#much vocals

[novelconcepts]

I Saw the TV Glow is such a uniquely, devastatingly queer story. Two queer kids trapped in suburbia. Both of them sensing something isn’t quite right with their lives. Both of them knowing that wrongness could kill them. One of them getting out, trying on new names, new places, new ways of being. Trying to claw her way to fully understanding herself, trying to grasp the true reality of her existence. Succeeding. Going back to help the other, to try so desperately to rescue an old friend, to show the path forward. Being called crazy. Because, to someone who hasn’t gotten out, even trying seems crazy. Feels crazy. Looks, on the surface, like dying.

And to have that other queer kid be so terrified of the internal revolution that is accepting himself that he inadvertently stays buried. Stays in a situation that will suffocate him. Choke the life out of him. Choke the joy out of him. Have him so terrified of possibly being crazy that he, instead, lives with a repression so extreme, it quite literally is killing him. And still, still, he apologizes for it. Apologizes over and over and over, to people who don’t see him. Who never have. Who never will. Because it’s better than being crazy. Because it’s safer than digging his way out. Killing the image everyone sees to rise again as something free and true and authentic. My god. My god, this movie. It shattered me.

[tooooooooasty]

happy miku day!!!! heres the lukawave!!!!1

[prlssprfctn]

Today I am thinking about Jason, who is fresh out of his coffin, catatonic and non-verbal. His mind is in a haze and in a constant terror most of the time, and when it isn't - when he manages to ground himself, to stop imagining Joker's laughter and the phantom screech of the crowbar - he can't bring himself to speak, because there is... smoke in his lungs. A fucking soot. Rare sounds and words that escape his mouth sound like a painful, inhuman shriek.

He vividly remembers screaming his lungs out in the coffin, though, as he woke up to realise that he was buried six feet under, locked away from the rest of the world. So, maybe it was the last drop - a last attempt to use his voice.

His next tries are too painful. And when his desperate cry for Bruce - for someone to call his dad - is getting ignored, pushed aside, Jason doesn't even want to try any more. What use it would be? No one listens to him anyway.

He is as good as dead.

Oh.

He is dead.

[gigizetz]

Hi Gigi :3

Are we gonna get a hold them down animation? Or no because the uncomforty topic?

that's up for the future to decide

I'll be busy with commissions up until february I think, so util then I won't be working on any Epic animatics

and then once I have time again I'll finish God Games

and after that I kinda want to do Legendary-

[spacizia]

he’s just a swinging space age bachelor man!!!!

[littlefankingdom]

[pepsimanan]

#33 SONiKA

[emmcfrxst]

jason todd swears like a sailor whenever you ride him. the visual of your body on top of his, the feeling of your hands on his chest and your cunt fluttering around him, the sweet sounds of your moans and mewls— everything about getting ridden makes jason’s dick hard and turns his brain to mush

[fluffysoraa]

Happy Halloween 🎃✨

[jmr-observingfromafar]

ngl Matangi in Moana 2 was kinda gay. like just a little gay. i mean my girl is a "crazy cat bat lady", calls Moana "babe" twice in her song (the way i audibly gasped in the theater when i heard it lol), and is like sooooo queer coded i love it sm. she just gives off the vibes of sapphic-coded older woman who's played as suave and confident and makes the mc just go "haguphuk" and we all know if this was old disney they would've leaned so hard into that. but i could not have been the only one to keep catching Matangi poking her buttons, the hand on her chin in one scene, just being a total fucking vibe like please i know what you are. that whole scene felt real gay and don't think im leaving Moana out of this one. she is gay, i don't make the rules. i'm stickin with this hc no one can stop me from making Matangi the cool lesbian aunt and NO ONE will stop me from turning Moana gay (Auli'i Cravalho knows what she's doing)

ok im gonna be so real for a second i was simping HARD over Moana's character design in this movie.... like even more than baby me was dying during the first one... like this girl is just- oh my gosh. baby-gay me from 8 years ago would have actually DIED if she'd seen this Moana. it's almost embarrassing how down bad i was during that movie like she's so fucking pretty i wasn't ready for her design. like girls are just too much sometimes, i cant cope .

also side tangent but the lazy ass rewrite of Moana 2 from its planned version as a Disney+ series into a freaking MOVIE was just- so painfully obvious. like they didn't even try reworking it. the structure of the whole movie is painfully episodic and it was just so blatantly shoved into movie format without any care for the integrity of basic movie versus tv structure, so the char dev and pacing was just so rough. like what were the writers even thinkingggg. pretty disappointing but that's ok i have the fandom to make me feel better (moana fan art save me....)

[gemsalive]

re: that HEFTY siffrin sweep on id5’s isat favourite blorbos poll — this might sound silly but i do actually think it’s kinda fascinating that isat, as a game so inseparably steeped in (for lack of a better way to describe it) queer fandom culture, managed to so completely sidestep the common Fandom Phenomenon that i suspect was behind the poll in the first place by creating a main character that is also overwhelmingly the fan favourite character for once.

obviously there are any number of factors we could point at to explain the extent to which siffrin nomiddlenames nolastnames manages to grab people and absolutely not let go, but personally i think one of the most interesting ones to consider is the one specific to the medium — that is, how siffrin subverts the “silent blank slate video game protagonist” archetype in such a way that happens to be primo brainrot breeding grounds.

like, when a video game dev makes a silent protagonist it’s usually a bid to maximize immersion by closing the aesthetic distance between player and character as much as possible, right? which is especially true of rpg video games — players find connection in the generic, as that is what gives you the freedom of motion to insert yourself into the story in whatever unique shape suits you best. you are your character and your character is you.

(as ever, post ran long. yall know the drill. tossin in a quick header pic before thoughts on blank slates & blorboification continue under the cut)

and then you’ve got siffrin, who is expressly pointed out to be the taciturn type; who when initially giving the player exposition about their journey so far doesn’t seem to hint at a life or history or even really any motivations outside the journey; whose every thought and action is narrated in second person so as to keep tracing and re-tracing the connection between him and you.

even their design — all darkless and shapeless, bundled up in that big cloak, as if an invitation for you to fill it in with whatever lets you relate to them most! at this point they are their own character for sure, but they also have enough very clear parallels going on with the silent protagonist archetype to feel more than accidental.

of course, as you keep playing you start to recognize that his blankness is much, much more than just a grab at immersion; his apparent lack of backstory, itself a fundamental piece of backstory. this is where he flips dramatically in the player’s perception from “generic vessel for story delivery” to “thoroughly multidimensional character trapped within endless torment nexus custom-built to target and exacerbate all his very specific worst traits rooted in very specific traumas”.

yknow, the good stuff !

but by then you have also been playing enough to be feeling the effects of the thing isat’s design does best of all. i’m talkin bout that ludonarrative lockstep baby. every piece of isat’s gameplay is designed to make you feel what siffrin is feeling — you understand by now that he is not a stand-in for you, but all the same you share in his frustration, his grief, his rare moments of joy and the subsequent heart-in-your-shoes devastation when that joy is inevitably poisoned — and through it all, the desperate grasping for anything new — all as if they were every bit your own.

so in this way the connection is maintained, even if you were someone for whom siffrin’s particular traits & struggles might not otherwise cause you relate to them at all if you had encountered them elsewhere, in a setting where you weren’t actively controlling them as a player. siffrin still gets to carry all the “just like me fr” impact of the blank slate protagonist in the tropes he embodies and in the game mechanics’ design, while totally free to evolve completely into his own character and keep you relating to closely them all the same. now toss back in the fact that said traits & struggles very much ARE of a flavour that a great many people Would Tend To Relate To and just like that you’ve got a perfect storm cookin.

too individual and compellingly written to be an empty vessel for plot delivery. too closely connected with the player’s emotional state to be a story observed impassively from the outside. he has 92 mental illnesses and for the low low price of free u can give him yours to carry too. nobody is doin it like him. congratulations on your well-deserved nose sniffrin nomiddlenames nolastnames <3

[parisoonic]

How the hell do you manage to superimpose the hilariously exagerated proportions of the tf2 mercs into a cohesive 2d style? I always struggle SO much with like, the way the mercs' models have huge hands, the way they have relatively low-poly definition on things like arms, shoulders, and legs... and Especially the way like, the models are kinda janky when you pose them for art purposes- when using movement tools, things like armpits and seams between body parts get all deformed... Which makes the study of form and silhouette rather difficult.

I assume that a lot of your ability to translate the concept of the mercs from their original mediums into your own works of art comes to you quite naturally- through experience you have with drawing and art style stuff, as well as through intuition. I was simply wondering if I could poke at your mind and get some insight into your process, any thoughts you have about the proportions and silhouettes of the mercs, any quirks you've found while drawing the mercs, or simply what you enjoy drawing about them. Like, don't be afraid to infodump about something just because you think people wouldn't find it interesting- I am here, I am sitting, and I am listening- if you so choose to speak.

I am utterly fascinated and enraptured by the more behind-the-scenes aspect of art. The mundane things that come second nature to great artists yet seem so revolutionary to less experienced artists.

I love your work, I look forward to seeing more of it, and I hope you have a nice day :]

Sorry for the late reply! I've been a little…stuck on how to answer this but that's mainly because to me, drawing is composed of SO many different little skills - you have form, anatomy, shape language, silhouette, appeal, rhythm, acting and posing…not to mention everything AFTER your raw draughtmanship like line style, rendering and colour theory. Trying to distill a multiude of small skills into some pithy advice is overwhelming to my brain. So I'll take the invitation to ramble instead :))

I don't think I have any new or revolutionary insight into the tf2 guys specifically - more I'm using them as work horses to excercise general silhouette/posing/shape-language and further my skills when it comes to drawing characters!

I do agree though the proportions are rather silly when you stop and think about them realistically…they can be kinda tricky if you follow their 'actual' proportions. what looks great individually was maybe never meant to be directly compared (ie: Heavy's hand size against Spy's lol). It would've been funny if the TV show exsisted and we had more content to review…would the animators have had rules like Spy and Heavy can never shake hands? Would they cheated the proportions for shots? Or would they have said WHATVER it's gonna look weird and embraced it? (Like Kingpin in Spiderverse lol)

Paul Lasaine for 'Into the Spiderverse' This is AWESOME. But it's also one of the silliest designs I've ever seen comitted to screen. The varied scales of the characters work because of the unifying treatment (lighting, rendering, consistant hand anatomy, consistant clothing fold treatment etc) and because they are sort of proportional within themselves. A common mantra is that hands should be about as large as a characters face....which they all are here!

Human brains are very flexible and forgiving though. It's totally fine for you to put a character with huge hands and head next to a teeny tiny character! Vanellope and Ralph from Wreck-It Ralph look grand next to each other! And in that film you even have varying levels of stylisation sitting against each other (unified by the look dev treatment of the shaders and lighting). I think as long as the chracter is proportional within themselves it sort of works out. IE: a general rule is that a hand should be as large as the face so…you can have some large arse hands as long as their placed on a body with a big arse head. Unifying characters with the same treatment (ie: lineart brush, colouring style will also help them look cohesive next to each other :) )

I don't actually reference the 3D models/animations very much at all and instead draw their proportions based on my tastes for stylisation following their general vibes/silhouette profiles. I don't stick THAT close to their in-game looks and there are artists who do that are so so so much better than me (Creedei and Flapjack come to mind). I'm not amazing at body-type differentation and TBH they're all wearing chunky clothes all the time so I usually draw the guys as one-of-three body shapes: Heavy is the uniquely wide guy; Sniper/Scout/Spy are all tall and slim and Demo/Soldier/Medic/Engie have a little more of the generic 'hero' bodytype with varying tallness and broadness of the shoulders

Something like this! You can vary all these individual elements in terms of size, thickness, taper amount etc to create different characters. If you ARE going to reference the 3d works though you'll need to apply some anatomy knowledge to overcome the weird shoulders, armpits and knees which desperately need blendshapes to correct the 3D volumes and approach it a little more like an animation supervisor. There's a reason why you see in making-ofs and art-ofs character designers, character leads or animation supes doing drawovers of the models. These are character models that have had great effort put into their 'base' silhouette but it still needs to be reinforced in every frame for maximum appeal.

Shiyoon Kim for 'Raya' This sort of thing will occur at multiple stages during the animation process. Shiyoon Kim's notes are post final model but pre-animation. Most likely for internal rig tests, exploring what blend shapes and alt shapes are needed for the rigs etc. If your production has time, this will continue all the way to final anim. IF! But it's interesting to see how he emphasises the shapes and enhances the character acting of the 3d model.

As for 'mundane things' - I wouldn't say they're second nature! (If that makes you feel better!) I have to actively really persue certain advice and try to figure out how to best apply it. This can sometimes involve redrawing and redrawing an element of the drawing until I've grasped the nettle of whatever I'm after or…..until I get frustrated and either delete the drawing or just call it done lol

Here, I'm looking for a really specific flow of the head that sells both the acting and a subtle head tilt. I'm also trying to apply the general mantra regarding faces that converging lines (set by the eyebrows and mouth) are more appealing than parallel. It's tough! I also tend to use a drawing I've already done as a template/reference on the page too. Oh! This page is an amazing example of why I'm not an animator or storyboarder…consistancy? Who is she? 💅

Converging lines (that form tapered shapes) are always more appealing than parallel. Using this logic you can loft the facial features across converging lines to create dynamic appealing espressions. Combining this with anatomy, perspective and rotation is the tough part though. I'm still learning o7

The things I probably think about MOST are always flats vs curves, simple vs complex and general line of action/flow...and then eliminting tangents. Each of these can be a dedicated visual-essay on their own - hence my stumbling as to answer your question. Anyhow, not sure if it's ever come up on this blog but I looove dinosaurs :)) so i'm using a wee piece to demostrate these ideas! (but also to demostrate these concepts apply to everything from humans characters to animals, props and background design)

Okay, I'm getting self-aware that this is getting really long :') I have a wee tutorial tag for my blog if anyone wants to comb through my garbled art-thoughts. Learning, studying, repetition and practice will always be the greatest teachers! I'm glad you like my art- thank you so much for the lovely comments - I feel like such a noob still and not qualified to give people advice but we're in it together learning! High-five! 🙌

[mossy-paws]

Rodya found the yaoi :( (Limbus company)

The shitpost comic I’ve been working on has. Been taking much longer then expected I know I originally wasn’t planning on drawing anything limbus comp related until I got other important things done but I couldn’t get this out of my head so I had too 😔

OG image also! I got a ton of stuff cooking atm so HOPEFULLY I’ll have actually good art soon, I’ve just been very very busy with final exams and school

[tea-cat-arts]

Shen Yuan getting transported into pidw isn't "the system punishing him for being a lazy internet hater," but instead representative of "step 1 of the creative process: getting so mad at something you decide to go write your own fucking book" in this essay I will

[goosesartblog]

i’m quite fond of them

[vcrnons]

12 DAYS OF BLACK EYE ↪ DAY 8 | woke up on the highway, i didn't go home last night.

bonus: