#its just an update anyway

[mensiscollar]

oh yeah i finished coloring this

[s0up1ta]

toxic yaoi or something idk i haven't watched gravity falls

[lucabyte]

monologue

[wu-does-art]

thinking about Nico adjusting to letting himself miss and long for the people he loves. based on these bits from the sun and the star:

" As Nico and Will followed the trogs, he thought about how much he missed Hazel. He was learning to make peace with that feeling. It was okay for him to miss people because that meant he wanted them around in his life. That idea was *very* new for him- he was used to either pushing people away or watching them recoil from his presence." *

" That was the most surreal thing of all... Was he happy? Nico wasn't very familiar with the sensation, but he couldn't deny that he felt wonderful in Will's presence. He even longed for the son of Apollo when they were apart. A funny thing had happened as the two grew closer: Nico suddenly understood all those cheesy, sappy love songs he'd always hated."

[potatobugz]

objects loving objects baby!!!!

[grimfantas]

under the same umbrella…? to hell with that! if i did that, um, it'd mean…w-we'd practically be like a couple!

[kkoct-ik]

finally scratching the skill cabinet itch

[ironunderstands]

These Aventurine, Topaz and Jade comparisons are getting out of hand…

As much as I adore both of them, I think it’s very disingenuous to compare Aventurine and Topaz’s lore and be like “but they are the same!!!! If people like Aventurine and dislike Topaz that’s just misogyny!!! and like… no?

Topaz’s whole thing is that she doesn’t know the extent of the IPC’s evil, and believes that what she’s doing is genuinely the right thing to do. Even if she never had a choice in joining the IPC, she (incorrectly) believes what they did to her and her planet is justified, logical and moral, and for those reasons she stands with them. Part of this is likely IPC brainwashing, as she was probably very young when she became an indentured servant to them, and someone living on a planet on the brink of destruction would likely view anyone who stepped up to save them as heroes (imo the IPC likely waited for the point of no return to establish contact so her people had no other choice to except).

However Topaz got best end of the proverbial stick, her planet and its people were deemed useful by the IPC, and didn’t fight back, even if in the end they were still exploited.

Unfortunately, we have seen through Boothill, Belabog and Aventurine what happens when that isn’t the case.

Boothill’s planet got bombed and people genocided because they had a resource useful to the IPC, but were unwilling to cooperate with them or hand over their home, so the IPC decided to eradicate them.

Belabog had a debt owed to the IPC that was ridiculously high and very unfair to expect them to pay back, and had Topaz not convinced the higher ups to give them some time (which she got demoted for), the IPC would have taken Belabog by force

That leaves us with Aventurine, whose story is in no way on the same level of bad as Topaz’s. Unlike her, he has witnessed and experienced firsthand the truly awful shit the IPC can do.

They took custody of Sigonia and promised to offer the Avgin aid in their fight against the Katacans, at the very least protect them from harm. (Sidenote, since the IPC held control over Sigonia, they should have stopped the fighting in the first place). However, they simply stood by and did nothing, resulting in the deaths of around 6,000 Avgin, with around 3,000 went missing (or injured, I don’t remember, either way it’s bad).

But wait! It gets worse! Aventurine when he was still known as Kakavasha referred to the IPC as “the men in black/the men in black suits”, and his first master says he bought Aventurine from “the men in black/the men in black suits”, likely mocking the way he referred to them. Therefore THE IPC TOOK PART AND LIKELY EVEN CREATED A FUCKING SLAVE TRADE IN SIGONIA

Look being made into an indentured servant isn’t fun, but idk personally I’d take that any day of the week OVER BEING ENSLAVED

That’s not even to mention how horrible of a reputation Sigonian’s have in the galaxy, one likely spread by/resulting from the IPC themselves, as at least on Aventurines planet they do not have the mobility to make a name for themselves. (Honestly it’s a mini theory of mine that Aventurines scam is what partly contributed to this reputation, and his status as a slave is something the IPC conveniently left out in their broadcast about it-)

But, you might be saying, didn’t Aventurine have a choice to join the masked fools and leave the IPC, isn’t he free now? And to that I say, it’s complicated.

Considering the amount of suicidal shit Aventurine has done while being part of the IPC, he clearly hasn’t been having a fun time as a member of one, so why does he stick around, especially with the Fools invite? Even if he was a slave, does that absolve him of the crimes he’s committing now? What could justify his actions?

Revenge, plan and simple.

This is going to delve into some spoiler territory for the end of the Penacony 2.2 quest, something which I didn’t feel like mentioning earlier because I’m sorry but everyone and their mother already knows Boothill’s lore. Now, let’s get into it.

Aventurine accepts Jades offer to join the IPC, and when he becomes a Stoneheart, the first thing he asks about is the fate of the Avgin, to which he then learns that besides him, they are all dead. You see, from birth Kakavasha was pushed onto a pedestal as the savior of the Avgin, but now that there are no more Avgin to save, his primary motivator in becoming a Stoneheart (beyond not being enslaved anymore) is gone.

So what does he do now?

Simple, try to kill the motherfuckers behind it.

That’s why he takes on such risky gambles still, and why he wagers and wants Diamond to promote him to rank p46. The higher Aventurine gets the closer he gets to his goal of taking down the IPC for good.

Which is why his meeting with Boothill is so meaningful. I think Boothill is going to “kidnap” him and together they are gonna take down the wicked bitch that is Oswaldo Schneider for his literal crimes against humanity.

Mark my words, an IPC downfall is going to happen, and I think Topaz, Aventurine, Boothill and Ratio are going to be at the forefront of it.

However, Topaz and Ratio (and by extension the rest of the galaxy) have to learn/realize the true horrors of the IPC (although I can sense Ratio doesn’t really like them, and he’s learned a lot from Aventurine, I doubt he knows the full extent of the situation or is in any way happy about it). Therefore? Topaz mental breakdown arc? Ratio lore? PLEASE??!? The IP3 compliment one another so well and god I can’t wait for that to come to fruition.

I really want to see a Topaz and Ratio centered story leading up to an IPC smackdown, and I think we are gonna learn a lot more about how shitty they are in the later half of 2.2 and in 2.3 when the interlude and Jades release arrive.

As for the aforementioned Jade, she’s gonna need a Aventurine squared amount of trauma or reasoning behind her actions to seem in any way sympathetic, because right now she just seems like an evil bitch (in a semi good way, I will always respect the commitment to the bit) who loves her job and would make Machiavelli weep over how hard her ends are trying to justify her means.

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[deoidesign]

I'm so mad that post was misinformation because there is actually an EXTREMELY important conversation to have about the production schedules artists are forced into. There's no need for exaggeration, the conditions are bad.

I work for webtoon. My publication schedule is weekly. While publishing I'm required 10-15 pages a week. Fully colored.

This means I'm finishing a 150 page fully colored graphic novel every 10-15 weeks.

When my comic is not updating, I am not getting paid. Any time writing, editing, or off is out of my own pocket. I don't get healthcare. They do not provide any assistants. They expect me to promote myself; they chose to deprioritize me before I even launched and gave me an end date half a year in. I never had a chance.

And this is the industry standard! Every company has artists forced into crunch hours, overtime, and burnout. Artists are literally dying early due to it. So many of my friends can't afford to go to the doctor.

It's unsustainable and untenable, and it's also the expectation our audiences have.

If we want to have this conversation, there's plenty of conversation to be had with the realities of the situation. It's bad as is.

[triglycercule]

horrortale waterfall game broke me sorry (hey just like horror!)

[theorahsart]

Incorruptible Chap 3 pt 16

I'm diving back into fictional territory, with my personal interpretation of Robespierre/his thoughts. But, I hope you enjoy the interpretation!

[amelia-yap]

through the heart!

[piromina]

OVERANALYSIS OF THE BURNING SPICE UPDATE TRAILER BECAUSE YOU KNOW I HAVE TO

we open up like this. pretty ominous words ... and you wonder which one is the demon and which is the god. burning spice and golden cheese seem to be very similar, possibly the most parallels that one could draw from the ancients and their respective beasts.

And then we get this shot. Obviously it's showing the soul jam, but there are also some things behind it. One resembles a snake ... APOPHIS ANYONE? this has THE most Egyptian mythology symbolism ever. if golden cheese represents ra, which makes one hundred percent sense considering her kingdom and wealth and radiance and all that, and the fact that she resembles a falcon, then the snake on this wall HAS to represent apophis. it can't not. heck, in some versions of the story apophis was A FORMER SUN GOD. like crk def knows what they're doing.

there's also this tiger character ... nutmeg tiger I'm pretty sure? something like that. they seem to be under the influence of burning spice, as well as all the creatures around them. they seem to be at a higher "position" than all these other guys, though. maybe a willing host?

and there is this. this is really interesting. the fact that Golden Cheese is the one to say this is very intriguing. as far as we knew, the ancients had no knowledge that the beasts even existed until pure vanilla's trip. he wrote the letter to dark cacao, and it was all "you won't believe this - but the place called BEAST-yeast has BEASTS in it!!!" and dark cacao was equally surprised. they didn't know. they thought they were the first ever wielders of the soul jam. but golden cheese ... seems to know a bit more than she lets on to the rest of the group. and a bit more than us. what the heck is the spice swarm?

also, the return (and release) of smoked cheese!! man I missed this guy. he seems to be working with golden cheese in this shot, but then what was his little deal at the end of the first teaser about? it does make sense, though, that he would try to at least be against burning spice - his entire goal is to get the soul jam because he thinks the current wielders aren't worthy - but to me it seems like he might have his own third side in this battle. he'll probably convince both sides he's working with them, knowing this dude. he wants the power of abundance and destruction, a second half he knew nothing about, the ability to make a change in the kingdoms and the lives of everyone in them.

and these two images are probably the most interesting of them all. they seem to be part of some sort of ancient papyrus or prophecy or something like that. golden cheese is yelling about the "great destroyer." could it be possible he was some sort of legend in their kingdom, a prophecy just waiting to unfold? could golden cheese have known about this threat since the beginning? could the beasts' corruption have been inevitable from the start, written in the stars ... and could the witches have known about it?

[hballegro]

"It's more than something. It's everything."

s8e11 "Life Time"

painted screenshot. cannot give a time estimate, i lost track long ago. still gouache brush, my beloved, with blur tools to fade edges and so on

i have to go to the zoo now and will be making the version with the clock later [i cannot express how long ive been battling with hawkeye's face, gamers]. background went very fast like i said it would lol

version 2 [as in, w/ clock] will probably be done later today, and i will edit this and add it when that happens [and prolly make a separate post too, for celebration purposes, and will link them]. i will also compile progress pics for that post. they are terrifying early on lmao

"A lot of very touching songs came outta that war" previous painting

"It was pink, and perfect, and I tossed it in the scrap bucket" previous painting

everyone say thank you to bj to being a perfect painting subject today he was very polite and he looks about how i wanted unlike SOME PEOPLE

that was me to my sibling last night, and i stayed up til 1:10ish and still didnt finish the final pass over hawkeye's eye. everything else took like 5ish minutes

also everyone say thank you to margaret and nurse kellye for also being perfect and lovely and pleasant to work with

photo used blatantly stolen from this post thank you again @remyfire i owe you my life

update edit;

clock back

[asexual-shelly]

hi *throws this at you and runs headfirst into a lamppost*