#it's an efficient technique for comics !

[seirindono]

How do you happen to do your shading id you don't mind sharing? Its so subtle and soft that you can't tell its there but it really helps highlight the characters

Phew, finally got some time on my hand to answer this one! It's a fairly simple/fast process so I figured I'd make a tuto once I'd get started on the shading for the next part, and here we are!

Alright so, we've got the panel (lazy screenshots cuz I'll never finish this if I have to export everytime ahah)

The advantage of digital art is that I don't have to think about color harmonies right from the start, I can always add filters and fiddle with the hues at any stage, so I just apply base colors at first and draw the background (it will help me build up a palette for the shadows later).

Okay, now the fun really begins. First I need to know which direction my shadows are likely to go and what atmosphere I want for the panel (which element I want to highlight? palette idea? etc). A sketch is enough to establish your intentions. Sometimes I'll mess up the lighting but it's okay to cheat if it looks coherent enough xD

(Patreons exclusive, shhh)

Now to create palette and apply the said shadows. I have a hand made one for TMS, but I had to make a special one for Ebott since there's a lot bg and kinda heavier atmosphere (I'll prbly have to make one for each part frow now on too hm). It's mostly made up of blues and greens (no black or greys here, but it can be fun to use in other styles! Purple too, so have fun!)

(My configuration - Produit=multiply?)

There, cast shadows (clothes, faces, folds, etc.) are roughly in place and looking sharp! Maybe a little bit too sharp actually... Let's smooth all that up

I use an airbrush eraser to soften a few shadows. Not necessarily all of them or the whole shape, you have to find the right balance of soft/sharp.

Now to spice things up a bit-

On a layer linked to the shadow layer, I add a lighter color that matches my light source or the environnement. Here it's a light blue, but in part VII I used a lot of orange (sun)! It makes the shadow much richer and the whole palette more vibrant!

(Again, you don't have to do it on all of them)

(not sure if you can see it lol but there's orange!)

And last but not least: Global shadow and filters (? never had to name or translate it bwahaha)

It's a lot of fiddling to achieve a result where the character looks more or less rooted in the background (=blue layers and filters to harmonize colors) and where I draw the last shadows. They're often the biggest ones (=on Axe's body+ leaf/tree shadows etc.).

You can use the techniques I've described above, or just go for it, it's completely freewheeling from here, ahem. Just make sure to step back regularly to see where you're at and stop.

(You can also add lights layers and spots if it's too dark but in this example, I use the base color as a light layer + their skulls are such a bright white already xD )

A bit of blur and ta-da~

Pretty easy, right?

[toomanyf4ndoms7]

Barbara: "Hey, I need you and Dinah to break into this building halfway across the planet." Helena, still in her teacher outfit: "Oracle, I need to write a lesson plan for tomorrow's class." Barbara, fake-sweetly: "There's a bunch of kids who need help." Helena, after a long groan: "You're the worst." Barbara: "See you soon."

[mekanikaltrifle]

Swords

I've been drawing these wee fuckers plenty over the last couple weeks (when I wasn't absolutely wrecked with the flu), coming up with new fiction ideas for em... assessing their potentials as protagonists for an original work...? Their blades are such a tell for how different they all are, but how unified; Leo's mediaeval style broadsword, Cody's highly-sharpened custom made canesword with the intricate wolf handle, Juniper's inelegant cleaver whose style is completely off for her...

(I've actually got a lot of an idea for a setting and plot already so...)

The Juniper up there is in fact not a World of Darkness Juniper at all, so bear that in mind! But the Cody and Leo there were intended for HtR so it's a mix :)

[fictionstudent]

Why even "show, not tell"?

You must have heard the famous advice “show, not tell” around a hundred times by now. It’s one of the most used writing tools today, I’d argue. Recently in a blog post, I’d even talked about what it actually means and how you could execute it.

But now you must be thinking why it’s even such a thing, you know. Why do we follow this advice? What’s so advantageous about it? Why do even people care? Or do people care?

After much brainstorming, I have the answers to these questions. I hope it can spark some discussions on the issue.

***

#01 - Why yes

So, why you should “show, not tell”? Classic authors didn’t use this technique often. Most of the literature at the time was written in third-person omniscient narration technique, and that means the authors had no means to actually describe how the characters felt or what they thought.

There were a lot of classics that used first-person narration, but maybe those were the only times we could notice the advice actually in use historically. Third-person limited was non-existent, perhaps. Personally, I’ve never read a classic novel that’s in third-person limited narration.

Anyway, time began passing, and people noticed that somehow, this “show, not tell” thingey kinda works. It can convey emotions and information in a lot more efficient way. So editors began searching for stuff like that.

So, one reason can be that it’s simply a superior way to convey emotions. Taking from the example I used in my last blog,

I was angry at Sara. But she didn’t care.

It’s a lot worse than,

She couldn’t believe this. Was this for real? Was this… really happening? Really?

Her fists clenched hard. Her arms were trembling. And her eyes… They tried hard to fight back those tears. But the dam could break any moment now.

How could someone do something like this? And… And to her? What had she done to be betrayed like this?

The latter one actually makes you feel what Sara is feeling—you feel like you are Sara. You can understand her feelings on a much deeper level—you do not just know that she’s frustrated, you know how frustrated she is at the whole ordeal.

Another reason—it’s immersive. Reading in detail how the character is feeling is really a lot more interesting than just reading what they feel and understanding it on an intellectual level. This way, you can relate to the character on an emotional level.

And because it’s immersive, the readers would love the novel. And if they love it, they’d buy more of the author and publisher—and that’s more profits for both of them. So why not?

A third reason—the world is changing. And so are our forms of entertainment.

Today, most of our entertainment is in the form of visual media. When we read novels, we do not always imagine them as someone speaking to us—as readers a century or two ago used to. But rather, we try to create mental images based on the information we’ve gathered. Why?

Because most of our entertainment now is visual. Comics, social media, films—all these widely consumed media are visual. So subconsciously, we all agree that story means visuals. And visuals—along with monologues—are a part of “show, not tell”.

Readers today have a set of expectations that the stories they consume in novels would be visuals, based on happenings. Yeah, there are monologues and narrations, but they sit on top of the foundation that the visuals create. Most commercial fiction does not stand on monologues alone—they need visuals.

Now, I’m not saying that all novels are like this, or all readers are like that. No, far from the truth. I’ve read Murakami’s short-stories that are certainly based only on monologues, with little to no visuals. Or even dialogues, for that matter. And believe me—these stories are just as immersive.

So we can argue that not all fiction needs visuals, but most do. And it’s the same for monologues—read McCarthy.

***

#02 - When to “tell”

Yeah, you heard it right. There’s time you absolutely need to ignore this advice. Writing is subjective, after all—every rule and advice has instances where it needs to be ignored. Exceptions form a big part of learning the application of any sort of rule or advice.

Firstly, time-skip. If you’re writing a scene where you need to have a time-skip, but you also need the reader to kinda know what happened in that time, you can just tell instead of showing.

For example,

And we crossed the seas. The journey wasn’t long, but those days we had nothing to do. We were bored the heck out of our brains. Those days felt like an eternity. Until today, when we finally found what we were looking for—a piece of land in the middle of the Pacific. The Hirohoto Islands.

It's completely fine to write stuff like that if whatever happened in that time phase has little to no relevance to the story whatsoever. If you want to, you could have expanded a chapter or two out of this little paragraph, or even a whole full-length book (lol, really). But if you feel that expanding it would provide no extra meaning to the plot, and you can just skip to the better part, writing like this is extremely fine. In fact, adventure novels are filled with this sort of telling narrations.

Secondly, you can’t show the monologues of the other characters that your narrator is interacting with. Yeah, you can still make use of the visuals, but not the monologues, which is half of the “show, not tell” advice. So you’re heavily dependent on the visuals in terms of showing. But in such cases, remember that you can tell—it’d be the narrator’s interpretation of the emotions of the other characters. It’d be better than head-hopping, I mean. Not recommended, but definitely correct if executed well.

Thirdly, action scenes. You may tell during action scenes because remember that action scenes are supposed to be quick-paced and punchy. This doesn’t really leave you enough space to show the narrator’s emotions and monologues—or the scene would turn up to be slow. And you don’t want an action scene to be slow.

An action scene relies heavily on visuals, though. But if, by any chance, you need to describe anything other than the actual action, you can just tell at that moment to make sure you don’t break the flow and pace of the scene.

Fourthly, you can use tell literally anytime, anywhere. You can use it without restraints. Remember, there’re no hard rules about where you can show and where you can tell. There are gonna be instances where you feel you can apply any one of them—so do apply any one of them. It’s your novel, write it the way you want.

But don’t just keep on telling. It’d be boring. But sometimes, it’s necessary. And sometimes, it’s just a shorter, better thing to do. Use “show, not tell” as many times as you can, but don’t overuse it.

***

Conclusion

I’d said in a recent post that I wanted to talk more about “show, not tell”. And now that it’s over, I guess I’d be doing something else with my life lol.

Anyway, explore the blog if you want more helpful content about writing like this one. Love you guys.

[untoldsoup]

Wanted to see a visual of my art progression for the comic so made a comparison of each characters first appearance to their more current ones. I guess this is my "year in review". Idea came from a friend on discord.

A lot of the changes I'm happy with. Drawing almost every day since March has really paid off. I had small projects I worked on in-between this comic that also helped too.

Some things I noticed now looking at this in hind-site: Luigi had the biggest changes. In the beginning I was so unsure of how to draw him in my style vs canon and its clear I was trying to find a compromise with it.

Human Bowser didn't have to many style changes, but his line work was refined over time. Peach suffered from generic anime girl in the beginning until I started drawing everyone under the same style umbrella. Koopa Bowser went through a lot of changes. Bowser is *hard* to draw, and I think he changed in almost every damn page lol.

Overall I'm really happy with the progression of things. I finally found a uniform way I want to draw everything, I learned a ton of skills and techniques along the way, and since I draw almost everyday I've gotten faster and more efficient at getting pages out.

I think the biggest challenges moving forward will be the action scenes in the sequel. They will be my weakest point and I'm hoping I can do them justice. I will be drawing Bowser jr. more in the sequel too so I'm going to keep working on making the koopa designs more cohesive.

[ghost-bxrd]

So I've seen you post a lot about Dick and Calvin recently, and I wanted to know how you thought Calvin would react, in this Calvin gets adopted by Bruce kind of au, to:

1). Jason's death, in the assumption Calvin can't prevent it (And subsequently what he would do to Joker for it.)

2) Damian's early childhood.

3) Tim's Tim-ness.

4) How Calvin would react to the Batman Robin situation, when he finally learns about it.

I haven't gotten the opportunity to learn much about Calvin, but you have me interested, I'm a sucker for overly traumatized characters, and I am looking for the comics with him!

We can never have enough Calvin Rose content, that boy is so underrated 🥺💚

1. Pfpfpfpf you know for ONCE I wanted to go with “Jason doesn’t die in this Au” but you asked and I shall deliver hehehe.

Look, Calvin adores children. And it’s no different with Jason, whom he basically helped Bruce raise from the moment he came to the manor. (Bruce is a good dad here but emotions are not his forte. Calvin picks up the slack.)

So we’ve got a former Talon basically raising Jason, sharing a lot of his interests, teaching him fun escape techniques and pranking the others…

Only for Jason to die in Ethiopia. Beaten within an inch of his life and then blown up.

Because his birth mother sold him to the Joker.

Look, there’s very few things that make Calvin snap. Canonically it only happens when his loved ones are in danger/threatened, or children are being hurt.

And this one ticks off both boxes.

Calvin doesn’t kill if he can help it. Hasn’t done so since that one time with the Court, and that instance still haunts him in his sleep. But this?

Yeah. He’s not losing any sleep over killing Joker. He’d hunt the clown and put him down like a rabid animal. Cold, clean, and efficient. No drawing it out.

2. As mentioned before, Calvin adores kids. I don’t think they’d meet before Damian comes to the manor though, so no early early childhood shenanigans. But when Damian arrives, all entitled and clearly having been conditioned from a very young age, he gives Bruce a very deadpan “You do know you don’t get a discount for the amount of traumatized kids you take in, right?”

Damian is a stabby little shit that tries to kill Calvin at every turn. Dick thinks it’s hilarious. Damian becomes progressively more angry because Calvin doesn’t break a sweat side stepping each and every attempt. (Talon training pays off)

Calvin just lets Damian “burn off his excess energy” (“You do know he’s a kid and not a puppy, right?”) and uses the time the boy isn’t actively trying to murder him to child proof the manor again. Just to piss Damian off.

Having the kid try to poison him at dinner that day is so worth it.

Damian reluctantly warms up to Calvin over the next few weeks when the former Talon proves annoyingly helpful at setting up his room and helping him with training. (Although Damian turns his nose up every time Calvin obviously handles him with kiddie gloves. But the man point blank refuses to do anything else.)

3. Calvin spends a week around Tim and all his alarm bells for “neglected child” are going off like autotune in his brain.

Considering it’s still very close to Jason’s death tho it would take him some time to truly warm up to Tim.

Tim wishes Calvin remained as distant as he was the first year or so (no he doesn’t) because now Calvin has strictly limited his daily caffeine intake, is forcing him to eat at least three healthy meals a day, and actually set a bed time for him.

Tim is outraged (flustered) about being treated like a kid (like the kid he is).

4. Depending on who’s Robin when he finds out the reactions would vary greatly, but he still wouldn’t be happy that Bruce is taking kids out onto the streets at night to fight criminals either way. It remind him too much of the Court for comfort, grooming children into the percent assassin.

After a while though he’d realize that Bruce would love nothing more than for his Robin(s) to hang up the mantle and just live their lives to the fullest, and that they’re simply too stubborn and determined to fight crime with Batman to stay at home. With our without permission.

It helps that Bruce is clearly distressed and close to benching Robin whenever Dick/Jason comes back from patrol with a bruise. Never mind an actual injury.

[yamujiburo]

i really love your account, especially your comics. you manage to keep all the characters so unique and pretty expressive while nailing anatomy and angles ighhhhhits so good man. how did you learn to draw? how did you learn anatomy and then how did you learn comics and shit? do you have major inspirations you look to or accounts or exercises? i hope these questions are ok i’m very curious, i’ve started drawing again after stopping because of uni and while it’s slowly coming back i’m struggling with consistency and getting expressiveness

Ahh thank you so much!!

I started drawing really young by just copying cartoons I liked and then graduated to “how to draw manga” books. I was fairly self taught in that way until I got into art college~

I feel like everything I learned has been almost completely through observation. There’s a lot to be learned from just looking at something and breaking it down to it’s core elements whether it’s anatomy, the cinematography of a movie or a comic book spread. Really analyzing why someone makes the choices they do and applying it to your own work.

College is where I learned the technical terminology for things in storyboarding and I could finally put words to the things I was observing in the movies and tv shows I was watching, which in turn, allowed me to use those techniques more effectively. After that’s it’s just finding your style and breaking the rules in a way that makes sense to you~

Being a storyboard artist/director at disney has also helped me shape my writing style as well as the way I like to stage shots for my comics (which are more of a storyboard style than comic style imo). I’ve learned a lot of efficiencies and tricks on how to make things nice and clear when drawing stuff.

So yeah! Just observe!! Look at real life, look at things that inspire you, look at other artists and really break down and analyze how they do things!

[phoenix-king-ozai]

Underestimating Ozai's prowess is foolish!

Ozai was fooled by Azula regarding Zuko's "killing" of Avatar Aang because Ozai deeply values and trusts Azula as his capable enforcer and imperialist commander daughter. Azula probably subconsciously missed Zuko along with having him back taking some pressure from her as heiress. Zuko's killing and hunting of the Avatar was more about proofing his worth and value as a ruthless, capable, efficient, and effective Prince of the Fire Nation more than anything.

Of course, Ozai nearly got one-shoted or heavily damaged by lightning redirection by Zuko and Aang. The first time by Zuko was completely unexpected and was a new technique that Iroh personally developed, and Ozai never heard and learned about. Ozai also probably never expected Aang to learn lightning redirection in the short time since Zuko's rebellion. Ozai obviously, can't learn lightning redirection because the movement is based on waterbending forms that Ozai wouldn't learn because of his Fire Supremacism views.

Ozai isn't harmless or useless without his firebending skillset. However, he can't be Fire Lord and rule the Fire Nation without his firebending prowess and abilities. I heavily doubt there was ever a non-firebending Fire Lord in ATLA history besides possibly later on with Izumi when Zuko affected and changed the Fire Nation's social culture. Even with his firebending, he is still completely harmless to Avatar State Aang. Ozai and Azula would be foolish to challenge the full-realized Avatar State Aang.

The true form of firebending has less to do with actual power and more about the righteous and moral path regarding firebending. According to the creators, "Ozai is the most powerful and dangerous firebender of his era. Period!" However, "true" firebending is about using fire to create, protect, and provide warmth whereas imperialistic firebenders such as Sozin, Azulon, Ozai, and Azula view firebending as a weapon of war, destruction, conquest, and carnage. Zuko didn't gain a power boost by meeting and training with the dragons but a skill boost by following a philosophy of firebending that suits his personal morals. Zuko became more controlled and focused outside of his rage-based firebending in comparison to Azula due to her mental breakdown and the opposite of Ozai who is always controlled and focused with his rage and fury-based firebending.

Of course, Ozai's legacy is overshadowed by Sozin and Azulon. First of all, Ozai's reign was cut short by Avatar Aang awakening the Avatar State; the reign was only 5 years old compared to Sozin and Azulon's many decades of reigning. Sozin began the Air Nomad genocide, Azulon began the Southern Raiders, and near complete domination of the Earth Kingdom. The only thing regarding Iroh's legacy is that he "killed" the last dragons became the Dragon of the West and led the Seige of Ba Sing Se which was a horrific failure. Iroh's "legacy" isn't all that impressive beside the near conquest of Ba Sing Se which is a military and strategic achievement. Ozai has dueling Agni Kai achievements. Basically, fighting as a group vs one-on-one comparison. Prime Ozai vs Prime Iroh is probably an extremely difficult toss-up match. It is possible that Iroh is a superior commander and tactician whereas Ozai is a superior fighter and duelist. They are both probably excellent in each other expertise nonetheless, however; just they have their preferences. For all we know, Ozai could have led a blockade around the Earth Kingdom port cities during the Seige of Ba Sing Se with a massive Fire Nation navy fleet considering that a six-hundred-day seige needed supplies and manpower across the oceans without Earth Kingdom interference.

Azula is more of an annoyance and nuisance during the ATLA comics considering there is no way she or any of her supporters can defeat Avatar Aang in his Avatar State in order to overthrow Zuko's reign. The best they can do is kill or assassinate Zuko and Aang with poison. Also, the only side character that can possibly threaten Ozai in an actual fight bearing lightning redirection surprise is post-prison training buff Iroh. Azula and Zuko are getting stomped which is why Azula deeply fears dueling her father when he is enraged during the Phoenix King Coronation and why Zuko fled during the Black Sun Invasion. Aang, Toph, Katara, Suki, Sokka, Mai, and Ty Lee are getting curb-stomped by a full-power Ozai. Ozai and Iroh are grown-ass men and trained royal princes who are war criminals...these children would get shit-diffed by a blood-lusted adult fire-hazard duo. This is why Ozai wasn't chasing down Aang during Books 1 to 3 because the Gaang would have been killed brutally, viciously, and violently. Especially, until the very end Aang didn't know lightning redirection.

I can't wait for the live-action version of Ozai, Azula, Iroh, and Zuko to hit the television screens! I just know it going to be amazing and epic!

[cosmos-dot-semicolon]

(⭐fanfic writers' commentary)

@plutosoda hi

Ooh, time to reread my old writing, huh? Always a fun trip, especially given I'd totally forgotten like half of it including that repetition trick you'd mentioned…

fair warning, i only got like 3 asks for this thing so I'm gonna commentate on pretty much the entire fic here. This post never ends.

Here's an entire director's commentary on All-Nighter! Enjoy!

"The covers were warm… But at least it'd get something done before passing out again."

I'm still fond of this intro. I'm terrible with being succinct, but this is somewhere where my rambling writing style really works; this section is written from experience of many a 'stayed up too anxious now you can't sleep' nights, and someone who has read a lot of the techniques to fix that problem, then didn't (ADHD lol). That is in fact what my internal monologue tends to be like at night - a mix between recalling every single way you've ever learnt to pass out, worrying about what happens tomorrow, 'why is life like that. what did i do,' and just a pinch of 3am self loathing.

I never really thought of it until an AO3 commenter pointed it out, but it was a fairly natural way of worldbuilding/expositing/characterisation all in one go. Establish the premise of the fic, Robot only bothering to process things when it's on the brink of exhaustion, the way it's kinda obsessed with productivity and efficiency and self-improvement.

I'm proud of it!

Also I like to think Lady Luck only does the weird scheduling thing for Robot. She'd be the type of person to try and make the Dungeons a personalised hell for everybody.

“Hey, could I get a coffee, do you think? …I’ve been sleeping so badly down here.”

I'm quite happy with the intro to the next bit too. My goal going into most fanworks (still) is to emulate what drew me to the original story. In this case, that's Dicey's tone and dialogue, with a bit more direct focus on the characterisation of everyone. So this is sort of a meta plot device that signals all that to the reader. I love how efficient that is. also I just like throwbacks and references okay

"The canteen was a dense jumble of kichen counters…"

I could've been a little faster with this scene and Robot subsequently making the coffee. One of my weaknesses as a writer is that I hallucinate some of the scenes in my head, and try to write down everything in that instead of just drawing a comic (cough that one unpublished Ninjago fic). I'm a sucker for describing scenery for days on end.

That said, I'm really glad I got the vibe of 'light-blue-grey' morning over to you in your fanart. It was exactly what I was imagining as I was writing this.

"Pre-ground. …But this was just evil."

I think I'm funny. Anxiety cube can put up with a lot, but terrible coffee isn't it.

"They taste horrible compared to freshly ground beans. It’s not worth the convenience."

haha. because you see. that's its heart's desire *gets turned into a dice*

"Pouring a generous portion for its new friend, Robot masked its complaints with a long sigh." "…But thanks to the innovations of modern day life-” An overhead swig downed half the mug."

A commenter pointed out that some of my lines have really good flow in them between actions and characterisation. I didn't notice that until then, but I'm inclined to agree. Some of these drive in the point really well.

"At least its fellow patron was enjoying themselves – not even flinching at the concoction and savouring the coffee raw. It was tempted to start a commentary on how dark roasts were overrated, but soon became a little more concerned about them drinking through the 100 centigrade burns. This place had quite the collection of creatures, it seemed."

I like to think Robot's a little snobby about the things it enjoys. I like to think Lady Luck tries to throw people off as much as possible.

"So, how’s the self-improvement going?" they started. "I only want top quality minions in my dungeons."

Very fun fact is that I was worried about spoiling the twist in this fic because of this line being so blatant, but I wanted to put it in anyway because it's a good character-establishing moment, and a good… re-interpretation of the line in another context? I love recontextualising canon in a slightly different way that still works for the characters in question. it's so fun

Anyways. Turns out I didn't need to worry about that because at least one reader totally missed this too so got hit with the full twist anyways. Isn't writing great?

"So, what’s keeping you up this late?” they asked. “Nightmares? A looming sense of regret and existential dread? Unfinished essays due tomorrow morning?"

essays due tomorrow morning. haha so true. i'm glad I don't take much coursework nowadays.

"You know, as useless as it looks, sleep’s rather important for you folks. It’s how you deal with all the terrible things that happen during the day, since your brain can just wipe the slate clean and try again. But funnily enough, it’s always the first thing that’s left behind whenever someone wants to better themself." "Life’s painful enough as it is. Why not change things up if your current routines aren’t working?" "Nobody ever plays the cards they’re dealt perfectly, dear… Time always slips you by when you’re not paying attention. And nobody ever knows what’s coming next. You’ve just got to learn when to raise and fold them." "Well, part of being human is never being a hundred-and-one percent efficient. If you folks still count yourself as that. I’d apologise but I remember you were quite nonchalant about your little transformation anyways."

One of the main points of this fic was that while Lady Luck is blatantly on the offensive and absolutely insulting Robot to its core, she's not technically… wrong?

It's not bad advice. Lady Luck, in-game, seems very perceptive of the various insecurities mortals go through. And I like to think she does start this conversation just for genuine fun, to pick someone apart. See if they bounce back against it or just crumble. It's just a bonus that the recipient finds it harder to refute her offers afterwards.

"It might!" it snapped back, getting them to at least try and contain their mockery under a silent, wavering smirk. "You know what? I think it will be, I can feel it!"

Robot sort of does both. It's definitely very very anxious. But it's stubborn. I really like that about its character: how there's a contrast between its organised and disorganised sides? How robots are usually associated with hard numbers and calculations, but Robot's mechanic is blackjack. also it's SO autism/adhd coded. listen. in this

I don't know if there's a trope to call either of these, but they're my favourite things about both characters, and they're surprisingly introspective for a game so short on story. (I will write more about that in another post. lol).

It's a bit indulgent in how long it goes on in some areas, but eh. It works for the fic's pacing.

"The figure leaned forward to highlight its obvious obliviousness…" "I thought you were supposed to be the overly organisational optimist."

I love alliteration. yippee!

"A gentle chuckle filled the air, restrained from its usual projecting echo. "You wound me, Robot. Games are always more fun when your players at least get the chance to try and fight back."

I like to think Lady Luck's main motivation is entertainment. Which mostly involves watching people suffer. But I think it's in the spirit of luck to have it so that someone's downfall was their choice. Determinism versus free will and whatever.

The chance that somebody could escape makes things spicier. And makes it sting all the more for all those that didn't. Hooray!!

Also given Lady Luck's usual loud persona, I planned (plan) on giving her quite a few more subtle but equally threatening moments in this series. It's a thing that wouldn't really work well in the actual game, but it does in a slower medium like writing, and I fucking love that trope.

"Statistically unlikely, but I’ll humour it," she commented to an invisible aside."

You should picture this scene as her directly staring at you through the fourth wall. Like in a sitcom.

"But it’s not so bad, being a minion… I’ve heard that’s about as stable as a job as you can get these days." "…though surprisingly she was not the worst boss it had had to deal with."

I always thought this line, used on Thief in-game, would've been an absolute killer on Robot. The job market is pretty fucking shit these days under capitalism and you would be lying if you said there aren't at least some parts of the Dungeons that seem better work-wise. Inclusivity, stable employment, accommodation.

Yeah, you have no freedom, but that's also the goal of capitalism up here as well. At least in Dicey it's ridculous and ironic. And you'd get to use your degree in maths/statistics/acounting etc to its full extent! Can you fucking imagine the paperwork for a game-show/dungeon hybrid business.

"But then again, I think you’re plenty used to the grind."

I believe this was an unintentional-turned-intentional coffee pun. Boooooo

"Funny how they think that’ll discourage anybody. …Folks hear that the house always wins and immediately think they’ll be the exception."

She would be the one to know that. This was intended as a followup to Robot's entire argument before. I'm very happy that at least one person picked up on that :D

"So whatever you pick, it'll be a decision from Robot alone, no matter what your mind or body drags you into afterward.”

I believe this was also supposed to be a callback, but the wording got changed slightly. I think it was the "It feels like my mind and body won’t stop working against me" bit.

"Normally, Robot would’ve stayed to socialise and make new friends, and in all likelihood, skipping breakfast would leave it starving later on in the day. But right now, it needed some time to itself: to think and recover and remember where it was going with this."

This was another callback (that actually made it into the story). Robot immediately making another bad decision after the first, with the exact same words echoing it coming.

"Just another day in the dungeons. It could handle this."

I wanted the ending to be very short and open-ended, in that it was up to you to interpret whether Robot took the offer or not, and when. But regardless I wanted it to be like a regular intro to an episode, but with the hint something definitely fucking changed that the audience can only speculate on.

…oof. 80 minutes on this essay. My poor neck. I think that's it for now, though.

Overall I'm really happy with this piece - hence why it's one of the few things I actually put online. It's three years old, and I could've fixed the flow in some bits (there's one part where I think Robot answers a different question than was asked).

But I achieved pretty much everything I wanted to say in this piece of fanwork, it pushed me to think about characterisation a lot and my writing and editing techniques. There's a lot of neat little things I put into it, and it really got me to grips with what I liked about my inspiration in the first place.

I think that's an exercise worth trying for every fan-work creator. Stretches you brain. Almost lets you re-experience what you loved about a thing years later. Points you towards your possible future diagnoses. It's a fun time!

[bugbart]

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?

hmm. I think the first thing i always come back to is that "style" is more or less just a code word for shorthand, especially if you're looking at a simplified, "toon-y" style. An art style is just an artists toolbox of learned techniques and shortcuts.

stylized anatomy, stylized backgrounds, etc. for a lot of artists is just how they're visually translating or abbreviating the thing they're trying to draw. If i find something works as both an efficient and satisfying visual shorthand for me, It'll find it's way into my art style.

for example, drawing faces in this style does not take very long at all, which makes the style choice good for a comic where this character is present in nearly every single panel. It's simple, its cute and fun to draw, and also to most people will effectively "read" as a face.

My style comes from taking inspiration from things I like to look at, I don't know how else to better describe it. There's a lot of influence from western comic books as well as anime/manga in my art style, (also a lot of techniques that i picked up when I was learning how to draw characters come from how to draw manga/anime books, that i still use to this day). A lot of it just comes from experimenting with what tools I have at hand (and when you work digitally you have a Lot of tools). Occasionally if there's an artist who I really like the work of I'll spend some time in a sketchbook trying to emulate their style and I'll learn something neat I can then add to the proverbial Toolbox. Either that or I learn that just because I like to look at something, doesn't mean I enjoy making art that way.

As for feedback and improving, going to college was where most of that happened for me. College was a really mixed bag, but I was and am super lucky to have had a handful of professors who really Got what I was doing and gave me genuine mentorship as well as honest, sometimes harsh critique when I needed it. Taking a figure drawing class also helped me improve soooooo much

Granted I also had at least one professor who made me want to quit doing art entirely for a couple terms, and I kind of got better/started making art that was more What I Wanted To Be Making out of total spite.

I hope any of that is coherent or helpful, and honestly if having a range of styles you like to work in is fun for you theres no reason not to make it- theres no need to narrow yourself into one distinct style if you dont feel like it.

[art-for-my-sake]

Dancers are essentially ambidextrous. So is the Winter Soldier.

There’s an expression: Never give a sword to a man who cannot dance. I think the Winter Soldier’s lethal coordination originates from Bucky Barnes’ dance prowess. While Bucky Barnes is a right-dominant person in his everyday actions – reaching for a wrench or using chopsticks – he is ambidextrous in his Fighting Mode.

When “The Falcon and the Winter Soldier” came out in 2021, episode 5 established that Bucky is right-handed. Online, there were many people who cried out that ‘Hydra had brainwashed the Winter Soldier to be left-handed’ and included the supporting screenshots of him wielding various weapons.

Hydra did NOT brainwash Bucky to be left-handed, they trained him to be efficient. Efficiency is about removing unnecessary elements; what’s more efficient, having to move one gun from side to side or having a gun in either hand? But having a gun in a non-dominant hand requires more training to be a good shot. Hydra had to train him to be able to kill with either hand.

(Now, the knife-flipping in “Captain America: The Winter Soldier” is highly inefficient but it’s so. damn. COOL. It’s some of my favorite choreography. I don’t care that it’s ‘unrealistic’ I will die on this hill.)

I argue that Bucky was a prime candidate to become an efficient assassin, in part because of his dance background. Canonically, Bucky is a dancer (in both the MCU and the comics, but for this essay I’ll be looking at the movies). Dance requires a balance of the body’s abilities. Performance dancers must drill every technique evenly on the right and left sides, so they are prepared for any choreography given to them. But even social dancers must engage their whole bodies with surprising amounts of coordination.

Bucky would have learned to dance in the 1930’s and 40’s and many popular dances of the time could be adapted for three dancers. In “Captain America: The First Avenger,” Steve skips out of a double date, leaving Bucky to take both women out dancing. It is conceivable that Bucky would have been able to dance with them at the same time. This further indicates ambidextrous conditioning.

Another element of dances from the 30’s and 40’s is an ability to improvise. Yes, there are specific movements and sequences that are learned, but to lace these steps together while moving in a space with other couples (or trios) requires quick-thinking and a keen awareness of the environment, skills the Winter Soldier demonstrates consistently.  

Even though Bucky is never shown dancing, we can assume that his skills are at the very least proficient, if not outright exceptional. Again, in the first Captain America movie, he asks Peggy Carter out dancing when she looks stunning and he looks like he’s just survived a POW camp. This is not the action of a man who cannot dance. This is someone who is sure of his ability to provide a pleasurable experience on the dance floor no matter who his partner may be.

To circle back around to my original topic: brainwashing someone to be a lefty is stupid. But, speaking from experience, training someone to be so adaptable as to be ambidextrous makes a lot of sense.

-l'art pour l'amour de moi

[skwpr]

How to Have Fun while you Study

Here are 20 ways that you can use to have fun while you study.

Reward yourself

One of the best ways to have fun while you study is to reward yourself. This makes your studying take some sort of game effect. Studies show that people enjoy things better when they feel rewarded. Set an intention to reward yourself when you finish studying.

Have snacks

Eating snacks while studying can make everything so much fun. You can also reward yourself with snacks. Be sure to eat non-greasy foods so you don’t get your books messy.

Use colors

What better way to have fun while studying than to use all the colors out there? Use colors to have fun while studying. Colors have a way of brightening everything up. they inspire fun and joy.

Listen to study music

You can make everything a lot more fun by listening to music. I’d recommend piano, or the famous lo-fi beats that are popular everywhere now. Be sure to choose music with no words for the most efficient study session.

Watch youtube videos

Studying doesn’t have to be boring. You can learn things better than your teachers taught you on youtube! Youtube is one of the best ways to learn new things online. if you miss any class, you can go on youtube and for sure you will learn what you missed.

Take breaks

Hard work is only as fun as taking breaks. Taking breaks is very essential to have fun while studying. if you don’t take regular breaks, you stand the chance of frying up your energy and crashing. I have prior experience with not taking breaks. A study break can be as simple as standing up and stretching.

Wear comfortable clothes

When I was a kid, I had this awesome dress that I imagined was a doctor’s lab coat. I’d wear it to feel like I was doing some important doctor work! If you want to have fun while studying, be sure to wear clothes that make you feel inspired and motivated to change the world!

Create to-do lists

Studying gets boring if all you do is stare at your books. Be sure to start creating and using to-do lists. This is simply a list of what you expect to accomplish within that day. I divide my to-do lists into two parts. These are: the least productive things I can do, and the most productive things I can do.

Do what makes you happier

Make sure to make yourself happy every single day. Find out what boosts your happy hormones and do a little of that every day. For me, that would be painting, reading a good book, or listening to great music. Do what makes you happy so you can boost your mood and enjoy studying that day.

Draw mind maps

Mind maps are a great way to have fun while you study. A mind map is something you draw to connect all your ideas together using lines. I love to use mind maps to connect my facts together. Draw mind maps with markers and colored pens for a little extra fun.

Use different study techniques

Reading all day can get boring. I have a few study techniques that you can try in order to have more fun. These are:

Writing down important points

Summarizing all your notes into tiny bite-sized chunks of information

Recording your notes on your phone

Making up questions

Studying old exam questions

Using online study tools

Drawings

If you have any degree of artistic talent, it’s time for you to shine! Drawings are great to make studying a lot more fun. Make funny drawings based on information in your notes. Even a simple doodle will do. If you’re feeling crazy, make some comics.

Use cool fonts

Using cool fonts is a great way to be more artistic. Go on websites that let you download fonts and study them. I like to use creative market to get inspiration for my titles. They have some awesome fonts that you can re-create for your study sessions.

Use flash cards

Flash cards are a life saver. If you aren’t using them, then you are missing out. A flash card is a piece of paper where you write down important points. It sounds pretty basic but it promotes visual learning, and boosts your memory. Be sure to create loads of flash cards and shuffle them, all the while reviewing your notes.

Make a study video

What better way to have fun while studying than to pretend to be a youtuber! Test your videography skills by creating a time lapse of your studying. remember to use markers and colors of all sorts to make your video awesome!

Make up songs

Making up songs sounds silly, but it’s the perfect way to make studying fun. In fact, making up a song about your history notes can help you when you need it the most during exams!

Create infographics

If you fancy yourself a graphic designer, create some awesome infographics using graphic design software. Infographics can be as easy as just typing out your notes in awesome fonts. Canva is a great app to use. You can print all your infographics and use them for reviewing at a later date. Remember that by making these infographics, you are helping your brain create more connections to remember faster.

Duolingo for languages!

Everyone knows of Duolingo. If you don’t, then let me enlighten you: It is an awesome app to help you learn a new language. I’m currently using Duolingo to learn Japanese. よろしくお願いします。

Use quizlet.com

Quizlet is an online study tool to help you create flash cards. It’s a great site, and rumor has it that teachers use it to make tests! That means you can go on quizlet an find your next text, or at least related questions.

Go on memrise.com

Memrise is another online study tool that helps you to study and have fun while you’re at it. It’s a memorizing platform, and let’s add all sorts of images and audio. You can literally learn anything on there. You can also create your own course and use it to study.

[bbyboybucket]

So just thought of this bc I saw a TikTok that mentioned the real life CIA experiments in the 1950s on mind control and behavioral engineering, I think all of us have heard about project MK Ultra (esp since stranger things is rumored to be based on the conspiracies of it). Anyways, as I always do, I’m thinking about Bucky now. His capture was in 1945 (?) and it probably took a few years to efficiently break him down and successfully mind control him. Obvi there’s no canon info on this, but I’d estimate Hydra succeeded with full mind control and behavioral engineering in ~1948. And even though the Russians were in possession of Bucky, we know that they were still closely tied to the American branches of Hydra which had easily already infiltrated the U.S. gov, and Zola, the mastermind behind the winter soldier, was actively working for them. This is all happening around the same time as MK Ultra. Going further, the real life project MK Ultra started because of: (1) the kgb doing similar mind control experiments on prisoners of war and (2) project bluebird/artichoke, which essentially was a U.S. gov experiment to see if a person could be mindcontrolled to commit involuntary political assassinations. So my question here is: Was Bucky the mcu’s project bluebird/artichoke & did Bucky being the first successful mind control experiment lead to project MK Ultra in the marvel universe? Because I think it did. I think that Zola passed on all the information and techniques to whoever his CIA connections were (hydra affiliated or not) and gave them everything they needed to recreate the experiments and start a mass project on it. Also, thinking about all this poses the question of how much did the writers (both movie and comics) base the winter soldier program off of the real life government mind control experiments?

[thetapestrymspfa]

oh my god i'm just finding out about your tumblr i LOVE the tapestry so much :) few questions, feel free to answer only one or all of them [or none, really. up to you] 1. is there a technique you use to draw ALL of that detail in the backgrounds? 2. what do you use to draw/make music? 3. how did you come up with the tapestry? you said on one of your previous asks that you make a lot of things up as you go along, but how much of it all is planned, as well as how you build up to it, do you just create plots on the spot that get to the planned out bits? 4. [feel free to ignore this one if its too spoiler-y] since this is a different kind of sburb/polln'ator session, will classpects still be a thing? or will there be something entirely different?

btw i love sosav :)

Thank you so much, glad you're liking the comic! I'd be glad to answer your questions! :) 1. For the most part my technique is just to spend the time to draw all that detail, but over the years I've gotten the process more efficient by working more improvisationally and trying to find quick and easy ways to convey specific material textures with just a few lines. 2. For drawing I pretty much exclusively use Photoshop, I make almost all my music in LMMS but for the latest album I added a few elements to some tracks using Logic Pro. Also, I use Blender for 3D modeling. 3. The concept of The Tapestry started out as a Sburbventure adaptation of a story I made in Spore: Galactic Adventures, and only a few elements from that version of the story made it into the final comic. Most of those elements are still spoilers, with the exception of the "entire galaxy being brought into the medium" plot beat that was revealed in [S] Superimpose. At this point I've got the entire backstory of the comic plotted out, as well as the rough outline of the ending. The Act 3 plan right now is comprised of a loose sequence of events that need to happen before the act finale, and as the comic goes along I'll be splicing things in or switching the order of things around as the pacing demands. There are also sections of the comic I intentionally leave open for more improvisational storytelling. 4. While there hasn't been any sign of anything equivalent to homestuck classes, several characters have been hinted (or in a few cases outright stated) to have associated aspects. I'll leave it to you to find them ;o)

[mostlymarvelsstuff]

I gotta ask but you don’t have to answer. But do you think Nat actually has any chance against Bruce Wayne?

Unlike Kate, Bruce has experience and OP status. Admittedly lots of DC characters will win a fight in general.

I wonder if it’s an immediate takedown or she puts up some kind of fight.

Please have a nice day :)

I really hope no one is giving you a hard time these type of events usually lead to discourse

Well, somebody in the comments of the poll did try to say that Kate was equally matched to Nat despite the super soldier serum and I nearly became the discourse lmao 😂 but so far everyone's been cordial thankfully.

Now for your question. I think it depends on what Nat we're talking about. Cuz the two are more different than you'd expect.

MCU Nat is going to put up a hell of a fight and probably get Bruce on the ropes a few times just because he wouldn't be used to her agility, stamina or fighting techniques. He also probably wouldn't be prepared for her being willing to harm herself to get out of a situation lol. But at the end of it all, I think he's winning just because, he's Batman. And Batman has a plan for every possible scenario he finds himself in. But he's definitely walking away bruised and battered haha.

Comic Nat, it's the entire opposite haha. She's definitely going to be taken back by Bruce's ability to keep up with her stamina wise, and with how good he is at hand to hand combat, and he's definitely going to get a few good hits in with his gadgets. But at the end of the day she's a literal decades old super soldier that has no qualms about being brutally efficient like Bruce does. She's taking the win here, but only after a long fight from the Bat. She'll be walking away with a few battle wounds I'm sure.

[lizziempress]

Bulletproof Yourself from Feast or Famine

A career in Illustration is often portrayed as a risky journey rife with highs and lows. There is a path that will help you revel in feasts rather than endure a life of famine. Become a chameleon.

Chameleons get work. As an illustrator for entertainment advertising, I am required to switch styles on a dime (often multiple times in one day). This ability keeps me busy even when client needs vary widely. Being able to work efficiently in a variety of styles and mediums may come at the price of being an all-star in one particular method. But, your drawing muscles will be well developed, your mind will be sharp, you’ll discover new ways of problem-solving (which increases speed), and you’ll be working. Developing mastery of one style has its own merits, and you’ll always be stronger in one or two naturally. If you’ve targeted a particular industry, medium, or even company as your holy grail, then by all means go for broke. If your primary goal is to develop into the strongest, fastest, most employed illustrator you can, read on.

Collect Books & Stay Inspired

Great artists have come before us, and our contemporaries are generating impressive content at an incredible pace. Bring their work home with you. Stay abreast of what is out there both traditionally and currently. Keep a Pinterest collection of your favorite illustration work, and several folders of reference. Learn from observation. Why do you love this work? Is this digital color laid over pencil sketches? How many heads tall are the characters in this children’s book? What would you have done differently as the artist?

Every so often, stop by a second-hand bookstore to load up an arm full of illustrated material that you find inspirational. Maintain a personal library of cherished books. At any moment, you may walk the shelf and be re-engaged by a comic, concept art, or a picture book that you haven’t glanced at in a year. Flip through, and it will tell you old tells in a new way. Your mind will absorb a portion of the technique without picking up a pencil (or stylus).

Study Anatomy & Build an Écorché

If you are serious about working as an illustrator full-time, a solid understanding of the human form is a must. Human faces and anthropomorphic characters grace nearly every advertisement, film, and animated feature. Constructing an écorché model from clay over a wire base (or drawing the bones, muscles, then surface detail of the human form) will significantly improve your understanding of human anatomy. When you are assigned to draw several figures at various angles with little reference in a hurry, the task won’t be as staggering. You will better understand how muscle connects to the bone, where to plot boney protrusions, the angle of the wrist. If a leg is hidden in the reference but you must draw it for the assignment, you will have the mental power to invent the mystery leg.

Attend Figure Drawing Sessions

Photographs will only get you so far when it comes to learning how a real person moves, breaths, and exists in natural light. Nothing beats a live figure drawing session. Zoom figure drawing is valuable too. Whenever possible, attend drawing sessions that feature models of every gender, height, weight, ethnicity, and age that you can. Humans are diverse, and that is a beautiful thing. Immortalize all types of people on the page. You’ll be rewarded with artwork that is relatable, believable, and stronger. The more figure drawings you produce, the larger your mental library will become, and the more accurate and graceful your strokes will be.

Practice Drawing in Several Styles

Now that you’ve assembled a treasure trove of beloved style samples, and built your mental library of human (and maybe even animal) anatomy, it is time to experiment. Try everything from realism to extremely stylized animated characters. Flexible artists get work. One week you may be sketching black and white storyboard panels for a vehicle AD spot, the next you will be painting a vintage pin-up style character for a wine label, then the following week you’ll be asked to design a cute Twitter emoji of an animated sloth, and so on. Yes, there are artists who maintain one signature style that lands them tons of lucrative projects. But, when you are starting out and building your reputation as an illustrator who shows up and produces great work on time, you may not yet enjoy the luxuries of being a sought-out all-star yet. By having the ability to switch gears multiple times a week, even multiple times a day, you’ll not only work — you’ll discover what you really love to draw, and what styles you excel at. Think of it like a style buffet (with a paycheck)!

Now that I’ve mentioned money, never work for free. Let me repeat that, never work for free! Developing art muscles that can spring effortlessly from one style to the next, is a valuable skill. Your time, and the years you spent learning leading up to this gig, are precious. Get paid. Get paid fairly, and if you aren’t sure what to charge, ask another artist. Check out a guide book, forums, do your research. The health of our industry relies on it. Future you, will be oh so glad that you did! Now that you’re networking regarding rates…

Stay Connected

Other illustrators are your most valuable resource. Seek out mentors and friends within the industry for guidance and support. Your first gigs will likely come from a more experienced artist who has an overflow of work, or who knows of a project (or company) that you’d be a great fit for. Join groups and collectives such as Girls Drawin’ Girls, The Society of Children’s Book Writers and Illustrators, or Freelancers Union. Take small boutique classes with industry professionals, in which you’ll get to actively speak with the teacher.

Most importantly, make actual friends. Some of your best memories will likely come from figure drawing with other artists, attending museums and shows, collaborating on projects, or even surviving intense deadlines together. Share your knowledge freely with others, and listen when your fellow illustrators have advice for you. Cutthroat competitiveness isn’t a good look, it isn’t pleasant, and it won’t get you far anyway. Skip it. Build a community. You chose drawing as a career path because it is fun. Enjoy being an illustrator!