#like its been a year since i've really felt In It with the whole art game

[magurosnacks]

oh yeah if you're wondering why i never post here idk either but my doctor put me on

Concerta

so there's much more art to come in the near future i hope? perhaps more tumblr usage? we'll see! i hate updating more than two sns at a time regardless of my brand sparkly new adhd diagnosis so we will Cross Some Bridges When We Get There!

(also, expect some commissions via vgen and a kofi et/ou a shop to open soon. it's a capitalist machine but we're living in it and i'd like to go to college please)

[cass-cc]

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[sabertoothwalrus]

hi !! just curious because i was looking at your adventure time episode guide and i love hearing other peoples adventure time takes !! how come you don't like finn's characterisation in together again?

I've talked about it before here and here!

But also I'm gonna say more and share some art I did in 2021 for a rewrite comic that I never got around to doing

So again to reiterate: Adventure Time is usually VERY good at making it feel like time passes, even when you're not watching. It's something about what they don't show that tells you everything you need to know.

Together Again did not do this.

It really really felt like they were avoiding showing Finn as an adult, as if they wanted to leave his post-show life ambiguous. Which, now that Fionna and Cake has shown us literally that, it makes Together Again feel even more wrong?? Like. imagine you have to pick a moment from your life that represents You™ the most. Together Again said that Finn, after living his whole life and dying as an old man, feels most represented by how he was at 17. I do not buy this. I am 25, and I cannot fathom identifying by my 17 year old self. I was a completely different person then, I was still cooking. I can imagine most people feel the same. And ok, so maybe Finn DOES for some reason feel stuck at 17? Explain to me why!! What needed to happen to him that made him feel that way?

And before you just say "it's because Jake died," there's still too much that was left out. How old was Finn when Jake died? What was Finn like, at that point? What else had they accomplished? What was he doing at the time that was on the forefront of his mind? Where/with who did they spend most of their time? Where were they living after the treehouse got destroyed?

It was like,,, it was like the story Together Again actually wanted to tell was about Finn's grief, and how poorly he copes, and how too much of his identity is tied to Having Jake, and how he struggles to move on. But that's not the story we got. I honestly think-- as interesting as it was-- everything with New Death and Tiffany and Lich just did a disservice to the focus, which was Finn trying to get over Jake.

I think Together Again should have gone like this:

Finn and Jake had always planned that whoever died first would wait in the dead world for the other to die so the two of them could reincarnate. Jake dies first. Jake would be able to "watch over" Finn as he lives the rest of his life, so Jake wouldn't miss Finn as much as vice versa, since he'd feel like he's still there with him. Eventually, Finn dies.

Finn's appearance would change with his emotional state. I thought it'd be interesting to show different phases of his life through the stages of grief.

There'd be a room where they could watch Finn's memories. Finn would walk Jake through the events of his life. We SEE exactly how Finn dealt with grief, with heartbreak, with love, with friends, with community. All the good and all the bad.

By the end of it, Finn is quiet. "Jake... when we reincarnate, will we.. lose all of this?" "Well, do you remember anything from any of your other past lives?" "No.. But that's the point. I don't want to forget you." Finn, despite their promise, despite Jake waiting for him all this time, declines reincarnating. He doesn't want to move on, because that would mean forgetting everything. He wants to say with Jake!! He JUST got Jake back!!

“What if— in the future— what if they forget about us? What if they don’t know about all the stuff we did?” We see Ooo in its current state. It’s changed, but it’s clearly been affected by the two of them. Every person they’ve saved, every civilization they helped build, every hero they’ve inspired. They’ve left their touch everywhere. “They’ll know,” Jake says with certainty. “We’ll know.” We see the future, with Shermy and Beth. We see the Finn Sword, and BMO with all their old belongings. Everything stays, but it still changes. Will happen, happening, happened. These have always been the themes of the show. They reincarnate, together.

[stringlessau]

IT'S STRINGLESS' 1 YEAR ANNIVERSARY (+ early concept art compilation)

Posting this dumbass little video to start off the day since we have a lot of little gifts for our awesome community today.

One of those things is something i've been wanting to do for a very long while: posting a lot of the original concept art for stringless (since ive always enjoyed seeing other people's early concepts) some of these i have posted massively before, some are completely unseen, so it'll be fun

This one is the page that started it all, his design is at the same time largely unchanged and also completely different

All i have to say is that it originally said (regarding spamton and swatch) "they bicker like an old married couple" but then i thought about it and i changed it so theyre literally just married

Didnt mean to make swatchton, made it anyway lmfao

Right after that, i got working on neo designs, I wanted to make him really scary looking, the original concept was to make him look skeletal and generally for him to look insane and like he had been reanimated from the dead, but a lot of people had told me over time that they didn't really like the design, I was very defensive over it but I ended up taking criticism and i actually really like the new neo, it balances the uncanniness of the original design with the sleekness of my new art

Payton was a natural next step, without someone to sell the thorn ring there'd be no neo, so although his design visually stayed almost the same, he went through a lot of color revisions (thanks mostly to @maskedalterego, who helped me to nail his final color palette), he suggested the gloves, and helped me to balance the saturation of the design since really I've never had a good eye for color.

His final design, color wise, was just me experimenting using the colors of my sona at the time on him, which I was hesitant to do but was so happy with the palette that I kept it.

It's interesting that he was originally intended to be the pink addison (since he sells one of the snowgrave required rings), and the reason he ended up being the blue addison was corey beepington (and the eviction notice short which I have taken one too many concepts from), this still influenced me to make his outfit pink initially, which still is a huge part of his character design

That exact same night, I created concept art for Raster (weirdly, I was sure I created them before Payton, but it might be because I was generally uninterested in Payton earlier on), their design is also largely unchanged, I just got better with shapes and color, I also ended up changing their cheek markings after seeing some swatchton fanchild art by ne0nbandit

A first until now, the first concepts for payton neo were made on paper

I took very long on this design, and I only updated it every few weeks to make tweaks because I felt the concept was too good but my execution didnt make it justice

I'm very proud of how the design looks now, as of the latest neo redesigns, I feel I could finally make this idea justice

Swatch's design went through some last minute changes, I wanted to use this color palette for swatch to contrast with spamton, but decided against it, then i changed their hair to be longer, to make their Stringless design distinct from their regular Deltarune design

Historically, these two are pretty important, the first pieces of art I ever made featuring Rakhin's old design, when he wasn't part of stringless and I was just befriending rope (he made me Payton fanart first, fell in love with his style), the contrast is beautiful

Now to finish this post, here's some unseen Snowgrave route art I made over the time Stringless has been in development, they're all pretty quick sketches, but i love them nonetheless

Thanks everyone for the insane reception this AU has gotten, I haven't been feeling very good this whole year for a huge amount of reasons I can't get into, but Stringless and its community always helps me to remember why I do the things I do

Thanks for everyone's comments and everyone's kindness, thanks especially to @theropeaaa , for being the literal other half of this AU, without whom I couldn't have ever done the Stringless pages, @maskedalterego for helping me and listening to my ramblings since the start, @scamp-boxx for being this AU's biggest hype man (the first ever comment on the first spamton concept art was by them, and they helped me nail so much of the snowgrave route), @boykisserwoah and @weirdohno , for also being here from the start and making an absolutely insane amount of fanart oh my god, @gutamajunk , for motivating me to create Raster, and writing several story outlines on the first days of stringless that were the foundation for the pages, and diaryous milch and rory, our friends that have helped with character designs, story ideas, voice acting and have generally been instrumental to what stringless is today

THANKS EVERYONE <3

-Nick

[grendel-menz]

yo im not sure if this is a weird ask so feel free to ignore but like !! sorry i just had a moment bc ive been struggling w being half white for a long time now, like something was off my entire life with how other white people would treat me as an Other, the way they would like reduce me to an animal/the wild friend/make some weird dehumanizing comments, and despite all this not even knowing the truth of my ancestry til i was out of high school. but at the same time i felt like i could never really claim it? like i had no connection to my native side since my father wasn't allowed that so i was basically raised White and every time i looked in the mirror something told me it was wrong for me to even seek that connection. it did not help that i'd meet other half natives here who would tell me that (there is a weird culture here about rooting out "fakers" and accusing people you dont like of faking their history to get yourself more legitimacy). sorry this is all a rambly preface to say id always related to your art about ancestry and culture and finding yourself and how people treat you but felt wrong for it but then you post a picture and you're a stones throw away from me. like, we look like we could be cousins. idk i just went wow, i look like that too, its okay, i shouldnt have gatekept my connecting behind fear of... i dont even know what anymore. idk this ask has no point so from another genderweird half who hallucinates i hope u have a great week month year and i hope good things happen to you. you bring a lot of joy to people

I'm sorry you've struggled with all this, it can be really tough. My situation is a bit different since my mom never let me forget I'm Filipino. I never felt distant from being mixed, just the culture we lost due to some extraordinarily difficult circumstances in the past few generations of my moms side. I'm also lucky in that Filipinos and SEAsians as a whole tend to be very avid about welcoming mixed kids into the community (though there's a lot of racism and colorism involved in the level of acceptance someone gets, unfortunately. I'm pale and treated well, and I doubt someone darker skinned would be treated as well in certain circles.).

I can't speak for Native American communities, but I will solidly say in general that blood quantum and its enforcement is colonial. Your ancestors do not love you in halves or quarters, that would be very strange. When I have a baby I plan to love the whole thing and not just whatever dna percentage is mine. It's just important to research, support, reach out to, and represent your community to the best of your ability. (If I've misspoken here lmk.)

I have Indigenous family members, ancestry, and community, but I don't personally call myself Indigenous because I am still researching and reconnecting, and it's such a big word. There's no rush to things, go at the pace you're comfortable with when it comes to seeing yourself.

Sorry for being long winded! Hopefully that helps or yeah! :D

[plaest2k]

hey, im a young nz artist too and i like making comics/want to do something bigger when im older, and i think your stuff is genuinely so fucking cool. i love it so much. i was wondering how you pursued art after highschool, like did you go to art school? if so, where and what was that like, and if not, how’d you find the time to continue doing it? its always felt like my opportunities for a career in art specifically seem smaller living in nz, but idk your stuff inspires me to think otherwise. thank you :)

kia ora!!

thanks so much for asking, it's truly so flattering that a young nz artist would ask me for advice! <3 sadly i might not necessarily be the best person to ask...

First of all, it's been a loooooong time since i've been a young artist hahaha I'm 32. After high school, I studied architecture at university because, as you're probably aware, we don't really have art schools like our peers do overseas. But after studying for a few years, I had a major depressive episode and dropped out. After that, I ran away to Korea to teach english for a year before coming back to work in cafes for about 6 years. Back then I was pursuing a career in editorial illustration cause that's what all my favourite artists were doing but I didn't realise that it was a dying industry at the time and there weren't exactly lot of full-time professional artists here who could have warned me...

So after about 10 years of trying to piece together some kind of profession in illustration, I ended up looking for a tattoo apprenticeship which was looking pretty promising but my bosses turned out to be not-so-great people. I tried to keep tattooing on my own but that was around the time COVID hit which wasn't (and still isn't) great for a job that requires you meet face-to-face with a lot of people. So, since the pandemic began, I've just been subsisting off of jobseeker, chipping away at comics and the occasional illustration gig.

The whole experience had me perpetually burnt out for the past ~15 years and made me realise that art as a career really just shouldn't be a thing. Under capitalism, it requires either an embarrassing level of compromise, privilege or luck to pursue. All the household-name artists you know in NZ either come from privilege or got unbelievably lucky. I don't say this as a value judgment or anything, most of them are truly wonderful people, it's just what I've learned about them as colleagues who've worked together a few times over the years.

I don't fault anyone for wanting to pursue that, but if you want to make uncompromising art that makes you feel fulfilled, you can't stake your livelihood on it. Art is supposed to be a by-product of life well lived, not content to be sold.

It's why I'm making plans to go back to uni next year to switch careers into a cushy office job because, as you've observed, even if you still want to pursue this as a full-time career, opportunities for artists in Aotearoa is extremely limited.

Having said all that, there's still a lot of nuance to this whole thing that would take me too long to cover in a tumblr post, so if you'd like me to elaborate or anything or have more questions, you're more than welcome to contact me through my email: plaest2k@gmail.com!

And this offer extends to literally anyone who might be looking for advice or just wants to talk about art <3

Final thing: the thought of studying something else at college/ university and keeping your art as a hobby might sound bleak when you're young, but life is so much longer than you think. You might feel like you have limitless creativity and ideas at the moment but when it becomes your entire life, you burn through it all faster than you'd think. It's because you need fuel to inform what you make and you can't get that from just making art. Like I always say, art is a by-product of a life well lived; You need life-experiences; You need to love, hate, care, be hated and loved to make art and you can't do that if you're too busy to do any of that. Those 3 years you spend on a bachelors is nothing in comparison to a lifetime of staring at a blank page, agonizing over what to make next.

[charbies]

I'm mashing together my review of totk and reactions to random encounters with the masterworks I've had lately into one stream of consciousness

Totk should have had true continuity, not a 6 year time skip that we never get to see, experience, and feel. It's not that hard to bridge 2 games with a 1-2 min cutscene, esp in a zelda game. Majora's mask starts with quick, but meaningful exposition that bridges OOT to MM! The intro to wind waker is a 6 minute long cutscene!! This series thrives with its detailed, intriguing intros, so what happened?? Before I even launched totk the night it came out, I booted up botw and replayed the final boss & ending because I was so stoked to see the transition in story/world and wanted to honor both games. Instead boom, we're walking in a cave w/ no context.

I was so disappointed that zelda wasn't a companion character to link in totk, it was disempowering to her character arc. Really thought this game would build off of botw's snippets of link & zelda working together in memories. The teasers and trailers for totk gave this perception that she would be there (which would also "break tradition" like devs wanted, ffs). When I was on the tutorial island I was fully convinced I'd be finding her and we'd reconvene like "ok what's next." When I realized 20 mins into the game that she was GONE gone, as in will not reappear likely until the end of the game damsel-in-distress-style, my verbatim thought "wait... really? Is this still going to be good?" Which was kinda sad, for a game I waited so many years for :/

I had major pet peeves with the copy/paste nature of the cutscenes with the old sages. The dialogue, bgs, pacing, literally all identical. They just hot swapped the character models for the sages and said that was good enough, wtf!!! I live for cutscenes in games, I have since I was like 5. This felt lazy, and seriously demotivated me from completing the dungeons bc I knew there was going to be nothing novel or intriguing to look forward to

The secret stones were gimmicky af. Sorry. Also stupid name, they couldn't even opt for "sacred?" Ik in other languages they have way cooler names, which would have helped. Link's fucking thanos glove of stones was a stupid gimmick, I cannot believe they didn't think to alter that concept to be more mythical, or creative, or just original. I would have killed for the stones to relate to the triforce in some way, or to do away with the stones and have this game connect to the triforce, since the whole direction of this story was going back to ancient myth & lore.

the Zonai lacked depth, and honestly just felt like a boring distraction even tho they were supposed to be a central focus of this game. I 1000% agree with other folks posts on the take that rauru was a flat, 2-dimensional colonizer. Sonia got sidelined. yikes. ew. no thanks.

^similarly, ganon really was given no character or depth imo. It's like they did a fantastic job making him visibly LOOK scary, so they didn't bother to give him motives beyond "I'm bad, I do what I want."

the cliche "back to normal" at the end irked me. Link could have come out with no arm, keeping the zonia arm, or at least scars w/ the zonai arm pattern and that would be meaningful. Zelda got factory reset from irreversible draconification in a method that for all intents and purposes, could have been done as soon as link got rewind ability. There was no investigation or inclusion of the other dragons, which seemed like a missed opportunity. Actively working on reversing her could have been a main quest in game!! Like 1. Complete all dungeons/get all stones, 2. you can now go round up the spirits of rauru & sonia and reverse zelda yippee, 3. you and zelda go beat the shit out of ganon together. The dragons fighting was beautiful, powerful imagery, but honestly I think too much potential was traded away just to execute that one fraction of the boss fight.

The masterworks book annoys me, which is sad bc I love concept art. I wanted to be a concept artist growing up, I can accept that you'll often see things that never make it into the final cut. I was enamored with early posts abt things like zelda's haircut, char designs, etc.

But more recently I'm seeing the anthology side of the book taking major liberties that it didn't even bother showing us directly or alluding to in the game, and I think that's such a cop-out. They are literally telling us instead of SHOWING us in the game they release a year ago, and spent SIX YEARS making. There was a festival celebrating the return of zelda/defeat of ganon?? Freaking show us that!!! Show us link & zelda acclimate to post-calamity life. Show us imperfect, non-linear healing and resilience. I would have loved a festival scene w/ link and zelda that conveys the nuance of celebration and recognition of their efforts, and the contrasting weight of what they went through. Show me zelda, exhausted after a festival struggling with guilt and indecision about whether to bring back the monarchy with hyrule's restoration. Throwing in a "oh btw imagine if we actually had done this" post-game makes me so irritated and feral. It's like the post-release canon is sidling up to fanon and saying, "hey look we can do that too! look at our fan art" idk if that makes sense, I don't think I'm explaining it well. But it just feels disingenuous.

I'm not a timeline purest, I don't need everything to interconnect, but I don't love how assertions in this book invalidate connections and lore of other games. Also really don't love how this game overwrites and sidelines the sheikah.

I know majority of my disappointment stems from my own, personal expectations of a game that, let's face it, was probably given many mandates and initiatives to appeal to *everyone* in broad, lackluster ways. I still love the world and characters of zelda, if anything, totk reaffirmed what I love and want to prioritize in my art that I didn't see present in this game. Fun fact I used the world of botw to learn a lot about drawing landscapes & composition. It actually inspires me a bit to try to learn to do comics, which has been a longtime goal I've been too busy and/or timid to pursue lol.

mmm anyway if u read this and any of this resonated DM me and lets froth at the mouth and commiserate lol

[seeminglydark]

Idk if this means anything to you but I'm a comic artist who's had a hard time doing art for a few years. The first four was because of life hardship and lack of time/chronic pain, but now lately I've had time but a mental block. I'm creeping up on 30 and felt bad about myself for "missing out" on my opportunity to be a comic artist. It was really validating to see you post about being 41 (correct me if I'm wrong) especially since you have such wonderful comics that I've been following for a while now. It makes me feel less like I'm wasting my time putting my things in order when I "should" be drawing.

Hopefully this doesn't come across as offensive or anything. It was just comforting and validating. Anyway, big fan! Love your characters a whole lot and hope you have a good day!

Dear Anon

I am 41 years old. I have wanted to make comics my entire life. before my dad got sick, and my childhood kinda fell apart, all i did was draw. after that, i used the stories in my head to cope. life moved on. i was convinced not to accept a partial scholarship to an art school in California. life got hard. i worked at a hotel, and after i escaped an abusive relationship at 22 i hitchhiked/bused far far away to start over. i tried to make comics again, but i had to survive, and so i got another job doing the only thing i knew how to do, hotels. and i worked. and worked. and life got harder and times got heavier and i didn't get time to draw and i worked double hours, 15 to 17 hours a day. and i went four years without drawing a single thing.

i kept working myself into the ground. i was 29 now. i picked up a pen again and drew a red haired boy. he had a hard life and no love and no friends. his problems were on the outside, for everyone to see. he ran away but his problems went with him.

i was 32. surely i was too old now. my time to be an artist was gone. i had no school. no hope. i was so far behind the younger gen i saw online. i cried. all the time. i wrote stories in my email drafts while i worked shifts. i stayed up late trying to learn how to draw again. i cried some more. the boy grew. i called him Fiach. worthy. a raven. later i renamed him Avery. he was like a bird, he had wings, he was my hope. i started writing some friends for him. the people i wished i had around me.

i started finding time and space. i got a new job, something where i was lucky enough to set my own hours. for the first time i had a partner who believed in me. things were hard. but i was drawing now. and that helped.

i went on a road trip and i started drawing pages of an unnamed story on 6 by 8 paper in a sketchbook. i drew 20 of them. 'what could i call this?' i thought. Nothing Seems as Dark...no says my partner. Seemingly Dark. he made me a logo. i was 35. i bought an ipad, i cant do this on paper, its too much story i have too much to say. so i learned how to draw digitally by tracing my own trad art pages.

I spoke to my dad for the last time on June 17th, fathers day that year. he said 'you're good. i'm proud. and you're gonna do amazing things. none of this is your fault. and we will speak again soon.' i didn't know id never hear his voice again. he died a week later.

i turned 36. i kept trying. i'm old, i don't understand the internet. how can i share this?

i stumbled across Lore Olympus. i was introduced to webcomics. id read comics online before but the thought never occurred to me. i opened an account on Tapas. and then i stared at it. what if no one likes it. what if its bad. my art isn't good. i should wait til i'm better. but will i ever really be better? or will i always believe that tomorrow is better? do it now. if even one person gets something out of this story, this story about a boy who is you, a boy who looking for hope, a boy who might make it, then that is enough isn't it.

June 17th 2018 i launched Seemingly Dark.

SD's five year anniversary is in a week. 0ver 700 pages. leaps and bounds in progress with my skills. a printed comic under my belt as of monday. i was always a storyteller. but i was always an artist too.

I am 41 years old, dear anon. I did not truly embark on this journey til i was 35. life got in the way. even now, chronic illness gets in the way. but its worth it. its never ever too late. i believe in you the way my dad believed in me. i reset my life again and again. but I was always an artist. and if thats who you are, and who you want to be, even if things dont go the way you wished they could, you're an artist too.

im 41 years old. i speak about my age, even though i often feel too old to belong in spaces, cuz really, in this case age is just a number. take care of yourself. do what you need to do. and little by little, when your able, carve out your space until it becomes more of a habit. sometimes i think about all the years i lost not drawing or creating. but there's a lot of factors that make me believe had i made my story then, it wouldn't be the story it is now, i needed to live a bit. i needed to find myself. i know this was long, but i just wanted you to see i also had to put my life in order, and getting notes like this reminds me it wasnt at all a waste. im glad i could offer you some comfort. thats honestly the best compliment i could ever receive.

TL;dR I was 35 when i sat down and seriously started making comics, because life always got in the way and so did my confidence. i always feared being too old. im 41 now, still going strong.

[rangerzath]

I've finally played the Lake House and now I'm going to talk about it for awhile. Spoilers below the break.

I will start off by saying this is one of the BEST DLCs I have ever played in any game.

I have always loved Kiran as a character since we first saw her, but The Lake House really highlighted just how fantastically rounded and detailed this character is given the short amount of time we spend with her. Her humor, the fear she experiences, but above all the determination she has to do her job makes a great character.

I appreciated how much we see of the everyman FBC agent. Not everyone at the FBC is a parautilitarian, a lovable scientist dork, or the Director. There are normal people working there believing in what they do. This is a very important part of the overall story of this organization to me. Often I see the Bureau demonized as a whole by the fandom and that really upsets me. Bad apples are everywhere, as we see in this DLC. But we also see how a good person like Kiran stands up against it. Even through the emails and documents we find in game you see good people trying their best against that evil. I am again thankful for Remedy's writing team that they really highlighted that. Even going as far as showing Darling denying a request to capture live test subjects, which means he learned after Dylan. You even see that Trench denied outlandish requests despite being being in the late stages of a galactic war raging in his mind.

You know I had to talk about Trench and Darling, but it was nice to see them again in this way. They still felt a part of this world in a way that made sense. Document storytelling has been one of my favorite things about Control. They present us with just enough framework to use on our own canvas to try and piece together details of those blank pages.

Did I get emotional over signatures? Yes, yes I did.

The atmosphere of this DLC hit all the right horror points. From the moment you walk into The Lake House it captures all the scariest horror vibes from the main game. The paint spattered on the walls like blood, but somehow even creepier because of how it wouldn't make sense to see paint like that (until you figure out just what is happening). Being helpless to the painted because again you are just an FBC Agent not a parautilitarian emphasized this feeling.

Using a picture frame set up with Kiran telling Saga what happened at The Lake House made sense and gives us the point in time Kiran would be providing this information. She left us clues in the main game with her dialogue of something horrible that went down at the Lake House, so it feels very appropriate that we get to see that in detail.

The question that resounded throughout this DLC of what is art was very appropriate given the struggles we face today with AI and plagiarism. How is art perceived and how does its emotional impact play on its viewer? Again the writing team really shines here with all the little details. The room with the ATDs was truly horrifying. I don't think they have ever made a room with no one feel so ominous.

Obviously there was a lot in the DLC for Control fans. We will be speculating on every detail for the next couple of years. I always hoped this last DLC of Alan Wake would lead into Control 2, so I couldn't be happier to see just that happen.

Unlike some DLCs that feel as though they were an afterthought, the story feels like the natural ending of Alan Wake 2's story. It felt like the only goodbye we would have with this game and its characters.

The ending song was a beautiful final note to capstone a game that Remedy struggled for so long to make, and I imagine at times doubted that it would ever be made.

I often struggle to put my feelings into written words, but I wanted to try and get them out. Remedy's future looks bright with multiple games on the horizon, but we see how quickly companies can run into issues and nothing is set in stone. Anything could happen in these uncertain times. We may never see these characters again, and most certainly not in the form they are now. It makes me really sad to think we may never see Saga and FBI Casey or Kiran ever again. Maybe there won't ever be an Alan Wake 3. Maybe we won't see Alan battle the Dark Presence again. Maybe we won't ever see Dark Place Casey's echos pave a path for Alan. Maybe we won't see Alice show us just how much a character can grown into her own. Maybe we don't even get to see more of Jesse, or Emily, or Arish. I already know with the passing of James McCaffrey some of these things are impossible. But its not only death that separates seeing a character again. The song End of an Era highlights this goodbye. This end scene. The curtains close. It is an end.

What I appreciated in this song was that it highlighted the struggle of getting to that ending. No matter what goal you are trying to reach, whether it's Alan trying to escape the Dark Place, Jesse finding out what happened to her brother, any one of us creating things that make us happy, that path always has its ups and downs. And that end will always be bittersweet. It will change us. It is a goodbye.

Whatever Remedy creates in the future it could be something we may like or something we may end up disliking. They could ruin characters or make brand new ones for us to fall in love with all over again. We can take that or leave it. Whatever they decide to do. Maybe we like Firebreak and their new type of Remedy game, maybe we don't. But none of that will change how we felt about these prior games and how these characters made us feel at this moment in time. We can look back and remember how it made us feel. When we laughed, when we cried. The journey they took us on.

I will always be grateful that I was able to experience these games. They moved me in ways I cannot find the words to fully describe. I will carry these feelings forward and cherish this memory.

“There are no happy endings. Endings are the saddest part, So just give me a happy middle And a very happy start.” - Shel Silverstein

[burning-academia-if]

Hi again. If you've been around a while you're probably going to be like "Em, again??" But guess who got sick for the 6th time this year and this time it was a full on chest infection!! It has been three weeks, and somehow I am still Not Free!!

Anyway, BA fell to the wayside this month because it was Velox Fabula time and I've yet to miss a Velox jam (also...chest infection). I also needed to get my sudden and newfound Pirates of the Caribbean obsession out of the way so! I made a short pirate visual novel for the jam and I'm normal again. I also released the prologue of my side IF To Taste Sweet Silver (@sweetsilver-if) just to have it out. Feel free to check it out if you want, but it likely won't be updated for a while as I'm shifting gears back to BA for September!

I don't have much to report but:

UI update should be out in the next week or two depending on how I'm feeling. It won't look like much to y'all since it's more for my sake via cleaning up the code LOL but there were things added (friendship indicators, open dyslexic font option, character page updated, stat page updated, glossary page added) I'm not a graphic designer but it's better organized I think. There won't be an Official Post about it because it isn't new content, but I will make a small announcement when it's out. It'll also include the originally deleted Lars/Zoe/Nevio lunch scene in Chapter 2 as well. Sorry this is taking so long, I just really struggle with the coding side of things which has made the process slow.

Writing in August was also slow, and honestly, I think I really needed those few weeks off not thinking about BA. My inbox being very quiet helped as well, so I really did take a real break from BA. When I opened up the writing doc, I felt a whole lot better about working on BA again, and we have hit 100k words finally!

Anyway, I don't want to lament much, but I did have a personal goal of releasing up to Chapter 4 this year which obviously is Not Going to Happen. It honestly sucks I got sick so often this year because it cut into so much time for creative projects, be it BA or anything else.

I'm not really going to be hard on myself for it, though. I think releasing 3 chapters this year considering everything that kept Going Wrong this year is actually pretty good. I just think its annoying when I know I could have done it but the universe said no instead akfjalfa Anyway, I'm not sure when Chapter 3 will release but I do have a good feeling about September and I think I'll be able to at least get a decent chunk done this month!

Finally, September marks the one year anniversary for this blog and October marks the one year anniversary of BA releasing!! I feel like I literally just started writing this, the fact it's September already is wild.

I was going to do art commissions, but due to surprise car issues, I don't really have the money for that now (next year for sure though!!), so I was thinking of maybe doing character Q&As to celebrate? I've also seen some authors do raffles, but I'm not entirely sure what I would raffle off? Maybe personalized short stories with readers MCs if there's interest in that? I'm not sure yet, but I have a month to figure it out lol

But also thank you to everyone who has followed along!! It's been a really fun time both writing BA and on the blog. I know I say this a lot, but I'm really glad this is such a chill place. It's nice for me the author obviously, but it's also nice because I always want the spaces I have to feel like safe places for others as well so! Thanks again!

Lastly, I normally would end on a little snippet or preview but since most of what I wrote was just the two different openings, I feel like I have nothing fun to tease (or maybe I'm too picky about snippets idk). Hopefully Zoe's bday post tomorrow makes up for it, and I'll post some snippets later in the month instead!

Thanks for reading!

[flanaganfilm]

Hey Mike! Can you talk about your experience going from Absentia to Oculus? That process after Absentia went on its festival run to pitching Oculus? Would love to learn about that time in your life & career!

I moved to Los Angeles in 2003, right after I graduated college. I went to Towson University in Maryland, was an EMF major (Electronic Media & Film) and had wanted nothing more than to make movies my whole life. We were a comfortable middle class military family (my dad was in the Coast Guard) and for most of my life, making movies for a living felt like an impossible dream.

When I moved to LA I took whatever work I could find. I shot and edited those local car commercials you see on TV at 2am, I was a logger and an AE for reality TV shows, and I eventually worked my way to editing.

I said I'd give myself 5 years to make it in Hollwood. By the time we shot Absentia, I'd been here for 7 years, and in that time I hadn't gotten any closer to my dream.

I've already written at length about how Absentia came along and what it was like to make that little movie, and I've recently blogged about how the Oculus premiere changed my life and birthed my career, so I won't rehash those - but I don't often talk about what went on in between.

I finished editing Absentia just before my oldest son was born in 2010, and went back to working full-time as a reality TV editor. In fact, in the months leading up to his birth, I was working double-time - I spent my days at a company called Film Garden working on a series for DIY Network, and my nights editing packages at Nash Entertainment for those true crime clip shows. Whatever it took to keep the lights on and provide as much support as I could for my son.

While this was happening, I'd submitted Absentia to a pile of film festivals. We didn't get into any of the majors - Sundance, SXSW, and Toronto all passed on the film. Our world premiere was at the Fargo Film Festival, where Tom Brandau, one of my former professors from Towson - and one of my mentors - was teaching.

(Our original festival poster, WAY better than the weird clip art that would come later)

The movie got into a fair amount of film festivals, and we traveled with it as much as we could. I have fond memories of the Phoenix Film Festival, San Luis Obispo (where I met Greg Kinnear at a party and very awkwardly asked for a picture - you can see how thrilled he is about it) and my personal favorite: the Fantastia Film Festival in Montreal.

(At one of the screenings, I believe the San Luis Obispo Film Festival)

While this was happening, the film was picked up for a tiny VOD and DVD release through Phase 4 Films.

They were a Canadian distribution company whose claim to fame was putting out Kevin Smith's Red State under a very unusual distribution model. They acquired the movie, which led to a company holiday part in Hollywood.

There, I briefly met Kevin Smith for the first time. We've met again since, and I've now had a chance to thank him for the kindness he showed me back then - I was just some starstruck kid at a party, but he was gracious and available and inspiring. I really admire the way Kevin deals with his fans, and I've tried to emulate it over the years.

So that was kind of it for Absentia. We went to a few festivals, went to a few parties, and posed for a few pictures with some people we admired. Phase 4 designed some truly godawful cover art, dropped the movie into video stores, and that was that.

($2.99 is a pretty good deal)

So Absentia had pretty much run its course. It had a passionate following of fans, but between the crappy art design and glut of low budget horror films on the market, its moment had already come and gone. I was back at work, editing a series for DIY Network called Extra Yardage, and yearning for another chance to make a movie.

Absentia might not have broken open the industry doors like I'd wanted it to, but one thing it did yield was a meeting with an entertainment attorney named Joel VanderKloot.

I had been represented a few times over the years by various managers (to be honest, they were actually Jeff Howard's managers, and they took me on because we had a co-written project together.) But those relationships hadn't gone anywhere, I'd never sold a script or booked a job, and when I suggested making Absentia they were not supportive ("You've already tried the indie thing, haven't you?") so by the time Absentia was made, I was completely unrepped.

Joel was a family friend of Jason Poh, who was one of our Absentia Kickstarter backers. He was a guy who'd just found the project online and donated a thousand bucks. He kept up with us, and loved the final movie. He told me he knew an entertainment lawyer and offered to arrange a lunch.

I left my editing job at Film Garden for a long lunch and met Joel in Santa Monica (this was a day-killing drive for me). Joel had seen the movie and really liked it. We had a good lunch, but wasn't immediately sure about taking me on - it's a lot of work to take on a new client, and there wasn't much heat on my movie. But there was something there that he liked, and he called later that day to say he would take me on as a client.

I was elated. I felt like I'd made my movie to the best of my ability, and that it had flashed in the pan and then died... no one had noticed outside of a few festival audiences and critics. But here was someone who worked in the industry and he saw something in the film that he believed in.

Joel started looking for managers while I clung to my day job. He passed the movie around and we had a few nibbles, which led to the first manager in my career who wanted to simply represent ME: Nicholas Bogner.

Bogner went about setting general meetings at production companies who specialized in horror films. There weren't a lot of takers, and not everyone was willing to watch an entire feature film in consideration of a general meeting. So it was hit or miss - I was a nobody, after all, and they get these kinds of incoming inquiries all the time.

But there were a few takers. And the very first meeting I had was with Anil Kurian at Intrepid Pictures.

Again, I took an extended lunch from my editing job and drove across town to Intrepid's offices in Santa Monica. I was beyond nervous when I sat in the waiting room. The young man working the front desk signed me in and offered me a water. And then, just before the meeting started, he leaned over and he said "I loved Absentia, by the way."

Anil was a really cool executive and we had a good general meeting. At the end of it, he introduced me to the heads of Intrepid: Marc Evans, and Trevor Macy.

We all ended up in the conference room, where posters for Intrepid's other movies - at that time, The Strangers and The Raven - were hanging. I vividly remember staring at them while I pitched all five of the ideas I had for movies.

One of them was a story about a little boy whose dreams manifested in real life, and another was a take on Stephen King's novel Gerald's Game. But at the time, none of these ideas worked. The meeting was over, and everyone was politely going about their day.

I felt a panic in me. It was my first real meeting, the door had been cracked open just an inch by Absentia, and I was about to walk away with nothing. Would my new manager want to keep me? Would my new lawyer think he was wasting his time?

I stopped in the doorway and turned back. "I've got one other thing," I said. "I made a short years ago about a haunted mirror, and I have a take for a feature."

They kind of laughed at the idea of a haunted mirror. "How do you make that scary?" Trevor asked. I said "Think of it like a portable Overlook Hotel," and the room got a little quieter.

"I'd like to see that short," Trevor said. I agreed to send it immediately.

I ran back to work, stayed a few hours late to make up the time I'd burned on my lunch hour, and went home to find a DVD copy of Oculus: The Man with the Plan.

I'd made that short in 2005. It was 20 mins long, and a lot of fun. Over the years whenever I'd get into meetings (all courtesy of Jeff Howard, who had sold scripts long before we started writing together), people would see it and ask about a feature. Every time, though, the conversation stalled because they wanted the film to be a found footage movie, or they'd balk at the idea of me directing a feature.

I sent the DVD to Intrepid and waited. About a week later, they called and asked me to come back in.

I took another long lunch (this would become quite a habit as the project advanced) and drove back down. We met again in the conference room, but this time the mood was a little different.

Trevor said "We're interested in this. How would you expand it? I know there are cameras in the room with the man and the mirror, which begs the question of found footage..."

My heart sank.

"... but we're thinking that's a mistake. It looks like all the fun is in playing with reality, and you can't do that with found footage. So how would you do it?"

And we were off.

I won't rehash the long journey between this meeting and the Oculus premiere at Toronto (scroll down to find another blog about that), but that was really the moment when things changed.

I drove back to work a little giddy. Intrepid optioned the short film, I called Jeff Howard to see if he'd still want to work on a feature with me, and we were commissioned to write the script.

It was my first Hollywood job. I was paid the bare minimum, but I was also able to join the WGA because of the deal. I still didn't quit my day job (and wouldn't for a long time, not until the movie was really shooting in Alabama the following year) but I was off to the races.

Once the script was done, Oculus would lead to my first agents (at APA, and they treated me very well) and my first "real" movie.

What's particularly neat about this time, looking back, is that I owe it all to Absentia. We'd made this tiny little movie to try to kick open the door of Hollywood and start a career. And despite the enormous pride I had in the finished film, it felt for a long time like it hadn't quite succeeded in that.

But quietly, subtly, the movie did exactly what I hoped it would. The festival screenings built up a small but confident word of mouth. The movie led directly to my attorney Joel (who still represents me to this day), which led directly to my first real representation, which led directly to Intrepid Pictures.

Trevor Macy is now my business partner and has produced every single thing I've ever made since. We run Intrepid Pictures together, and I see that same eagerness in the faces of young filmmakers who find their way to us for general meetings. I try to be as supportive and accessible to them as I possibly can, because I remember very well what it feels like to stand in their shoes.

And Trevor even ended up making those other pitches he'd rejected all those years ago - Before I Wake and Gerald's Game followed soon after Oculus was done.

Absentia did everything I could have wanted it to do, and much more. I'll always remember that period of time with great affection... but man, it was stressful. The uncertainty of those years still exists in me, I don't think it'll ever leave.

Someone told me, along the way, that there wouldn't be a moment when I realized I "made it." It would happen while I wasn't looking. That ended up being absolutely true.

[cjstheshethey]

I really wanna talk about Blue Beetle and why it's so important to me. SPOILERS UNDER THE CUT!

Ever since this movie was announced, I was excited because I have familiarized myself with the character of Jaime Reyes for over a decade now. My sister introduced to me to the character when we had our late night Young Justice marathons during a vacation in Mexico back in 2013. Eventually, we got to season 2, where Jaime was introduced. I remember when he would speak Spanish, I would say "Hey he speaks Spanish like us!" And sometimes my non-English speaking cousins would join us watching the show, and when he spoke Spanish, they were able to understand him. As time went on I kinda forgot about DC for a while since I was gaining other interests until Young Justice came back for its 3rd and 4th seasons(This is also your subtle sign that if you haven't watched Young Justice you should do that). Naturally, Jaime is still one of my favorite characters in the show. While I was still in my Young Justice hyperfixation, It was announced that a Blue Beetle movie was happening and even had some concept art shown. Me being the superhero loving Mexican nerd that I am, I was already hyped, and we hadn't even gotten a trailer yet. Then, on April 3rd of this year, the first trailer came out, and I was so excited. DC has been one of my special interests since literally as long as I can remember no joke one of the first shows I ever remember seeing was the original Teen Titans and so combine one of my special interests with one of the most important parts of my identity(my ethnicity) and an excuse to go to the movies? I was stoked. And so I finally saw it a couple of days ago, and I LOVED it. From the family dynamic to the music choices(La Chona in the beginning where Rudy was introduced was the most Mexican introduction ever and I love it.) and even a few references to Mexican culture I didn't expect, Blue Beetle was everything to me. Finally a movie centered around a Mexican family that wasn't afraid to go into topics like immigration and straight up racism towards Mexicans and those topics not taking up the whole story while also not stereotyping any of these characters and treating them like real people. These guys did their research, and it showed. During the part where Jaime comes back to Earth and starts saying something in Spanish, he's saying a prayer. I used to say that particular prayer a lot back when I was a kid, which is a good thing they added that in there because it makes relatable to someone like me. I really wanna make note of one of my favorite scenes from the movie. So after Jaime gets the Scarab and it attaches itself to him, he tries to find a way to get it off him. Once they go to Ted Kords' hidden lab and find out he can't get rid of it safely, he angerly walks out. His uncle Rudy follows him up to the roof. Rudy asks if Jaimes ok and Jaime apologizes for yelling at Rudy. Rudy then starts giving a really good talk about the family and how resilient they are. Then he says this. "I mean, look at your old man. He brought me here from Sonora....when I was 10." No joke, just ask @alextric-overload(Hey dude 😁) and my other friends who came with me, I legitimately gasped in that theater. Why? Because that's where my family is from. Never before did I ever imagine Sonora would even be mentioned in any media let alone a big screen superhero movie but I am so glad it was and I've said it before and I'll say it again: Never in my life have I felt so seen and so represented. The moment those credits rolled, I legit said word for word, "This! This is how you do representation. MORE. OF. THIS. PLEASE." This is why representation is so important because if we continue to make movies like this, more people like me can see themselves in media and feel the way I did. REPRESENTATION MATTERS! So please go support this movie if you haven't already, it's so worth it!

[titanrpg]

NO GOOD DEED: Bleed 10,000 Hit Points devlog v0.1

since a lot of people were excited about the intro snippet i posted for NGD, i thought maybe i'd record some game design thoughts as i continue working on it

going gmless

as i play and design more ttrpgs over the years, i've become less interested in games that require a lot of prep for the gm. or a gm at all. when i design a ttrpg, my default is gmless unless the game requires a gm to function properly.

going diceless

i'm also going diceless because the main mechanic is everyone's shared pool of 10,000 hp that takes 1 damage every second of real play time. i want that to shine, so i've made a ton of choices toward that goal. the mechanics heavily revolve around using and replenishing hit points. dice would just distract from that. plus, every game i've ever written is influenced by wanderhome so honestly it's been a long time coming, my writing a diceless, gmless ttrpg hah.

central gameplay mechanic (lack thereof)

NGD was born out of my own values and growth and discovery of Black anarchist theory. writing this game is a way for ME to see how these ideas play out in a 'micro-community' (shout out to jay dragon for the term) of a few friends at a table. obviously, a gm is thematically irrelevant to this idea. and as i explored a central game mechanic, i realized there couldn't be one. not for this idea.

instead, each playbook contains its own "mini game." (shout out to SLAYERS by gila rpgs for its cool asymmetric class system where i saw this first.) the setting itself will have mechanics to interact with, but each playbook has its own resolution mechanics and toys (one uses a rubik's cube to predict the future, another uses a toy top to pause the timer from ticking down, another uses a deck of playing cards, you get the idea). will this work? i'll find out in playtests haha.

an emerging theory of written narrative art forms

i'm finding that writing a ttrpg can be similar to writing a novel if you have an argument you're trying to make. mechanics communicate values and philosophy, and you can explore so many variations on a theme.

the big difference between a ttrpg and a novel (in my view, in this context) is that when you write a ttrpg, you're outsourcing the character creation/development process to the readers. it's unsurprising to me that i enjoy this, since my main "Thing" in ttrpgs is SRDs (systems that help people make their own games). caltrop core, emerge8, etc. i find the architecture/value exchange that underlies games really fulfilling to work with.

based on my experience with ttrpgs lately and novels in my undergrad degree, here is a theoretical relationship between them all, where reader involvement starts high and declines from left to right and author involvement starts low and increases from left to right:

srds -> ttrpgs -> novels

which is all just to say, writing NGD has felt like all the good parts of writing a novel and none of the parts that take me forever

final thoughts

hey, if you're still reading this, thank you. i'm enjoying this project more than p much any other ttrpg proj this whole year. i've also been in varying intensities of depressive episodes all year. it's more like i have episodes of good mental health sprinkled in with a depressive baseline. i recently increased my meds dosage so hopefully that helps.

i'll be back with another update soon. playbooks are up next.

follow me to stay updated!

-Lex

Titanomachy RPG

[rationalisms]

sorry to whack a wasp's nest, and i am prefacing all of this by saying that i enjoyed the game and think there are a lot of good aspects to it, but!

i am genuinely so sick of the way people talk about baldur's gate 3

i don't think it should have won game of the year

it's so, so irritating to see people claim over and over that bg3 is somehow groundbreaking for the genre or some sort of trailblazing star in a charred wasteland that has seen no good release since dragon age: origins. and like, it's not just idiots in the steam reviews and on reddit who are talking like this (though they are fucking everywhere on both. one of the highest rated posts on the bg3 sub for months was some dude literally going "i've never played a ttrpg or crpg and i believe bg3 is a game changer" fucking lol). it's also like. professional video game journalists and reviewers. a lot of them!

and like. dragon age: origins is really not a particularly good game compared to many of its contemporaries and i seriously do not understand the chokehold it has on people but that aside, since it was released we've had so many incredible and amazing crpgs that featured outstanding writing, game design, art direction, music, voice acting, etc. the pillars of eternity duology, underrail, the wasteland series, tyranny, atom, the shadowrun trilogy, the pathfinder duology, even the fucking games larian made before this, the divinity: original sin duology are all doing what bg3 did, and often better than bg3 does it. and that's not even getting into the many, many games that came out before either that still hold up as masterpieces that leave both bg3 and da:o in the dust like planescape: torment or fallout 1 and 2!

in fact, it's really easy to compare larian's previous game, divinity: original sin 2, to baldur's gate 3 because they are incredibly similar in many ways down to the inciting incident being almost a 1 to 1 copy (you wake up captured on a ship and realize you've been shackled in a way thay suppresses your powers and harms you and the first act is dedicated to finding others who this has happened to and getting rid of it). except that dos2 handles a lot of the things bg3 also contains a lot better, like e.g. companion story progression. (it's absolutely baffling to have story progression tied to rests especially when the game goes out of its way to instill fake urgency in the player that can very easily lead to them avoiding rests and makes especially many early game moments permanently missable if you don't happen to rest enough times at the right time. my karlach romance got bricked in my first playthrough for this reason. also compounding this is the fact that even on tactician the game is so easy that you can go ages without needing to rest organically.)

dos2 also unquestionably has the better combat experience because the system was designed specifically for the game and around the games capabilities and limitations, whereas bg3 had to contend with trying to make d&d 5e work in a video game format when that's patently not what it was designed for. the amount of changes larian had to make to the ruleset to make 5e work for a video game should have been a sign that using 5e was probably just not a good choice. (and ftr i felt the same about the game solasta which also uses 5e.) and even with the rule changes and the way larian went out of its way to buff the extremely underwhelming and underperforming 5e martials, character building and progression is still nowhere near as versatile and exciting as it was in dos2 or other crpgs and you still have a lot of empty level ups or repetitive gameplay because you can only put so many rhine stones on a turd.

let me be clear: i don't think bg3 is a bad game. again, i liked it! i think it has some instances of really good writing (mainly in companion narratives and side stories imo, the main story is underwhelming as whole). the voice acting performances are fantastic. larian tried their best to make non-linear problem solving possible in a lot of places which is neat (but also makes the lack of them in other places really obvious and more annoying than it otherwise would have been tbh lol.)

i just hate the way that bg3 is treated like some sort of gold standard when it stands on the shoulders of predecessors who are just as good, if not better, but who get ignored because they don't have fully mocapped and voice acted character models or a 3D camera. there seems to be this complete reticence from so many people to play games that still utilize things like an isometric pov, despite the fact that the games which do so are designed around this. e.g. pillars of eternity and the shadowrun games are some of the most beautiful, artistically impressive rpgs i have ever played and make full use of the isometric perspective in its fullest to create absolutely stunning environmental design which wouldn't have been possible with a rotating camera. just because a technology is older doesn't mean it is worse! people absolutely should get out of their comfort zone more because they are missing out on so many gems otherwise.

also re: bg3 winning game of the year specifically: look, here's why this gets me so tilted. on release? vast swathes of the game were legitimately unplayable. act 1 was mostly alright because it had 5 years to cook in early release with constant community feedback and bug reporting. this was absolutely not true for act 2 and 3. act 3 in particular was legitimately just not working for me (and multiple of my friends). i have a soupy gaming PC that can play other contemporary games on ultra settings just fine, and yet i got as few as 2 FPS and frankly ludicrous amount of stuttering and lag on even the lowest settings while my poor CPU sounded like she was preparing for space flight. it's clear that they just did not optimize later acts at all. they did eventually fix the memory leak issue somewhat in later patches, but the performance in act 3 is still markedly much worse than the rest of the game. (also why the fuck is it like 200GB good fucking g-d learn to compress your shit larian!) and that's not even getting into how many quests were bugged and as a result not able to be completed.

in summary: i paid 60 bucks for something that released in an unfinished state that put my hardware at risk. i spent a lot of money on a game i was unable to complete in the state that i bought it in and that took several months to get to an actually playable state for many people. that is not fucking acceptable.

i am willing to cut larian a lot more slack than i would say, e.g. bethesda, on releasing buggy and poorly optimized games. which is why i was willing to patiently wait for a performance patch to replay it. i am not, however, willing to accept handing something that was patently not finished and did not give customers the product they paid for an award for game of the year.

that's a symptom of an industry that has gotten too fucking comfortable releasing unfinished games and putting the onus of bug detection and quality testing on its paying userbase. that's not my job! i paid for this because i expect a product that has already successfully underwent this process! but apparently games these days don't need to bother with that anymore because it doesn't matter if it's playable on release or not, they can still get a coveted industry award for it anyway.

tl;dr: bg3 is literally fine but i am begging everyone on my hands and knees to broaden their horizons and also the things we deem to be acceptable from gaming companies nowadays are shocking. ok. i'm done. sorry.

[positivelybeastly]

X-Men #5

Late, but who cares? Let's go.

So, I've made no secret that I thought Kwannon wasn't really being given enough to do, these last few issues of X-Men, and it's for the same reason I'm happy to see Greycrow here - Zeb Wells' Hellions was amazing. It was one of the few Krakoa era titles that actually bothered to examine the moral double standards of the era, that really took advantage of its unique status quo, that looked at mutant resurrection and thought, okay, how can we mine this, not for obscure background cameos that will make a person on Twitter happy, but for actual drama? It was a truly great series, and I was hoping it would be followed up, if only in small ways.

I do like that Kwannon and John have a cabin together. With how they left off, it felt very personal and intimate between them, like they truly didn't need anything else to be content with one another, and neither of them struck me as people who need action to be fulfilled - or, rather, they don't see action as a means for enjoyment. As Kwannon says here, it merely gives them purpose. So far, so good.

Wasn't expecting an Amelia Voght callback, of all characters. Then again, this is a Jed MacKay joint.

Psychics and death, name a more iconic X-Men duo.

It is interesting that we get kinda sort of confirmation that Quentin remembers being a head, since I would've figured that the Cerebro cradles were down and he'd have lost those memories, but I suppose it's also possible he could have just heard about it second-hand and been like, wow, I got turned into a head in a box? Weird.

Yeah, no, you don't get to call Scott Slim, Quentin. Only Hank, Bobby or Warren get to do that. And Jean, if she's feeling quirky.

Can I also say something? I actually dig Quentin's fit? I don't know if that says something about my fashion sense or what, but I actually like this look for him more than . . . pretty much any other look he's had. Granted, that's not saying much, given his other uniforms were black blazer with t-shirt, the 60s retro-futuristic mutant fascist attire, or the bland melange that was his X-Force uniform, but I do actually like it. Purple and checker pattern work.

So, this whole issue is an homage to New X-Men #121, which was part of Marvel's Nuff Said initiative, and it, along with all the other issues published that month, had pretty much no dialogue in it, it was all told purely through art. It's not a direct homage, of course, since dialogue is happening, but I appreciate the lampshade being hung on it here, with Quentin both pointing out that this isn't like the other homage, and then not-so-subtly pointing out why it isn't like them.

Because Quentin can't shut the fuck up.

Honestly, that's a fun spin on it. That's how you iterate on something you've seen before.

I'm a sucker for mental landscapes. Always have been, always will. I just like getting to grapple with a character's psyche in a tangible way, it's why I like series like Silent Hill or Star Trek's many telepathic episodes. And if I had to break down why I like them?

Well.

Pretty much.

You really could've just called this New X-Men volume 3, Jed, and I don't think anyone would've objected. That being said - I couldn't have given less of a shit what happened in Marauders volume 2, so seeing that Cassandra Nova is back and wasn't consigned to the dustbin because of that series is a win in my book. She's a top tier villain, tbh, one of the best new X-villains of the last 20 years, and her particular incisive methodology for breaking down heroes' psyches feels like it's perfectly suited for the team of this book.

As she demonstrates.

Ahhhh, good foreshadowing earlier, good stuff. And I have to say, Stegman's Sabretooth is fucking top tier. Excellent rendition of the big man himself (whom I already miss, even if he does have a miniseries coming up very soon).

This is a great sequence, tbh. Like, poor Quentin - this is actually the most anyone has made me feel for Quentin since Aaron, about ten years ago - but in terms of threat and character exposition, it's very good, with some excellent art and very Nova-esque deconstruction. I also particularly like this panel composition.

His head is in a smaller panel. His head is literally in a box.

Good stuff, tbh. Again, this is the most useful Quentin feels like he's been in a while, because if he did anything of real worth in X-Force other than die, I'll freely admit that I do not remember it.

Hank, Scott, do you . . . wanna get them some paper towels, or . . ?

Overall, not a bad issue - definitely not as memorable as the original psychic rescue, though.

Now, originally, I was gonna say, you can't hold that against it, it's not easy to match Morrison, that's just common sense, but then again, most writers don't directly invite the comparison, so, I really hope Jed is cooking up something long term and satisfying, because constantly referencing Morrison is all fine and dandy, but it needs to go somewhere.

Still, I'd say the title has been squarely good thus far, and it still has room to get better and better, so I'm gonna give it time to breathe.

Also?

Our expert panel of judges have concluded that Hank McCoy once again wins the title of Original X-Man with the Dumpiest of Dump Truck Asses. Thanks for trying, Scott, but, uh. Your nickname is Slim for a reason.

Conner, you and I are gonna fight.

Damn right. It's not Hank's fault comics readers don't read anything from before 2010 . . .

[factual-fantasy]

24 asks :000

Sorry. I don't take art requests! And also trust me, I've seen it everywhere. Its a very bizarre series indeed.. <XD

(Also thank you! :D)

@multifandomjays

:DDD Thank you so much!! I'm glad you like my art! Also BIG thank you for the acknowledgment of boundaries, it means a lot <:}}}

@annathefenecfox

Actually, someone made a post discussing this. I cant remember who it was but they made a good point-

In Above and Beyond(?), Natquik is introduced to Tracker and they both act as if they are meeting each other for the first time. But in that flash back with Barnacles, Tracker was there.

If you look at Barnacles and Bianca compared to the other scouts, their outfits are different..

They put it all together and it looks like Natquik was there for Barnacles junior/younger years in the polar scouts. But at some point he disappears..? Then later on when Barnacle is a senior polar scout he falls in the ice. So it looks like in canon that Natquik wasn't there when he fell in the ice. WHICH would be wonderful angst materal.

Barnacles and Natquik are back together on an adventure and they fall in the ice. Natquik is fine but Barnacles is panicking. When they get out he tells Nat the whole story. Nat would feel horrible for not being there for Barnacles all those years ago.. :'(((

HOWEVER.... I'd like to think that Natquik was there through all of Barnacles polar scout years and saw him graduate. Where he eventually retired young to go and do research in the Antarctic. Hmm.. I'll have to think about this one <XD

Uhhg, yeah. The DLC lost me at Cassie. That was already complicated enough. And then the Mimic came around and the 3 other suits and the weird glitchy computer bunny thingggg

I mean don't get me wrong, I love all of FNAF to death but sometimes I wanna push it down the stairs XDD

@astrokea

XD Our army grows bigger and bigger everyday!

@cudlycorncornsworthcoberson

THANK YOU SO MUCH!! Right after posting that I looked back and cringed a liiiittle bit because I felt like maybe the angst was too much/unnecessary. So I'm really glad to hear that you liked it! It makes me feel better about having posted it XDD

@easterartist

Oh don't worry! The fact that you don't have a default pfp wipes you of any suspicion XD

Also thank you! Its always fun to hear about people getting into Octonauts because of my art! :DD

@gregorythechild

Also today currently I am dizzy and full of anxiety weee

Also I love the ',:) too funny! XDD

Sorry, I don't take art requests. That character looks great though! Also thank you! I'm glad you like my artwork! :DD

@worldsaskingmachine

That's an interesting thought actually. I imagine Freddy wouldn't really like to look at it too much. I have this idea that none of the Glamrocks really like their new forms. Freddy especially, he misses when he was shorter and softer. He was very huggable and it was very rare that a child was scared of him.

Now a days he's mostly just designed to look flashy, not really to hug. And his sheer height means that some of the little kids are afraid of him. :( So looking at one of the older model behind the glass- although its tall too, it'd probably make him sad and miss his old form. :((

@wolfie-777

XD They might fight at first, but then they'd be two peas in a pod.

Foxy: "Yarr, I cant believe it! Yer a REAL pirate!! I wish I could sail out on the watr' and be a true pirate too.."

Jack: "Yarr, sailin the seas don't make you a pirate, Its what's in yer heart lad! Yer just as much a pirate as me!"

Foxy: ":DDD"

@fallingbones

THANK YOIUUU!! I'm so glad to hear how I've inspired you!! :DD

Actually its funny that you mention Foxy's legs. Since I've designed Foxy, Bonnie and Roxy with those legs, I've been going back and forth constantly on whether or not it was a good design choice. I kept considering going back and redesigning all of them to have normal legs in my FNAF recap/repair. But I ultimately I kept them for reasons that will be explained later 👀 All in all- I'm glad you like them! :DD

XD Heck yeah! There's quite a lot of us here on Tumblr. Type #octonauts in the search bar and see for yourself! :DD

@problematicskeleton

THANK YOU SO MUCHHH!!! I'll be sure to take it easy <:}}]

That.. is a good question. I never really thought about it. :00 Also thank you! :D

@burningmusicfunnygiant

Mmm, I'm not so sure. Some older employees know that Bonnie and Foxy are down there. I don't think seeing him active again would make them bring him back to the stage. They don't have the authority to do that. They would most likely just shut him down again. Maybe even remove his battery so he cannot be reactivated..

Also if I were to make a Glamrock Bonnie design, personally I would keep him purple and make him look more bowling ally themed. <XD Maybe someday I'll draw that! :0

THANK YOU!! :DDD Of course everyone is free to do their own thing. But I personally got kind'a tired of the CONSTANT shipping everywhere. Its like some people think that fandoms cant be fun if the characters aren't romantically pinned together. Or like the most powerful kind of love is romantic. Which is just not true.

So I've just wiped away any and all shipping from all my fandom content. With a tiny select few of exceptions. I wanna show that these characters can love and care for each other, WITHOUT romantic interest being the motive.

@funkymonkeyzz

I have drawn him before actually, twice that I can recall!

Once here, and Here! Although if I were to draw him now? Or even add him to my AU? He'd look a lot different than he does in those drawings <XD

:DDDD Thank you so much!! :}}}

I've been drawing literally as far back as I can remember. So I'm not 100% sure what initially inspired me.. Although I did draw a lot of sonic back in the day so maybe it was that? :0

@paytonthefrog

AAAAA THANK YOU!! :DDDD

Hmm.. that's not a bad idea :00 Maybe I'll draw it sometime!

@pinkbomb08

XD Thanks for the reminder. I'm doing my best to take it easy while working on all these projects-