#its almost comical at this point

[cyberkn1fe]

Protagonist identity crisis. I repeat, protagonist identity crisis. This is not a drill

[saltysatellite804]

Idk maybe I'm just really good at having a negative bias but I'm so sick of everyone being nasty/mean over the dumbest shit. I have so little tolerance for real people. They wear me out so much.

[psalmsofpsychosis]

so i've been thinking about this

panel for awhile and, it's not even the first time Batman has threatened to beat Joker up with the precise intention of putting him in a full body cast but not kill him.

You know, that threat actually takes a rather maticulous amount of mental planning and physical control. Gettint someone within 3 inches of death but not kill them takes conscious read on the opponent's body language cues, their physical capacity and their thresholds, their highest pain point before their body gives in, and technically a rather comprehensive intimate knowledge on their internal organs and their medical history. Knowing how to bring someone close to collapse but not straight up flatline is actually a rather intricate controlled process that is subject to each individual's physical state at the moment, especially for the fact that we see Batman getting really really really close to the killing line and very much flirting with it, but never crossing it.

And honestly the presence of that threat —which he keeps telling Joker— is so bizarre and fascinating to me. Pray tell Bruce, how much time have you exactly spent mapping out Joker's body and cataloguing each and every point of it inside and out, enough that would enable you to read his minute physical responses in order to know when to pull a punch and how much?

[jondoe279]

atp i genuinely doooon’t care if the old guard two is the worst thing put to film i just want to see the best character of all time (andromache the scythian) and her loser henchmen and everyone’s favorite girl nile freeman again

[stil-lindigo]

the candle.

a comic about rediscovering passion and recovering from burnout.

creative notes:

[ganondoodle]

(zelda comic rough draft)

im still unable to draw anything ... except for really slowly getting the chapter 2 rough draft further for some reason, another screenshot from page 59

[deoidesign]

Hi, how did you learn to draw Steve's physique?

Ohh what a complicated thing to answer...

When it comes to how I learned to draw anything, it's hard to say anything too specific since it's always a culmination of many years of assorted study and practice... but I can try to do my best to explain some of the biggest things that helped me learn, some tips I keep in mind, and maybe at least some places to start/delve further.

(just a little disclaimer it's not like my drawings here are going to be 100% medically accurate.. they're just to illustrate concepts!)

The main thing about learning various physiques is understanding anatomy. Which feels obvious, but I don't mean proportions; these are important, but perhaps more important is understanding the skeleton and how it moves and learning where muscles connect to bones and where fat grows on the body. When you understand how these function on a more mechanical level, depicting form and movement in a way that feels natural comes in tow.

For instance, understanding things like the pronation and supination of the radius and ulna, as well as the fact that muscles can ONLY contract or relax, will help you understand a bit better which muscles will be flexed and which will not while someone moves. It's inherent to the positioning based on the structural makeup of the body... It's not like you NEED to memorize all the muscles and bones, of course, but understanding and gaining at least a passive familiarity with the concepts really helps.

In tandem with this concept is the way parts of the body flow into eachother. Muscles ALWAYS come in groups because they can only contract. Whatever muscle is there to lift something, there is a muscle on the other side to pull that bone back down. What this results in is a series of straight edges next to curves, which gives us a lot of really lovely "s curves" and dents and folds and so on and so forth just naturally occurring.

I would suggest at least learning the "bony landmarks", which are bones (usually) visible on the surface of the body. things like the iliac crest, the great trochanter, the 7th vertabrae, the acromion process... These can be used to help you understand the parts of the body as angles and relationships, rather than trying to remember lengths and sizes, which vary immensely... (since you asked about steve, he can be our model... also study these on your own don't just take my word for it haha, these are the ones I personally keep in mind)

I've done the same thing with body hair... learning where it grows and in which directions... It helps me make up variations without needing reference, because I have a set of rules I can follow.

The biggest thing that helped me understand all this on a much deeper level was my ecorche course. I sculpted this guy. We started by sculpting the entire skeleton to understand the bones, and then we added muscles on top. Not every single muscle, of course, but the "artistic muscles" AKA the ones which directly affect the surface of the body. Doing this let us see where muscles connect, because we would make a shape, put it on the bone where it actually goes, and then you get to see how other muscles overlap that.

This helped me, perhaps, more than anything else. But I also didn't just start with this course, I had been drawing for years before I even took it. I had been in school for years before I took it. Not that I think it wouldn't be helpful to someone just starting out, but I do think that the more you know going in, the better an in-depth course like this will help you and stick with you. Classes are also expensive, though so I'm not really like... recommending you pay potentially thousands of dollars to take one... But it did help me a lot, personally.

I also, of course, have done many figure, gesture, and master studies...

These just help you quickly gain a stronger understanding of generalized anatomy, and gives you real life examples of and practice with of how people move and balance.

What all this does when combined, is gives me a very solid ability to depict movement and form in a way that feels relatively natural from my subconscious without the need for reference.

The rest of how I've learned to draw his physique is honestly mostly just stylization. I understand the body, and this is how I am depicting it for his level of musculature.

And as I move into depicting him in other ways, either moving in comics or in animation, realistically rendered, or extra stylized, these concepts inform every step of that process for me! When he keeps the same/similar relationships between parts, he gets to still look like himself.

It ALSO really helps when putting clothes on, because the way cloth falls and bunches and lifts is all directly related to the form it is on... So the more you understand that form, the more you can depict clothing and movement in a way that feels natural.

This is all, of course, true when I draw anyone, you asked about Steve so I'm trying to mostly show with him! But because I'm just drawing from raw information of general anatomy rather than trying to study one body type at a time, it allows a lot more "give," I think!

Like, here's most of the cast from TTA so far... actually, they're not as varied as I thought they were nevermind LMAO ignore this part

But, it also makes monster and alien design much easier! It's a lot easier to come up with non-human anatomy when I understand human anatomy, because I can manipulate the knowledge I have...

There is infinite more to study in the world of anatomy... The complexity of the human body goes extremely deep. For our purposes as artists, we need only depict a fraction of it, but more information rarely hurts the process.

I'm sure there's something in here that's wrong on a technical level, I'm mostly going off of memory. But that's kind of my point - I understand enough generally and conceptually that when I am missing something and need to find reference for it, I understand what I'm looking at. It's much easier than trying to learn AND draw at the same time.

I hope even one thing in here helped you! Sorry it's so long.

[mustasekittens]

congratulations christopher!

self indulgent near-future in which when christopher graduates high school buck n eddie take hiim to hawaii to celebrate and they all have a nice vacation over here. friend n i were brainrotting it a bit and we decided buck definitely hyperfixated on hawaii and stuff (history, nature, geography, mythology, etc)

[cluescorner]

I cannot imagine being a Damian stan right now. You've got both Zdarsky's bullshit (where he clearly doesn't give a shit about your boy) and The Boy Wonder (where Juni Ba clearly gives so many shits about your boy) coming out on the same day. The whiplash must be insane. I hope y'all get some nice warm soup for your efforts jfc

[bunnieswithknives]

Hilarious sibling pranks include: hiding spider eggs in his pillow, 'pretending' to hunt him with a rifle, and running over his dog

[bennydwight]

Oh yeah, this comic still exists!

Experiments: Clarity, overlay effects, page assist

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[fluffalpenguin]

Happy Shun Duel Links Day!!! (party popper emoji)

[designernishiki]

it’s so weird to think that ryuji was only a major character in one canon game. like he’s such a strong character with such a strong personality it doesn’t feel like he was only prominent in one canon game at ALL. he feels almost as ever-present and beloved as someone like daigo and yet he’s basically never even mentioned after kiwami 2. that’s so crazy to me.

[sharkzippo]

it’s very funny seeing dudebros on twt complaining that pyro beating johnny is unrealistic as if there’s ANY part of this movie that embodies realism

[misscryptidart]

I'm going to see the Hatman anybody want anything?

[boyfridged]

by all means gotham knights 45 is one of the most disturbing batman stories and while i appreciate it for bruce's partial self-awareness, the guilt complex and ugly grief, the way the whole family engages in victim-blaming, their dismissive attitude when it comes to jason's suffering, the fact that they treat the whole thing as nuance or an attack at their egos, truly makes me surprised that some read it as a story about bruce's sensitivity. it's a good batman story if you want jason whump maybe. or if you want to talk of bruce's hypocrisy. but this is not what the intention of the writer probably was. what the writer wanted was for the reader to buy into the "jason-was-doomed-from-the-start" narrative that for the most part absolves bruce of any fault. it wants you to believe that bruce's good intentions erase the blatant classism of both the editorial and in-universe character logic. this is why when bruce reiterates the words from dc #574 about wanting the best for jason but instead killing him, this time it lands flat. "i allowed him to have hope... and it killed him." is what bruce says, suggesting that jay was devoid of it without him, and once again enforcing the idea that his background made him cynical and damned, waiting for a savior. but that's just not true. it undermines the very premise of jason's robin run and aditf itself. and alfred saying that jason had a father but what he needed was a mother, which within the context of the whole narrative the reader is supposed to believe too- what a joke. i just can't help but think that gk #45 was simply written with ill intent and without taking itself seriously. it briefly recognises the questionable nature of the sidekick institution- especially in jay's case, just to sneer at jason's pain the next moment. it's all so bitter and disingenuous.