Cold, and Hunted, though, but I'm not counting that. Major apologies for the temporary misinformation. The rest I am 100% sure of, though.

[saltseashark]

i play fast and loose with the station polycule (various doodles and comics)

[gatoburr0]

New AU alert.

Thinking about farms and cowboys.

Also some Hunter doodles just because.

You can still call him whatever you’d like. (Hunter or Tremor/Trevor, honestly I like both and can’t decide lmfao).

also I can’t draw horses.

[redhatauremus]

I hope this hurts.

How I wish Mouthwashing ended 😢

[nebulaeyedfish]

P-P-P-Poker Face

Loving Doc's poker table project at the moment!

Tags: @imflyingfish @raise-me-up-take-me-up @swanofstorie

See pinned for commissions

[clowwwnbytes]

slay the princess pristine cut spoilers etc

i was brainstorming with buddies on discord and started thinking about damsel ch3 having the blade with her, already pointed at her heart, then just started thinking about the blade as a tool.

i think about the blade so much. a cold reminder of your mission in this world, something so tiny that represents a huge wall between you, your ability to be willing to understand others, to understand yourself.

if you bring it with you you've chosen to take a defensive stance against something and someone you don't understand, but it's so comforting, it gives you options, it gives you control over any situation given you don't underestimate the person standing in front of you. even when you don't want it, when you think you don't need it, it will come back to you. a nagging feeling. you're given the option to be distrustful even when you don't literally have it in you, it's what you've been taught is safety, it hangs over your head and dangles above your heart at all times.

and in damsel ch3 it goes from a tool given weight by the role you're supposed to play, to the same thing but looming over her this time. the expectations of what you're supposed to want and what's best for the people around you and what keeps you grounded, the narrator sang the same tune before, and he hurt her and he hurt you. he hurt himself and his humanity in the process. and now he's taken the backseat and is forced to see how messed up that is by having the smitten be the one pulling the strings of the construct, someone with a perspective so different, but one that ends up hurting everyone all the same, even if he doesn't intend it to do so.

everyone is forced to look at themselves in the mirror.

carrying that blade is suffocating for anyone.

and now im thinking about mr. "let's throw it out the window" contrarian, the only voice you can bring to her heart along with the hero, someone that refused to engage with the narrative and someone that is well aware that his perspective is annoying and unneeded for its purposes.

and then he meets the whole of her, and she tells him about how his courage is beautiful. he's the part of the long quiet that knowingly or not, is more willing to throw aside any kind of logic in order to understand a situation in a way the rest don't want to, and he's *now* realizing that his existence is an important aspect to have.

[rookeryyy]

oh carp they put sonic the hedgehog into webfishing?

[naswoop]

I really shouldn't be surprised, but c'mon, man

(I absolutely adored The Princess and the Dragon chapter, whoa)

[rabbitindemun]

Here are some sketches of Bill because HAHAHA i love him

hehehe

[skellseerwriting]

Meet Jamie Hook!

She is a part of my RoR gender swap fanart!

@brokenmilkcrates @little-teacupss