#my first piece using clip studio paint. very big fan!!!

[whalefill]

for your valentine :) xoxo

[genericpuff]

Let me preface this: I'm an architecture major

I used to be a big LO fan but obviously fell out of love of it like a lot of us did, and I know LO uses SketchUp for backgrounds. That is not an issue I have with the comic or any comic, I want artists to have an easier time in any way they can. I was always under the impression Rachel imported the models into Photoshop and drew over them like you can see in the early episodes with the sketchy lines. Well, school just started recently for me and I now have access to SketchUp for my coursework, and I made a few discoveries: 1. Photoshop cannot read SketchUp files, and while you can import them into Clip Studio through some configuring, they can be finicky and will lose parts in the importing process, so they are best used into the original SketchUp program to export as PNGs. 2. Many of the models Rachel uses are incredibly easy to find, especially if you put "modern", "luxury", or "classy" before the main part of the search. Many of the houses and rooms for example are first page results. 3. The biggest discovery: You know how we all assumed Rachel was hand-drawing all the lines over the SketchUp models and how she gave up the longer LO went on? Well, it's actually worse. It turns out SketchUp has a thing called "Styles" in it, which means you can mess with the lines and look of the model, such as making it look more like a blueprint or playing with the colors. Well, they have a lot of styles on SketchUp known as "sketchy lines", which are the exact ones Rachel used early in the comic to fit with her style, and it takes a literal click of a button to do. All she would do is pose the model, click the sketchy line style, and export the PNG. That's it. So, yeah, Rachel is so checked out of the comic that she can't even bother to click a single button to make the models fit into the comic's style anymore. Use that information however you like.

Ouhhh sorry OP, I'm about to like, undo all the work you just put into that ask. We've already known about the 3D background problem for a long while now.

First off, it's more likely LO doesn't use SketchUp but actually Acon3D, which is a website that offers 3D models both for free and at cost, which are actually compatible with software like Clip Studio. As soon as you open it up you'll likely see a lot of very familiar backgrounds that are often used in romances, isekais, and period pieces. It's literally the go-to spot for Webtoon Originals creators. Like, to the point that I wouldn't be surprised if Naver was partnered with them because of how many of their creators use it.

Second, there's plenty of up-to-date evidence to support the fact that Rachel doesn't exclusively stick to one software, sometimes she's drawing in Photoshop, sometimes she's drawing in Clip Studio Paint, sometimes she's drawing in Procreate. She's undoubtedly using Clip Studio for her paneling, speech bubbles, and backgrounds, as there are built in tools to utilize and convert 3D materials into lineart, among other features that are recognizable as coming from CSP because they're not available in PS or Procreate.

Third, yes, she just uses filters to turn her backgrounds into lineart, this has been apparent since S1. The only backgrounds she's ever 'hand drawn' were the ones involving lots of nature and even those are mostly just Photoshop brushes stamped on.

Like I realize I'm probably bursting your bubble here and I apologize for that lmao but these buildings were never hand-drawn, this is not new information (￣﹏￣；) I appreciate you mentioning your own experiences with it as you're learning it though, I find once you start to learn the process yourself you really start to notice what others are doing. Even I've gone through that over the past couple years as I started to use 3D models and more advanced tools specifically for drawing webtoons.

I will mention btw, there's nothing wrong with using 3D models for your character drawing and backgrounds. The only time it tends to get frustrating is when you're reading a comic that isn't making any attempts to blend the background in with the art style.

Like, The Kiss Bet probably uses 3D models to help with perspective and laying out scenes quickly without second-guessing, but you can tell they still hand-draw over the models because they look natural and like they belong to the comic's stylization. The characters don't look out of place sitting in a living room and the living room doesn't look distracting.

But then you get stuff like Lore Olympus, Let's Play, and Midnight Poppy Land, and it becomes a bit more obvious they're not giving a shit about backgrounds lmao

I get it, WT's deadlines are cutthroat as fuck, but if it's getting to the point that you have an entire team behind you and you're literally just copy pasting video game models from Phantom Hourglass, then it's probably time to re-focus your priorities a bit. There are comics with as few as 1-2 assistants (and even in some cases no assistants at all!!) pulling off backgrounds better than this, even when they're taking shortcuts.

(Nevermore and City of Blank)

But a lot of that does come down to how WT manages its expectations as well as support for their creators. The deadlines and requirements WT puts their creators under are insane and awful in the long-term, and they're not acting with the amount of professionalism they ought to be for a platform that's trying to breakout as a major publisher here in the West. I feel like it comes down to WT loosening the choke chain around their creators, but also creating a standardized level of quality to ensure it's not suffering for the sake of quantity. The traditional literature industry has real editors and stages of quality control for a reason, whereas WT is more interested in just throwing as many series at the wall and dumping all their stock into the ones that stick.

[recurring-polynya]

@trulytaka​ asked: um i’ve always dreamt about a tattoo artist!renji falling for a client AU. it’s okay if you can’t come up with anything, just a suggestion!

How is it even possible that I have never read a Tattoo Artist! Renji AU?? (If there is one, please, send it to me immediately). Anyway, I got way too enamored of this idea, this is not even remotely a drabble, it is 4400 words and it is incredibly self-indulgent, I am absolutely not sorry.

It takes place in America and everyone is Japanese-American, because I am way more comfortable writing about American tattoo culture. I have never actually read a Tattoo Artist AU, I don’t know how they are supposed to go, this is just based on my own experiences getting inked. It’s mostly a story about Rukia and Renji being incredible nerfballs, there are not nearly enough stories about Rukia being a nerfball around Renji.

Read on ao3 or ff.net

💀     🛹     💕

Izuru Kira found Renji Abarai in the break room, simultaneously trying to cram a burrito into his face and read a Hellboy comic. He was holding the comic open with his elbow in an attempt to avoid spilling guacamole on Abe Sapien.

��Your two o’clock is here,” Izuru informed his distinguished colleague.

“Oh, great!” Renji replied, creasing the foil wrapper into a spout so that he could pour the last of the salsa drippings into his mouth.

“She’s waiting in the consult room,” Izuru went on, watching Renji toss the crumpled foil ball across the room, completely missing the trash can. “Look, have you met her before? A Miss Kuchiki?”

“Just exchanged a few emails,” Renji replied, as he scrubbed his hands at the sink. “Why? Is she scary?”

“Not in the usual way of Abarai clients,” Izuru replied. “I was just… wondering if she was... in the right place.”

“Her request was very specific,” Renji replied, scooping up his comic and the manila folder underneath it. “In fact, I am quite proud of what I came up with for her.” He whipped the folder open.

Izuru stared at it for a moment. “That is so specific.”

“I honestly think this is one of the best tatts I have ever designed. I hope she’s a real weirdo, because not just anyone deserves a masterpiece of this caliber.”

“Mmm,” Izuru agreed. “Yeah. Anyway, if there’s been a, uh, miscommunication, see if you can just… redirect her. Both Momo and I are in today, okay?”

Renji scoffed and stuffed his comic in Izuru’s hand as he marched down the hall toward the consult room. A miscommunication. Renji wondered what was wrong with her. She was probably mousy and wore glasses. Izuru always assumed girls like that would rather have a sad poem about the sea or a sprig of herbs inked on her wrist (conveniently, his specialties). Plenty of mousy girls with glasses would rather rock some fangs or dripping daggers, in Renji’s professional experience.

“Knock knock!” he announced, as he slid the door open. He took one step into the room and stopped dead.

Rukia Kuchiki was not mousy. She did not wear glasses.

Renji didn’t know much about suits. He did not happen to own one himself. But he guessed that Rukia Kuchiki’s suit was expensive, in part because it fit her perfectly, despite her tiny frame. It was jet black, and didn’t have a single speck of lint or cat hair on it. Her perfectly manicured hands were folded neatly on top of her crossed legs. She was wearing very tall, very pointy heels. Their soles were bright red, which Renji had learned from television meant that they were super expensive. He realized that he probably shouldn’t be looking at her legs, even though they were very nice to look at. His eyes snapped up to her face, but that honestly wasn’t any better.

Renji wasn’t often attracted to women, but she had probably the most interesting face he had ever seen-- heart-shaped, with big, dark eyes, a sharp chin, the cutest little nose. Her make-up was subtle and professional, and her hair was swept up with a clip, although it must be fairly short, because a few pieces hung down in front of her ears, and a thick lock dangled between her eyes.

She looked like a mean lawyer from a movie, one that would drive a fancy sportscar like an act of violence. Scary, for sure. But not in the usual way of Abarai clients, who tended toward the large and beefy, not that sharp and sharklike.

That nose, though.

Suddenly, her face split into a big grin. “Hi,” she announced brightly. “I’m Rukia Kuchiki.” She had a deep voice, a very beautiful voice. “You must be Renji Abarai.” Her eyes flicked to his arms. “I mean, of course you are, who else would have those arms? They’re so cool.”

“My arms?” Renji said stupidly. “Are they… famous?”

Rukia’s cheeks flushed. “Oh, well, I follow you on Instagram, and you don’t have any pictures of your face, but your arms are in a lot of the shots and they’re, well, they’re kinda distinctive. Do you think, um, would you mind if I looked at them?”

Renji’s eyebrows shot up. It’s not like he wasn’t used to having his arms checked out, but most people were more… subtle about it. Oh, well, it was her dime. “I didn’t do them myself, obviously,” he pointed out, rolling up the sleeves of his t-shirt so she could see the baboon skull on his left shoulder. A skeletal arm traced down the rest of that arm, complete with an outline of his own hand bones. On the right side, a snake spine coiled around his bicep, ending with a hissing skull. “I mean, it was my design, but my friends-- the other three tattoo artists here-- all helped ink me up.” He plopped down in the chair that sat catty corner to the couch where Rukia was sitting, and held his arms out. “We’re sort of a full-service studio. I’m the skeletons and monsters guy. Izuru, the guy you met on desk duty today-- is good at calligraphy and watercolors and little, itty bitty tattoos. Momo is our nature girl, she specializes in flowers and animals, and she’s great with bright colors. The snake skull was all her. Shuuhei is really into classic tattoo art-- you need a hula girl or a heart with an arrow through it, he’s your man. He’s also incredibly talented at revamping old regret tattoos, there’s good money in that.”

“Mm,” Rukia agreed, finally tearing her eyes away from his forearms to look up at his face, and abruptly turned even pinker. A lot of people fantasized about getting a tattoo and then got a bad case of nerves when it was time to make the leap. Maybe all this was way out of her comfort zone. Renji was trying his best to be friendly and chatty, which usually helped, but he was not used to dealing with this class of lady. He hoped he wasn’t coming off as too familiar.

“Actually,” Rukia went on, pulling on her fingers nervously. “I picked this place specifically because of you. For your work, I mean. I’m kind of a big fan. I saw some of your paintings at an exhibition over at the Fine Arts College, and I just, you know, fell in love. I’d always thought I’d like to get a tattoo someday, and when I found out that you were a tattoo artist, I knew it had to be you. I’ve been looking forward to this for a long time, and I’m babbling and I’m really sorry, I’m just very excited.”

Renji blinked. “You’re not babbling,” he replied slowly. He was sort of hoping she might say some more things about how much she liked his art in her beautiful voice. “Wait, an exhibition at the art school? That must have been at least three years ago, when I was doing my MFA.”

“Er, right,” Rukia looked a little sheepish. “A friend of mine had some work in the same exhibit, you probably don’t know her. My favorite one of your paintings was the one with the Black Lagoon creatures eating hamburgers at a diner, but I also really liked the one that was like a huge monster with a big bone mask stalking through a city, the way you did the shadows was just incredible.”

That particular painting was currently wrapped in brown paper and stuffed behind Renji’s couch. His last boyfriend had told him it was “creepy.”

“Uh, glad you liked it,” Renji managed. “Who was your friend?”

“Her name is Inoue. Orihime Inoue.”

“Oh, the robot girl!” Renji exclaimed. “Er, I mean she drew robots. Constantly. For every assignment. I didn’t mean to imply she was… robotic. In any way.” Jeez, Abarai, pull it together, he chided himself. “Yeah, I remember her. I didn’t know her well, but she sure could draw some tight robots. Is, she, uh, doing well?”

“She’s doing storyboards for a stop-motion animation studio,” Rukia replied.

Renji smiled. “That sounds perfect for her.”

Rukia bit her bottom lip and Renji’s throat went dry.

“So, um, you said in your email that you would have a design for me to look at?”

Renji realized that he was gripping the folder like a doofus. “Right! I did a couple of variations,” he explained, passing it from one hand to the other. “But you explained the concept pretty clearly, and I’m really happy with how the first one came out. I mean, obviously, it’s your tattoo! Please give me any feedback you have, you won’t offend me, even if you hate it! Tattoo designs often take a few iterations, it’s very normal, don’t hold back.”

She was staring at him, those big eyes wide and sparkling. “Can I… see it?”

“Oh! Right!” He shoved the folder at her.

Rukia opened it up and gasped.

“I especially love the way you draw skeletons,” Rukia’s email had read. “Do you think you could tattoo a grim reaper doing a sick kickflip on a skateboard onto my outer bicep? I do lift, so I am pretty jacked, if that makes a difference.”

“It’s perfect,” Rukia sighed in a tiny voice.

“Um, in the first variation (that’s page 2) I added some sunglasses, and in the second one, the grim reaper is flipping the bird and also its head is on fire. I guess I thought that grim reapers should be gender neutral but now I’m wondering if you would have preferred more of a… lady grim reaper?” Renji yammered absently.

“Oh, no,” Rukia murmured softly, flipping through the pages. Renji wasn’t even sure she had listened to a word he had said. “These are amazing. I love the sunglasses, but I also like the way you put little flames in the eye sockets in the first one…” She waved a hand absently. “Oh, and don’t worry, I like a non-binary skeleton.”

A small problem had just occurred to Renji. “Hey, um, please don’t take this the wrong way, but I… may have overestimated the size of your arms.”

“Oh?” Rukia asked, and abruptly shucked off her expensive suit jacket. She was wearing a pale purple sleeveless silk blouse underneath. She held one arm out experimentally, and then flexed. The muscle definition on her bicep made Renji take an involuntary swallow, but the fact that she was wicked cut did not buy him much in the way of real estate.

“I’ll just shrink it down maybe 25%,” he reassured her. “I’ll have to simplify some of the detail on--”

“No,” Rukia frowned, her eyebrows drawing together. “Don’t do that.” She thought for a moment. “I’m not committed to having it on my arm.” She uncrossed her legs and hefted one high-heeled foot onto the coffee table in front of her. “What do you think? Is my thigh big enough?”

Renji tried to make words come out, but it just wasn’t happening.

“Er… sorry,” Rukia said slowly, tugging at her hem. “I forgot I was wearing a skirt today.”

“Huh?” Renji scrambled to recover. He needed to say something. She looked really embarrassed. Say something! Say something professional about her leg! “Sorry, I was, uh, thinking!” Good, good, now keep going. “Don’t be self-conscious, I see people’s bodies all the time. Bodies are no big deal, we all got ‘em, right?” This was true in the abstract sense, but he knew these were blatant lies as they exited his mouth. Most people’s bodies were no big deal. He had only known her for five minutes, but was certain that Rukia Kuchiki’s thighs were a very big deal. He studied her leg, stroking his chin, like he was some kind of anthropologist of thigh tattoos. Mostly he was trying to figure out what would seem like an appropriate amount of time to look at a person’s thigh, a person who was your professional client that you most definitely did not have the hots for. “There’s certainly plenty of room,” he declared. “But, you know, people are going to see it less. Which is a selling point for some people! It’s just a personal decision that you’ll have to make. It sounds like you had a big vision.”

Rukia gingerly placed her foot back on the floor. “I had actually been wondering if maybe the upper arm was too public, anyway,” she admitted. “The fact is, I just got full access to my trust fund, and this is sort of a celebration, but I may have been a little overeager to piss off my big brother. He’s very stodgy.” She contemplated the area of her leg that was covered by her pencil skirt. “But so are a lot of people in my field. I can wait until I’m running my own company before I get started on the full sleeve of my dreams, right?”

“Worked for me,” Renji replied, utterly lost by whatever she was talking about. “What… field are you in?”

“Oh, finance,” she dismissed.

Finance. Of course. Renji tried to shoo away the weight of disappointment that was settling in his stomach. He was talking to a friendly client who was clearly loaded, loved his work, and was contemplating thousands of dollars worth of future business. He should be thrilled. He should probably be trying to sell her one of his old paintings-- they were only gathering dust, anyway. Renji would never break the studio policy about hitting on clients. The fact that she would surely laugh at him if he asked her to his favorite burger joint ought to make things easier, right?

“This is so hard!” Rukia declared, and Renji was shaken from his reverie. She was just contemplating his draft designs again, though, flipping back and forth between them.

“You don’t have to decide right now,” he reassured her. “You can think about it and email me. If you’re happy enough, we can schedule your session, and we’ll work out the details between now and then. Chat it over with your pal MechaHime, she’s got good opinions.” He paused. Momo always said he was too nice during consults, they were running a business, but he couldn’t help it. “Or you can just call back when you’re ready. No pressure.”

Rukia slammed her fist down on her knee. “No! Let’s schedule it! Do I pay now?”

“20% deposit. Let’s go out front, Izuru will ring it up.”

“Perfect.” She looked longingly at the drawings again. “Can I take these with me? You’re absolutely right, Orihime will know what to do.”

Renji wrinkled his nose. “It’s actually against studio policy but…”

Rukia’s face suddenly became very serious. “Then it’s against policy.” She winked at him and smiled. “You should take care of your intellectual property, Mr. Abarai.”

“I never get over to this part of town, to be honest,” Rukia admitted as they walked back up to the front. “Is the taco place across the street any good?”

“Oh, yeah, it’s great,” Renji agreed. “Momo and I painted a huge mural on their wall, so they give us free churros.”

“Are tacos a good post-tattoo celebratory meal?” Rukia asked curiously.

“Well, you actually want to eat beforehand,” Renji pointed out. “It’s important to keep your energy up. I don’t estimate yours should take very long, I’m gonna book you a two-hour slot.”

“Ah, okay,” Rukia agreed, and Renji realized belatedly that...maybe… she had been asking him out? No. Surely not. His brain scrabbled for a response, but then he stepped into the reception area and his brain shut down entirely.

“It’s DONE!” Shuuhei bellowed. “Behold my work, ye mighty, and despair!”

Tetsuzaemon Iba, serial client, yakuza enthusiast, and assistant manager at a doggie day care, was flexing. He was not wearing a shirt.

From behind the reception desk, Kira was wearing a dour frown and shaking his head.

“It’s a masterpiece,” Renji declared. “I admit I was skeptical, but it looks fantastic, man. You happy with it?”

“It” was a massive tattoo, covering the wide landscape of Iba’s broad back. It featured a lucky cat, grinning maniacally, its paw held high. It was on fire. The kanji for “lucky charm” was incorporated somehow. It was a disaster. It was perfect.

“How could I not be?” Iba boomed.

“Whoa,” a tiny voice behind Renji said.

Iba’s face went pale when he realized that he was being Peak Iba in front of an elegant, professional woman whose shoes probably cost more than his entire net worth. “Gimme me my shirt!” he demanded of Shuuhei.

“That’s… amazing!” Rukia exclaimed, her face lighting up. “Wow, how long did that take?”

Shuuhei blinked slowly as he passed Iba his shirt. “Five sessions.”

“Well, it’s so cute!” Rukia announced. “You must love cats.”

Iba lifted at the same gym as Renji and watched Momo’s Pomeranian on Tuesdays and Thursdays. He was a regular fixture at the tattoo studio, and all four of them liked to drag him, but no one, none of them, had ever roasted him this hard. Renji cursed that no-asking-out-clients rule, because he wanted to buy Rukia Kuchiki her own body weight in tacos and then ask her to be his wife.

“He’s more of a dog person,” Shuuhei supplied.

“Great with dogs,” Izuru added.

“Shut up, you jerks, I am a lover of all animals,” Iba grumbled as he pulled his Hawaiian shirt over his shoulders. “Is this your lawyer, Abarai? Did you finally get arrested for that hairstyle?”

“I have an MBA, actually, not a JD,” Rukia replied matter-of-factly. “And I am his client. Can you show that large man my tattoo design? Is that allowed?”

Renji chuckled, and pulled out his drawing.

“That,” Iba declared, “is a wicked tatt.”

“Oh, you showed me that email!” Shuuhei recalled. “It came out great.” He regarded Rukia. “He was really excited about that one, you made his day.”

Rukia just beamed proudly.

“Are we booking a session, then?” Izuru asked hopefully.

“Yeah, two hours,” Renji nodded.

“Let me just finish ringing up Iba, and I’ll see when you’ve got an opening,” Izuru replied.

“This your first one?” Shuuhei asked Rukia conversationally.

“Mm-hmm,” Rukia nodded.

“Well, you made a good choice. Clean design, mostly black with just a few color pops, should go on quick and easy, and it’ll hold up really well, too.”

“This is Shuuhei, the one I was telling you about, who fixes a lot of bad tattoos.”

“I have never had to fix an Abarai tattoo,” Shuuhei declared. “He’s great with first timers. Very gentle. I’ve fallen asleep while he was inking me.” Shuuhei pointed to the pair of crossed scythes gracing his upper arm. “This is one of his.”

“Oooh, neat!” Rukia agreed.

“You’re being embarrassing,” Renji informed his friend.

“Always,” Shuuhei agreed. “Nice to meet you! I hope I get to see the finished product.” He waved to Iba as he headed off toward the back. “Don’t forget to moisturize!”

“Everyone’s so friendly here,” Rukia said softly to Renji. “This isn’t at all like I pictured it.”

Renji stretched his arms behind his head. “Nah, we’re just a bunch of goofballs who like drawin’ on people. Very lowkey.”

“I guess I’ve thought a lot about the getting tattooed part of getting tattooed, but I never thought of it as… a job. That people have.”

“It’s a great job,” Renji replied. “I love it. I’m just lucky that Izuru over there has enough business sense to keep the other three of us from running it into the ground.”

“That’s certainly the truth,” Izuru agreed, as Iba headed out the door. “Two hours, you said? Renji’s got a 4-6pm block open on a Wednesday, three weeks from now. The 24th, how does that work for you, Ms. Kuchiki?”

“Do you think that’s enough time to settle on a design?” Renji asked. “If you come up with changes, it should only take me a day or two to incorporate them.”

“Oh! Yes, three weeks should be fine. I thought… it might be a little sooner,” Rukia replied, sounding a tad disappointed.

“Abarai’s a busy man, three weeks is actually pretty quick,” Izuru explained.

“Right, of course!” Rukia nodded. “Yes, I’ll take the 24th!”

She then paid her deposit, a process which involved her taking approximately ten thousand items out of her purse, including a full-sized drawing pad, a single fingerless glove, and a Pez dispenser with a duck head. She was the most contradictory person Renji had ever met, and he just wanted to know everything about her. But instead, they were going to exchange a couple of emails about a grim reaper on a skateboard, he was going to spend an hour and a half two inches from her naked thigh in a state of intense, non-sexual concentration, and then he would likely never see her again.

“Okay, I guess that’s it!” Rukia said, stuffing the last of her worldly belongings back into the purse. “Three weeks, then!”

“Three weeks it is,” Renji agreed. “Unless we happen to run into each other at the taco place.”

Rukia blinked. “Oh!” she exclaimed. “Right. Ha, ha, of course!” She’d been walking backwards toward the door, an impressive feat in those heels, and she spun suddenly to pull it open.

“It’s a push,” Renji and Izuru chorused together.

“Ha, ha, of course it is!” Rukia laughed nervously, and ducked out.

Izuru stared pointedly at Renji. “Wow,” he said.

“I don’t know what you have against her,” Renji scowled. “So she’s professional. She was really nice. She’s a big fan of my work.”

Izuru cocked his head. “She’s clearly also a big fan of you.”

“I don’t know what you’re talking about,” Renji said.

“Look, I’m sorry I implied that a person who drives a Lotus Exige would not be interested in having your weird skeleton doodles permanently placed on her body,” Izuru held up his hands, “but did you really not notice the little hearts and singing birds floating around her head every time she gazed longingly at you?”

“Since when do you know anything about cars?” Renji snapped.

“It looked fancy and I asked Shuuhei what it was, okay!”

On cue, Shuuhei burst back into the reception area, Momo close on his tail. “Are we talking about the hot client who has a crush on Abarai?”

“Did you ask her out?” Momo asked breathlessly.

“She’s not really his type,” Izuru mused. “Very corporate.”

Renji frowned. Did he have a type? If his type excluded people like Rukia Kuchiki, he might need to get a new type.

“Who cares, she was adorable!” Momo insisted. “I woulda asked her out.”

“Renji, if you go out with her, can you get me a ride in the Exige?” Shuuhei added.

“I’m not gonna ask her out!” Renji protested. “What happened to the no-hitting-on-clients rule?”

“The rule is no creeping on clients,” Shuuhei correctly. “This is different. She’s clearly into you, big time.”

“Also, she seems non-terrible, unlike the questionable human beings you usually take up with,” Izuru pointed out. “We could relax the rule if it netted you an actually decent partner for a change.”

Renji scowled judgmentally at Izuru, as if his own dating history had been remotely better before he and Shuuhei finally hooked up.

“Oh!” Momo waved her phone. “Speaking of which, I googled her, like you told me to, Izuru--”

“Izuru!” Renji protested.

“--and you were right! She’s not just one of the Kuchikis, she’s the granddaughter!” Momo thrust her phone in Renji’s face. It was some article about some fancy charity event, complete with a picture that was clearly Rukia, dressed in a dramatic black and gold evening gown.

Renji wanted to push Momo’s hand away, but he also didn’t want to stop looking at Rukia in that dress. “The who?” he asked.

Izuru and Momo sighed dramatically in synchronized exasperation.

“Embarrassingly rich old money family? I don’t know what they actually do, but they’re always in the newspapers, donating money for something or other--”

“Billionaire philanthropists,” Shuuhei intoned in a fake deep voice.

“--I heard they’re descended from some famous clan of samurai back in Japan,” Momo ignored him. She jerked her phone back and started tapping at it frantically. “I’m sure you’ve seen pictures of the grandson-- Rukia’s brother, I guess. He always makes those lists of top ten hottest bachelors.”

“He’s dreamy,” Shuuhei seconded.

“Impossibly dreamy,” Izuru thirded.

Momo flipped her phone around again, to reveal a picture of a very serious, and very handsome man in a classic three-piece wool suit. Renji supposed “impossibly dreamy” was not an inaccurate description.

“Yeah, I think I’ve seen pictures of that guy before,” Renji shrugged. “He’s okay. Rukia has a more interesting face, I think.”

Momo and Shuuhei exchanged raised eyebrows.

“You do like her, then?” Izuru asked, his face brightening. “You’re wrong, by the way, Byakuya Kuchiki has the face of an angel.”

“Rukia says he’s stuffy,” Renji shrugged. “And fine. I like her. She’s cute and nice and had good taste in tattoos. What’s not to like?”

“Are you gonna ask her out, then?” Momo pressed.

“Absolutely not,” Renji replied. “She’s my client. Besides, as you just pointed out, she’s loaded. What’s she want with a scumbag like me?”

All three of his friends groaned.

“You have good delts and sexy hair,” Izuru pointed out.

“You give amazing hugs!” Momo declared.

“You draw fantastic skeletons,” Shuuhei added. “Which, apparently, is relevant to her interests, and not a thing you usually find on Tindr.”

“Also, we’ve already established that she does like you, regardless of whether she has a valid reason for doing so,” Izuru concluded. “So, if you’re at all interested, you really shouldn’t let that stop you.”

“I think you should go for it,” Momo encouraged.

“Me, too,” Shuuhei agreed.

Renji grimaced. She was an amazing girl, too good to be true probably. If she had any sense at all, she would certainly turn him down. But maybe… just maybe… she didn’t have any sense. “Okay,” he grudgingly agreed. “I’ll do it. But not until I’m finished the damn tattoo!”

[ellewords]

(not me reading this back and thinking you could make a drinking game out of this ask because of how many times i say “because” lmaooooo)

i’ve never actually seen wgm but i really love the idea of hinata being on the show, because i feel like he would be so starry-eyed the entire time. literal ✨👄✨ at everything because he’s never thought about what being married would be like and now suddenly he gets to experience it??!!?! he fumbles through all of it, and the fans love him for it because a lot of the other participants seem so smooth and suave, but not with hinata! he blurts his thoughts out as they come, he’s clumsy in situations that would normally require him to be put-together, he makes a huge deal out of every little thing. the first time his partner brought him a bouquet of flowers, hinata literally turns bright red and starts rambling so fast the audio just barely picks it up—

“you didn’t have to but that was really nice of you, i’ll get you something next time, hey, the flowers smell sweet, oh no, that’s actually you, you smell so nice, have you always smelt that way, you should definitely tell me what body spray you use because i might just have to get some of that—“

and the fans eat it up. and so does their partner who absolutely adores him even if hinata doesn’t quite get/see it.

i feel like it would also be hilarious if the partner was someone who isn’t necessarily the biggest (by choice, they don’t want to be in the spotlight all that much) but because of a really big project they have out soon, their team thinks they should get some of that pr. maybe a painter or a sculpture? one that has gotten a lot of attention as of late because their art is a little controversial/suggestive but has somehow managed to keep most of the media on the actual art and not on themself. they come off as really shy and recluse, but the second they get on the show, hinata brings them out of their shell, and that makes the fans like them even more. they love getting to see the artist behind everything and they especially love seeing how their artist brain translates into the real world. and just the idea of hinata being the kind of person who would be able to make even the most introverted person go a little crazy is something i think would be hilarious on reality tv.

anyway, hinata gets a lot smoother as they continue on, and it absolutely floors the fans because he’s so different from when he started. he holds his partner’s hand like it’s nothing, he says super sweet things without missing a beat, he holds eye contact without looking like he’s trying to win some unproclaimed competition. but he doesn’t realize he’s doing it, and the partner is too nervous that he’ll get weird about it to say anything.

by the end of their time on the show, fans can see how deflated the partner is even though they’re really good at hiding it still, and hinata is off too, but he can’t tell why. he is still chipper and all over the place, and the partner is still more open and engaging, but their energy is off. hinata chalks it up to them going to miss the time they shared together, but even that doesn’t feel quite right.

after they leave the show, hinata is super excited to see that the partner has started doing more community stuff (charities where they show up in person, giving art classes to people that donate certain amounts to organizations and projects that they support, going out in public and doing sketches/paintings of people on the street for reference later and recording tiny interviews with them as they do it to make a new documentary of the process or something). he gushes about it all over his social medias and anywhere else he can get someone to listen because they don’t have the time to actually ever meet up with the way their schedules are. he even starts posting behind-the-scenes clips that he had taken (with the permission of the partner) to engage with both parts of their fan bases.

and the partner does the same for hinata. they do a bunch of pieces of the jackals and sells them to get both of their communities involved and supporting them even if they can’t go to the actual games. their instagram is flooded with designs of new projects for them and even more of them of just hinata, all of which have captions that target just hinata (“wow, my ex-husband is so fine 🥵” “that’s your man? mhm! look at him! yeah, that’s mine” and other stupid, cheesy ones that make the fans feral because damn, they really have come out of their shell, huh?!)

the internet loves it, and they love even more that hinata seems to become the person at the beginning of the show all over again, flustered and a mess and tripping over his feet. a new hashtag starts because of it about the two of them being in love still (as a joke) and people upload some of their favorite moments of the pair together. when hinata sees it, he tries to play it off (horribly) but when he finally gets to talk to their partner about it, there’s a calmness in their voice that eases him just a little bit, and suddenly he’s aware of why exactly leaving felt so wrong.

this got a little sidetracked, but i don’t even mind, lololol. also, i definitely need to check out the show after this because i love the fake dating/marriage idea. thanks for putting me on to it! make sure to drink water, have a snack if you haven’t eaten in a bit, and take deep breaths! -🌙

— from elle ! okay but hinata and a painter/artist!partner is literally such an amazing idea to dive into, this now lives in my head and i will continue thinking about it for days on end. i absolutely love everything that you’ve sent aaa i’m actually screaming, i had a difficult time picking which part of your hc to focus on bec so many things popped into my head. but i ended up choosing to kind of pick up where you left off for my little addition (under the cut as usual) tysm for this 🌙 anon ! take care <3

᠃ ⚘᠂ ⚘ ˚ ⚘ ᠂ ⚘ ᠃

hinata’s blush grows redder every second he spent staring at his phone, his twitter mentions filled with photos, edits, and even fanmade animations of the two of you. your shipname was trending again, all after you posted a rare photo of yourself in msby merch. you looked cute, that much was evident to hinata. then again, he always thought of you as cute — from the second you walked into set, all shy and nervous, from the minute you left it, your arms wrapped wrapped around his neck. why was he acting like this? filming had ended months ago; he’d grown more confident around you, hadn’t he?

your name flashed across his phone screen, interrupting his train of thought — you were calling him. his heart beat sped up, fingertips immediately moving towards the ‘answer’ button.

“hey shoyo!” you greeted, enthusiasm very much evident in your voice, “did you see the picture i just posted?”

“i did! um...you look great.” he mumbled, unsure if you had heard him, heat continuing to rush towards the apples of his cheeks.

“thanks!” he hears your chuckling from the other end of the line, and a small part of his mind convinces himself that you were somehow teasing him. “you’re coming tomorrow, right?”

“what’s tomorrow?”

“my photo exhibit, silly.”

ah, that. hinata could imagine you shaking your head, biting your lip as you attempt not to burst out into laughter at his cluelessness. the beating of his heart is more rapid now, thinking of how you anticipated his answer, how you wanted him to be there. “i was only kidding, of course i’ll be there.”

“sure,” you replied like you didn’t really believe him, “i’ll see you then.”

—

hinata was the one who convinced you to get into photography. truthfully, you wanted to try and exploring other mediums beside your usual set of paint and pencils.

“maybe i should try taking photos.” you joked, gently nudging his shoulders as the two of you browsed various film cameras. the crew had taken a brief break from filming, but you and hinata still wanted to continue exploring the various antique shops that lined the street.

“go for it!” he replied without missing a single beat, quickly rattling off a list of potential subjects, “you can take photos of plants, or maybe animals, really pretty scenery...it’s not even going to matter because i know you’ll end up taking really amazing photos.”

and when hinata insisted that he pay for the camera you chose, you decide on a subject.

__

the gallery is empty. well, at least the reception area is.

hinata’s dressed in his finest button-down and slacks, black dress shoes clicking against the white granite tiles. the receptionist directs him to the floor where your exhibition is meant to be held — right at the very top.

his brows furrow, there should be more people here. photographers, critics, fans even. he should’ve been greeted by reporters, by the surely hundreds of people all excited to see your work. you had only grown in popularity since your appearance on wgm, the number of people going to your exhibits only ever increasing. he should know, hinata’s been to every single one over the course of the show’s run. he knew what to expect. and it was certainly not this.

the elevator dings, indicating that he had reached the top floor. still, not a single person there. the frown on his face only deepens. hinata catches a glimpse of the exhibition’s title, “beyond the cameras: a retrospective”

the glass door is unlocked, hinata pushes through them only to be greeted with pictures of the last subject he expected: himself.

framed on the white walls of what possibly was tokyo’s most famous gallery were photos of him, glossy and bright, colors vivid and alluring. and they weren’t just any photos too, they were photos taken on the rare occasions wherein cameras weren’t following your every move. there were photos of him from nights he snuck you in the gym to teach you how to play volleyball, ones of him covered in paint taken in your studio, ones of him attempting to make you breakfast. all of which had him looking away from the camera.

that is until he reaches the final photo, the only one that had you in it as well, taken the night before the final day of filming. he was looking at the camera, but you were looking right at him — your gaze soft, the corners of your lips forming the smallest of smiles.

“so maybe i lied,” hinata heard a voice speak from beside him, recognizing it as yours almost immediately, “the exhibition is actually tomorrow. i just wanted you to see it first.”

“but why me?” he asked, biting the inside of his cheek.

“just because.” you shrugged, not even turning to look at him, gazing at your final photo — just like he was.

but hinata feels it, the tightening in his chest, the tension that enveloped your bodies as the two of you continued to stare straight ahead. he hears it, the ringing in his hears, the hammering of his heart, the unevenness of his breath.

you stand next to him, just a few inches separating you. hinata’s hand is drawn like a magnet to yours. at first your knuckles graze, and hinata holds his breath. then his fingertips push in between yours, you bite your lip. finally he he grasps your hand, a quiet exhale escapes you both.

you tear your eyes away from the photograph at the same time he does; your gazes meet. and just like that, you finally reach the same understanding as him, of just why leaving felt so wrong.

᠃ ⚘᠂ ⚘ ˚ ⚘ ᠂ ⚘ ᠃

a question: how would the hq boys (specifically timeskip) act on a variety show like we got married?  |  written on the margins masterlist

taglist : @haikyuutothetop @crystal-lilac @tobioespresso @sushijimawakatoshi @itsmeaudrieee @pantherhappy @jesssobs @mysticstrawberryballoon @cloudedsky_29

join my hq taglist here. <3

[hazelenergy]

How I Digitally Paint like a Scenic Artist/Designer

Aka: how I did this and put my degree to good use. 

LONG POST WARNING

Step 1: Research. 

First off, get to your image search. If you are going to be using Google, you may want to type “-pinterest” in the search to eliminate the countless boards. 

I had to figure out clothing that is vaguely late 1800s. I found a multitude of reference images that were fancier clothes- but I wanted to find images of clothing for kindred across all social classes. Photographs from the era and paintings are your friend. They will more accurately showcase what was worn. 

After Fashion research comes location research. The 1890s in America is known for the rapid industrialization. Factories were getting bigger and work days were getting longer. But, I wanted the moonlight to be cascading into the place, illuminating the scene. This means I needed to find a structure that had skylights or let sunlight in. And the best images I found? Slaughterhouses. Fitting, huh?

The same rule for fashion still stands- if you can find photographs or paintings from the era- they’re better. There are tons of places still standing today from the 1800s. But today, they look WAY different. Ya know, Abandoned! So just be sure to take this into consideration if you search “abandoned slaughterhouses” or go trespassing like I did.

Lastly, pose research. Finding the poses for a fight scene can be tedious. So, I enlisted some help from a few fight choreographers and stunt men. You can record their fights and play them back at quarter or half speed. You can also get a mirror and flop on the floor a bunch. I did both. This lets you see the action/motion lines you are going to replicate in the drawing.  Heres how we initially did fina’s pose:

And sometimes you have to go back and get a clean shot. I ended up using this pose for the axe.

Step 2: Set up and Background!

When you open a new file, set it to the dimensions and resolution you want. I was working at 600. Usually, I’m working at 300-350. You can always reduce resolution. Its hard to prevent fuzzy lines if you increase it later. 

I cannot stress the following enough:

You work background to foreground. Big Shapes and areas to little shapes. Work your way forward. What this means is you need to fill in as much space as possible first. Then build your details. I prefer working as follows: Big Solid tones, Soft shadows, Dark Shadows, Highlights, then final blend. Once you finish this, put an overlay on top. This knocks everything back and helps create the illusion of depth. See this at work with the video below or here

Step 3: Figure Drawings + Composition

Utilize that research and images you collected to pose your characters. I create subfolders for each set of figures. Organization is important here. This will help keep you on the right layer and prevent the eternal digital artist struggle of “Fuck that was on the wrong layer!”

Even after you move on to lineart and shading, Keep the sketch layer as a reference. You may need to see what youre original notes/ figures looked like as you do the lineart and shade. Don’t be afraid to move them around and alter the composition rn. You want to be able to make changes. Make notes! Detail light sources! 

I’m about to through out some art jargon:

You want to think about asymmetric balance. The easiest way to achieve this in an eye-pleasing manner is to use the Fibonacci spiral. Yeah. This boi:

Place your figures and actions in a similar sequence to the spiral and the viewer’s eye tends to naturally follow it. This is sometimes called the Golden Ratio in the art world. 

Doesn’t need to be perfectly on the spiral. You can break it- but its an excellent tool to plan how things move in the piece. 

Step 4: Lineart

Once you got things sketched- its time to do the lineart. I’m using clip studio paint’s standard brushes. Nothing fancy. I often switch between the G-pen and the For Effect Liner. Mapping and Turnip are for thicker lines. 

Usually I set these pens to a specific thickness depending on where I’m drawing.

My background figures are lined at 0.05 thickness, the midground is .1 to .2, Fina is .3 and the foreground is .4. I set my stabilization high to help keep my lines smooth. Stabilization 100 means there’s a significant delay between where the pen is and the cursor. I like the stabilization to be at 20 for freehanding and at 50 ish for outlining. Dont become completely reliant on the stabilization though. Good and smooth lineart is drawn from the arm not the wrist. Your range of motion is severely limited if you only move your wrist. Practice moving from your elbow and you’ll be surprised how much smoother your lines get. 

Once I finish lining the figures, I usually go around it with an outline. This does three things: 

1. Solidifies the figure and cleans lineart for paint bucket tool. More on that in the next step.

2. Its a stylistic choice. Helps give it that comic book feel with a heavy outline. 

3. Pushes figures forward or back in the composition. Thicker outline helps denote that a figure is farther forward than another. My background figures have no outline to push them away 

Step 5: Digitally coloring

For each figure you are going to select outside the lineart. 

Create a new layer under the lineart

Invert the selection. Paint bucket. You should now have a solid shape of the figure under the lineart. Do not deselect.

Create a new layer above the one color. Title it solid colors. Paint in thick, solid tones. I like to use the mapping pen and turnip pen to color in my solid tones: skin, clothing, hair, etc.  

After that, deselect. Create a multiply layer if you can. If your program does not have a multiplier function, Pick a tone you want to use for shadows and lower the opacity (usually 30-40% I like to use lavenders or blue tones). It will not be as vibrant, but you can edit it in post. Select off of the solid colors layer. I like to start with skin tones. Use the airbrush tool to create soft shadows. You don’t want to create harsh lines on this layer.

Then repeat this process with harsh lines.  

Then knock it all back with an overlay. If you dont have the ability to create an overlay, you can again drop a solid color and lower the opacity, but you’ll have to mess with the color balance/ brightness/contrast to let all the hard work come through. 

You’re going to repeat this for every single figure. Here’s a few color theory tips though.

Your overlay colors should be darker (not more vibrant) in the foreground and lighter (avoid using pure white) in the background. This helps with the depth of the piece. Things closer tend to be darker (not always true, depends on lighting)

You can choose to use color theory to aid your shadows. Instead of choosing black or grey for shadows, choose a complimentary color. I used a lot of green for this piece, I used red for really dark shadows. Its not that black drains color- its just loses some depth if not used carefully. 

Keep your colors consistent. Helps unify the piece. You can strategically break the consistency to draw focus. For example, Fina is the only figure with a true blue overlay. This helps her stand out from the other figures who have reds and greens. 

Step 6: Touch Ups and Final Renderings

Now comes the most tedious part. If you’re like me, your computer fans have been whirring for the last few hours trying to render this monster of a file. If you havent already,  SAVE FOR THE LOVE OF ALL THINGS GOOD

These are the last four layers I have for the entire piece. Here, I am trying to create effective and believable lighting. This kind of work I have only been able to achieve in clip studio or photoshop. You can do it with normal layers, but choose your colors CAREFULLY. Stay away from pure white. Carefully utilize your knowledge of light and shadow to create soft highlights. Harsh lines tend to be a stylistic choice for me. The final layer, subtract, dulls out harsh red tones. I used this as a final overlay to help put everyone and everything in the scene. Without it, things are a little too green and skin tones are a little too blushed for vampires.

The challenge here is I want to tone down the red, but not lose the vibrancy of the blood. So, shift it to a blue. This also helped reinforce the “nighttime” effect. Its only a slight change.

Final thoughts:

Whenever you finish something, its important to reflect.

1. I am so FUCKING PROUD OF MYSELF. This is easily one of the most complicated pieces I’ve done in a while- and I’ve made 16′ tall faux stained glass. Brag. Let yourself feel awesome cuz you just made something awesome. 

2. I timed myself on the piece. I could have easily spent another 7 hours on it. But its important to know when to stop messing with it. Partially for budget reasons but also when you get down to the details you can make yourself go insane. Theres also a ton of detail work I lost cuz of overlays or its just too small to notice. Fina’s face? hard to see cuz its not close enough. 

3. I needed to take frequent breaks for this piece. That was good. Resting and stretching was very important. That is one of the reasons why I was able to work so fast. 

4. I started doing more digital art in April 2020. I have to say, practice makes perfect. I practice drawing and digital painting for at least 3 hours a day. 

That discipline has allowed me to improve so rapidly. So- I don’t wanna hear shit about I can’t possibly get this good! Or I couldn’t even draw a stick figure! BULLSHIT. You can. Get yourself some free software like Krita or Autodesk sketchbook and start playing! 

And thats what I got! Thanks for coming with me on this long post! 

[hyannah]

Anon Archives vol. 4 (right?)

full res: x I miss him too. He was the first of the cast I ever designed and without him, there would simply be no TBoA. Rest assured there will be no shortage of him in the comic :) I understand that the concept of Wolfe with facial hair will be like marmite for most of you, but it’s probably something that you should prepare for regardless! Wolfe no longer has use of his hands due to extensive nerve damage and he has to get imaginative with ways to keep his grip on things - but some tools, like razors - are simply impossible for him to use anymore due to his tremors. Before the gang comes together he will be looking quite worse for wear. 

full res: x She calls him “Marty” :) Her mother called him that so it makes him happy. He’s not her father but he loves her as one would. He was the one who delivered her as a baby, though during the process there were complications. She broke her leg on the way out and though Martin was able to treat her, it caused her to walk with a slight limp growing up. Teaching her to dance wasn't just Martin's idea of physiotherapy but his way of showing her how dearly he cared for her. Music and dance are our good doctor's love languages, you see. He will have Twinkletoes refer to him as “Sir” when he reprimands her, but due to some of Martin’s own issues growing up, he hates disciplining children. If he absolutely must, it’s firm but merciful, and under no circumstances would he ever raise his hand to them.

full res: x Michael Graves is one of three of Ashwick’s Senior Wardens, the other being Hunter Gerhardt and an as of now unannounced third. Wardens are the town’s law enforcers who work directly under the church’s orders. Neither entirely police nor militia, they’re a bit of both. Wardens patrol the streets at night and make sure no one is out after Curfew. Wardens are simultaneously feared and revered amongst the deeply religious townsfolk who view them as God-sent, but no one strikes pure terror into their hearts quite like Graves. While Hunter is known for being terrifying but sometimes merciful, Graves holds no such reputation. If gunshots are heard in the night or blood stains the cobblestones in the morning, townfolk know to keep their mouths shut and heads down.

Thank you so much! I still have some demons to battle but I want to get better, and your support means the world.

Thank you! I kinda wanna die when I look at that piece. Damian deserved better than my art in that funky phase and I will capture his true beauty one day.

LOL Bloodborne has been a huuuuge visual influence on me over the last few years. Expect to see some similarities I'm sure.

Thank you ;.; I used Paint Tool Sai religiously but I've unfortunately fallen out of love with it in the last year in favour of Clip Studio Paint. I would highly recommend CSP and since it comes with a one-month free trial you'd be missing out not to give it a go. I occasionally use Photoshop for some final touches but not enough to say it's worth paying that silly subscription fee for. Lately, I've been using Procreate on my iPad. It was one hell of an investment (😔💸) but it was worth it - the iPad feels great to draw on.

Thank you! Yes, definitely expect that. There are a few timeskips in canon and I have outfit changes planned.

Wolfe can sometimes be seen circling a bed or chair a few times before sitting/lying down not unlike a dog would. Rose cannot - and I truly mean this - fathom numbers. To say she is bad at math would be a terrible understatement. Martin needs a few shots of whiskey a day to keep him going but he never seems inebriated so it’s impossible to tell (unless you’re Hunter). Hunter is so tall that churches are the only buildings he doesn’t have to duck to get in to and he Riker Sits everywhere. Gloria is a little superstitious, and Graves is a cigarette smoker. Twinkletoes likes pigeons.

I would certainly recommend it! If drawing inspires you, give it a shot! Though whether or not I recommend going to school for it is a more complicated question. The good thing about pursuing a career in art is that at the end of the day your work ethic and portfolio are your best friends. Having degrees and connections will help in the industry for sure (and why I DO recommend art courses for people who have the money and want to experience student life), but if you're a poor kid that can't shell out the dough for art school or if you studied a different field, or if college didn't/isn't working out for you, it's not the end of the road. You can build your career on your own terms if you're driven enough.

Hm, let's see. I think Wolfe and Gloria would appreciate some sweet treats! Hunter rarely eats anything that isn't meat, and Rose has lived on the road most of her life so campfire food is what she's used to. She's the kind of person you'd see eat something horrifying like uncooked beans straight from the tin. Gloria appreciates her guilty pleasures and Wolfe recalls her sharing taffy with him as a little boy. But those memories are hazy now, and he's long since forgotten the taste.

Oh jeez, that would mean the world to me! As for the dialogue, it’s probably a bit of both honestly haha.

Hunter: 43, Wolfe: 23, Gloria: 41, Martin: 45, Rose: 19, Graves: 38. Some of you may recall Hunter being younger but I had to make a few timeline adjustments. Otherwise, everyone has remained the same.

Oh, well, it just might be! Wolfe is used to carrying the frail and sickly through the Charnels, but human touch in that regard is alien to him.

You're right about one thing, Ashwick is certainly in the title! I'm pretty close to revealing it so hopefully you won't be stumped for too long. I can reveal however, if I haven't already (and I think I may have, I haven't read the previous Anon Archives in years), that TBoA was going to be called Memento Mori.

He raises an amused brow at your sentiment but if you're under 35 you're all toddlers and babies to him. Plus he can't go 5 minutes without thinking about his wife so it's safe to say he’s settled down.

Haha, yeah! All of the above. Though it goes both ways. Hunter’s antics drive the poor man up the wall for sure but Hunter will be the first to tell you that doc is a force of nature too when he’s got to be. They’ve known each other for decades. They’ve taken bullets and bruises and stabs wounds for one another. Martin makes sure Hunter doesn’t get himself killed (at least he did before Malignancy took that off the table) and Hunter makes sure Martin doesn’t work himself to death. Gloria just wonders why they both have to be so damn dramatic.

1. Rose's candles simulate artificial sunlight and can temporarily vanquish Spectres from the area at night until the wick runs out. These are especially useful to the common folk who may be suffering from seeing their dead loved ones night after night. Her special coloured candles are different, though. They block a Malignant from being able to possess their Host's body and thus allow the Host to keep control of themselves when night falls. You'll learn more about the ins-and-outs of this mechanic in the comic.

2. I can't share that! You'll just have to wait and find out. Though it is a wonder how someone as formidable and self-disciplined as Hunter could fall prey to a Malignant's manipulation … I suppose even men like Father Gerhardt have been vulnerable at one point in their lives, huh?

It’s private, sorry :( It was a kind gesture from a fan who wanted to show their appreciation but it quickly got a little out of hand and very inappropriate. I’m good friends now with the few who did join so it’s not so bad and we have a good laugh, but it’s given me a small taste of “Fandom” on a grander scale and it was enough for me to realise it makes me pretty uncomfortable to be in the middle of it. I love being able to communicate with you all but I don’t love being in awkward situations so much. I might try again in the future, we’ll see.

Malignancy is unpredictable and what happens to one Host won't necessarily happen to the other!

ohohohoh who knowsssssss ;D

Nope, she’s Hunter’s danger noodle gal.

Yes, I love them!!!! I recall checking them out after you sent this message quite some time ago. I had heard a few of their songs before but I've been listening to them regularly ever since. I appreciate the recommendation since music is a really big thing for me.

Oh thank you very much! They're my own characters yes :) I first created them when I was 16 for a college project. One day I would like to share that with you all because it's come a long way. The comic is in development. Thank you all for your questions, I think that’s most of them. If you don’t see your ask in here it’s because it was asked already, I got a similar question and took a screenshot of that instead, it was too inappropriate, I can’t reveal the information yet, or I simply didn’t see it. As always if you’re looking for more prompt responses please message me off anon so I can reply privately since I respond to most anons in bulk!

[ohn1m]

The Art of Being Mino

The South Korean hip-hop star wowed critics and fans alike with his solo album ‘XX’; but is he any closer to discovering who the ‘real’ Mino is?

Mino's journey is an ongoing one and 'XX' is a chapter that marks an artistic coming-of-age on this wild ride.

Understanding Song Minho is kind of like catching lightening in a bottle; impossible to do but the idea itself is so dazzling, you need to give it a shot anyway. Tall and blonde with bleached eyebrows and sharp features, Song–better known mononymously as Mino–cuts quite the intimidating figure. He’s intelligent, polite and forthcoming on every answer and there’s an elegance to him that’s instantly appealing. There’s one little thing that proves to be more charming than any of this, however, and it comes in the form of a little note he sends on email after the interview; “Thank you for your interest!” it reads cheerfully, accompanied by a smiley emoji. “I hope we do it again when Winner’s back!” It’s simple but sweet and suddenly there’s yet another dimension to the chic, fierce rapper we’re used to seeing onscreen.

Before sitting down with Rolling Stone India for a conversation in December, the 25-year old musician’s schedule through 2018 included the release and promotion of a full LP with his band Winner, a Japan tour, a more extensive Asia tour, a series of performances across his home country South Korea, starring roles in several variety shows and a feature on YG Entertainment labelmate and his senior Seungri’s viral hit track “Where R U From.” November was busiest for him with the release of his first solo LP XX, a 12-track feast of hip-hop, tradition, emotion and culture. December finally closed with yet another single with Winner and a series of year-end performances in Korea.

While a bit of a break is warranted after the whirlwind of activity, Mino confirms he has no plans to take it easy in 2019. “Winner will release a full album this year,” he reveals cheerfully. “I cannot talk about our plan in advance, but we are preparing a surprise gift with a great musician!” The four-member K-pop band are working on their upcoming third LP and have already begun their tour schedules in full force– they’re currently on a six-city run of the United States with stops in Seattle, San Francisco, Los Angeles, Dallas, Chicago and New York.

Over the past year Mino has embraced the avant-garde with ease, stepping away from his swag-heavy hip-hop image and slipping into a more elegant avatar.

As an artist, Mino is full of surprises with an evolution that’s been thrilling to map. He started his career as a rapper in South Korea’s vibrant underground hip-hop scene back in 2010 (when he was just 16) but success took a while to come along. He debuted briefly in 2011 with a group called BoM before its premature disbandment in 2013, and then finally signed with leading music label YG Entertainment as a trainee. In 2014 he got his big break after participating in TV channel Mnet’s reality-survival program Win: Who Is Next and ending up as a member of the winning Team A–which would go on to form Winner and debut that same year. He shot to fame quickly this time around, gaining attention as a solo artist after finishing as runner-up on the fourth season of South Korean hip-hop survival competition Show Me The Money in 2015. With several eyes on him, he wowed with a more bluesy, melancholic persona on Winner’s 2016 EP EXIT: E. That same year he and YG Entertainment labelmate Bobby announced a duo project titled MOBB, which showed off a completely different, swag-heavy, fun-loving attitude, but in that EP he included “Body,” a solo single that blended sex and passion with angst and regret. Winner’s discography as of late has been bright, tropical and electronic-pop and he’s able to adapt to it effortlessly as well. His career trajectory spells ‘chameleon’ and even in times of trial there’s a sense of chill around him, as though deep inside he knows everything’s going to work out.

Over the past year Mino has embraced a life of avant-garde with ease, stepping away from his swag-heavy hip-hop image and slipping into a more elegant avatar. He seems more comfortable and willing to express himself in ways outside of music. He’s always had fondness for art but now seems to revel in it, regularly posting images of artwork he’s created on Instagram, participating in media projects, exhibitions and editorials. Last year, he displayed some of his own artwork at an exhibit titled ‘Burning Planet.’ The pieces were a combination of installation art with media and performance art which explored the idea of burnouts, stress and humanity’s exhausting pace of birth, work, death. It’s morbid, futuristic and almost prophetical in its warnings about the pressure society puts on young people and quickly gained critical acclaim. Mino remains modest in the wake of all the praise, saying, “I do not know if I have had any talent when I was young, but I painted as a hobby since I was a kid. So I have become interested in art naturally. It was a very good opportunity to exhibit ‘Burning Planet’ with [eye wear brand and collaborator] Gentle Monster. It was a good time to learn and experience many things.”

It’s this artistic and emotional evolution which seems to have had the biggest hand in the creation of XX. “I wanted to give a tweak to my existing image, which I guess has been heavy with hip-hop and rap. I wanted to start afresh,” he stated at a press conference in November, according to a report by the Korea Herald. XX is an extension of his performance art–dramatic, creative with an ambiguous title to boot (he’s explained he wanted his listeners to have their own interpretations of it.)  The video for the lead single “Fiancé” features imagery around birds, dreams, fantastical landscapes and more. In addition to being involved in the entire concept, Mino also contributed to the set design–there’s a giant mural of a bluebird featured in the video which he painted himself. Several fans as well as popular YouTube channels like DKDKTV have attempted to decipher the meanings behind it and he’s thrilled to see all the various discussions. “It is one of the things I enjoy the most,” he says when I ask if he ever watches these theories. “Making parts that can be interpreted in various ways… I love watching them in various interpretations.” Could he tell us which theory got closest to deciphering his work? “I will never tell which one is correct or incorrect for more diverse guesses!” he teases.

“Fiancé” has also been appreciated for its unconventional combination of trot, a form of Korean folk music, and trap. To do this, the track samples Korean veteran singer Kim Taehee’s 1969 track “Soyanggang River Maiden” and blends it with bass-heavy, rolling trap and Mino’s drawling rap. “There was no intention to use ‘Soyanggang River Maiden’ from the beginning,” Mino says. “When the song was almost 80 percent complete, [YG Entertainment CEO and music producer] Yang Hyun Suk gave me an idea of putting a part of ‘Soyanggang River Maiden’ as a sample source, and it fit perfectly into the message and vibe of this song.” The haunting sample had younger fans enthralled and searching through YouTube to listen to the original track while applauding Mino for putting a limelight on Korean pop culture and history. Because in addition to the retro sound, the music video for “Fiancé” is a fever-dream blend inspired by the Korean Joseon dynasty and modern-day angst. In the clip the rapper wanders between fantasy and reality, dressed as an emperor as he searches the past, present and future for his one true love.

“I was getting to love myself, and everything [about that experience] is in this album.”

Is it possible that with younger artists like him using older genres like trot or paying homage to their history in music videos, it can help young listeners appreciate tradition a little bit more? Mino reveals that wasn’t really his intention at all. “In fact, I considered this song for older people than younger people,” he says, adding his plan was to erase misconceptions about hip-hop and ‘young’ music in the minds of older generations. “Even if the genre of hip-hop is popularized, it is still hard to catch up with higher age. So it seems like sampling of ‘Soyanggang River Maiden’ was a good plan for this song.” “Fiancé” has indeed added to the buzz around rappers defying expectations and stepping into traditional musical and visual territories. Hip-hop no longer has one definition and inspiration can come from anywhere. For Mino, the ideas for “Fiance” and XX came from several fragments of art. “I have so many things inspiring me, so I do not know which one to say first,” Mino says. “Among them, some works of  (Italian painter) Piero Fornasetti, various plants–especially blue roses– and the Japanese anime Devilman were in my mind. However, it’s my inner self that affected it the most. I stayed alone in the studio every time so I could be deeply involved in my work and I looked back upon myself.”

XX as a whole has been well-received thanks to its use of complex metaphors, puns and double meanings in its lyricism, but for Mino, making this record was about finding his true self. “I got down to work in earnest in the beginning of 2018 for this album,” he says. “It contains various songs ranging from a song written two-three years ago to a song written two weeks before the album came out.” The rapper has written and composed each and every track, taking a dive into his own psyche to unleash several different sides of himself. In a video teaser right before XX‘s release, Mino explained he’d made the album by “grating [his] soul into it” and the result is an LP that is diverse, clever, saucy and undoubtedly one of the best hip-hop albums of 2018. Lyrically, he tackles everything from waiting for a lost love (“Fiancé”) to calling out obsessive fans (“Agree”) and bold eroticism (“Hope”). He gets emotional on “Alarm” and “Her,” exploring heartbreak, his relationship with his fans and self discovery. “I was getting to love myself, and everything [about that experience] is in this album,” Mino tells me. “I got a lot of thoughts and experiences from it and I am so proud of the production process.”

It’s clear from the get-go that wordplay is key; in the vicious introductory track “Trigger,” Mino uses syllables in its Korean title to play on the curse word ‘shibal,’ blazing through verses of self-praise with swagger, while on “Rocket” he drops references to art, Korean mythology and more. It’s the realest taste of what he’s truly capable of and it surprises and delights in equal measure. The impressive roster of collaborators on the record include YG Entertainment’s biggest in-house producers Choice37 and Millennium, comedian and actor Yoo Byung-jae and up-and-coming vocalist Blue.D, among others. There was one artist, however, that Mino was particularly excited to work with. “It was all fun, but working with YDG was extremely impressive,” he says proudly of his collaboration with the Korean hip-hop veteran on “Bow Wow.” “It was one of my dreams from my childhood.”

Mino at a press event for ‘XX’ in November 2018.

With XX being his first massive solo effort, Mino confesses there were hurdles along the way that he hadn’t expected. “The toughest part was familiarity,” he says, adding, “When I listened to songs hundreds of times to make a song, I always got confused. That’s the hardest thing to me.” Working alone means more pressure and he says he finds it more peaceful when he’s working with the members of Winner– Hoony, Yoon and Jinu. “When I work alone… I get sensitive because I am dissatisfied with any result. When I work with Winner, it’s really a load off my mind. Each member has their own roles, and I think we fit in nicely with each other.”

Mino’s journey has been wild, difficult, rewarding and a little messy–we’ve covered a lot of it over the course of the interview, but it still feels like we’re scratching the surface. He seems to agree; there’s a lot more he wants to consume and learn and a lot more he wants to show all his fans, old and new. “I am always thankful to fans who have supported me from the beginning and everyone who has known me since yesterday,” he says. “I will try to put a little more of my own personality and style on next album, and I also want to challenge something that no one expected.” While the search for the ‘real’ Mino continues, XX is a chapter in his story that marks a significant turn; he’s found a balance between the sexy rapper we see with Winner, the exuberant hip-hop dudebro he turns into with MOBB and the expressive poet he is as a soloist. It might not be lightening in a bottle just yet, but it’s pretty damn close.

[houseofvans]

SKETCHY BEHAVIORS | Interview w/ STACEY ROZICH (LA) 

From animal mask wearing people sifting through antiques to creepy mascots being arrested by equally creepy looking officers, Los Angeles based artist Stacey Rozich’s watercolor works are all things awesome. Strange, familiar, dark, humorous, and pleasantly eerie at times, Rozich’s paintings, while done in the style of folk traditional painting, are filtered through her own lens of modern pop culture. With some upcoming shows in the New Year–a group show at New Image in LA in February and a two-person show at Portland’s Talon Gallery in September–we couldn’t wait to chat with Stacey Rozich about her early experiences with drawing, her collaboration with Subpop Records, and her sketchiest story involving loud raucous metal heads and a little out-of-the-way saloon in Malibu in this latest Sketchy Behaviors. 

Photographs courtesy of the artist | Portrait by Kyle Johnson

Tell us a little about yourself.  My name is Stacey Rozich, or Stace, Stace Ghost, etc. I’m from Seattle, but I now live in Los Angeles. I’ve been painting in watercolor for the past twelves years, and drawing before that since forever. I sometimes do large scale versions of my work as acrylic murals, which is something I stumbled into. I dig painting in the folk tradition, but through my own lens of modern pop culture, and way too much tv watching as a kid. Seriously, I was an insomniac in middle school and for some reason my parents gave me a tv in my room, so I stayed up all night watching VH1 Pop-Up Video and Adult Swim (circa late 90’s). I have an almost encyclopedic knowledge of The Simpsons seasons 3 - 8 — I used to recite monologues from the show to my family when I was a kid. And I still do!

What was your first experience with art / drawing? And who were some of your early artistic influences? In Kindergarten I drew a many-legged leopard in the forest with crayons and I got a lot of praise for it from the other kids and the teacher. I felt a combination of pride and complete embarrassment for the attention I got for something I created without thinking. My earliest artistic influence was probably Sailor Moon. I wish I could say I was one of those really smart arty kids that loved Picasso, but honestly I wasn’t that aware of what “real art” was until later in pre teenhood. The flashy colors and character designs of Sailor Moon were so exciting for me! Even the lush watercolor backgrounds captivated me. I liked drawing people then so the outrageous proportions of the girls was something I could mimic in my own drawings.

Some of our favorite aspects of your work is your use of gouache and watercolors. Can you share with folks what it is about this particular medium you enjoy so much?  I absolutely love watercolor, and truthfully I don’t use gouache that much to consider myself proficient in it since it’s a slightly more opaque medium and I use it for accents. Especially the fluorescent gouaches I picked up in Tokyo, those against my watercolors pop nicely. But watercolor, yeah, I think I have that one in the bag. I remember using it in high school and absolutely loathing it — where was the control? One wrong move and it all just blended together into one big wet puddle. When I was a freshman at CCA (California College of the Arts in San Francisco) I took an intro Illustration class and the first thing our professor did was give us a watercolor demo; I was not looking forward to it. He was such a wizard with it! He gave us really smart instructions to not use very much water, and really “charge up the brush” with the pigments and paint it in and let it dry fully. That way edges of the paint have dried and created a barrier for the next application of color next to it. That’s why the barrier for entry with watercolor can seem too high, when it gets too slippery to work with there’s an overuse of water. I got that suddenly and it all clicked. Since i grew up drawing habitually I liked that I could use a very small brush and almost draw with watercolor, and large brushes to fill in certain planes with tonal washes. I like that I can wipe and dab away little pools of color and it creates a nice stained glass effect — that looks really lovely against a matte layer of watercolor that I’ve used extremely little water with. 

Are there other mediums you’d like to try in the future? In the future I would really like to start painting portraits of people in my life. Like, Alice Neel style portraits in oil. Oil intimidates me greatly so I think I’d start in acrylic.

What’s a day in the studio for you like?   I get to my studio around 10am since I’m not a very early riser, unfortunately. I so envy early morning people! One of my girlfriends who’s an incredible textile artist is up and at ‘em and hiking in Griffith Park by 6am. And there I am under the covers with a cat on stomach looking at her Instagramed hike thinking “Some day that will be me” — I like to lie to myself. Anyway! Once I roll into my studio I settle in to write some e-mails, putz around the Interwebs, and then get down to the task at hand. It’s usually 11 around this time so I’m usually really chugging along by 3, and then I’ll keep going for a few more hours. If it’s a painting for a commission or gallery show I tend to spread my timeline out so I don’t get burned out. If it’s a commercial gig there’s a lot more scanning, Photoshop clipping out and editing which can take me later into the evening.

What’s that process like? My process always starts with loose sketches on paper, which can mean in a sketchbook or whatever blank piece is lying closest to me. I work out compositions with really doodly lines — they’re virtually unintelligible but I know what they mean. When I move to the final I mostly wing it when it comes to the color palette. If anyone has ever seen my watercolor palette they know it’s a goddang mess  which works for me. I usually work with whatever shades I’ve pre mixed and let dry in the pan.

You’ve worked with various clients and companies over the years. Do you enjoy collaborating and what do you find the most challenging about it? I do like working commercially, the collaboration with art directors can be incredibly rewarding. Though there are times it becomes a slog when you’ve created about four or five killer rough ideas and they go with the weakest one. Why does that always happen? You have to do what they say essentially, but still keep your voice even when it feels a little pinched.

In 2015, you collaborated with Subpop Records on some amazing record art and design? Can you tell us a little about that collaboration and process? Subpop is one of my favorite labels to work with hands down. Their art director Sasha Barr is such a boss. I was really lucky when I was working on the Father John Misty album that I got to create the art and not worry about the editing process. I sent it up to them since they had access to a gigantic scanner to get a full high-resolution image. It meant a lot that I was able to do the art as an actual full scale piece, as opposed to broken up to little scraps and then scanned on my wee little ancient scanner. Sasha did all the leg work to clip out the whole thing and to figure out how to stage the multi-layered pop-up interior gatefold. Usually when I work with smaller clients they ask me to do all this which is…not a good idea. Ultimately that album packaging was nominated for a Grammy in Packaging Design in 2016, but we lost out to Jack White because of course. Damn you, Jack White!

What WOULD BE your ideal collaboration? I would like to work with a great publishing house to do my own young adult series. Basically all the characters and worlds I’ve been painting distilled down into a serialized art book/graphic novel type thing. That’s a big dream of mine that swings from feeling so possible and exhilarating and then feeling completely futile because everyone has the worst things to say about the state of publishing right now. I still have hope that someday I’ll get it together to at least put forward a proposal. 

On a different level I’ve love to design some patterns for Gucci. I’m not really up on the latest collections of luxury brands but Gucci is one I’ve noticed has been doing a fantastic job incorporating illustrations into their garments either as accents or printed motifs. The uniqueness of the artwork coupled with excellent hand done detailing makes my brain feel fuzzy in a really good way.

What type of music do you listen to when creating? Can you give us the top 5 bands you’ve been checking out? I waffle back and forth between music and a lot of podcasts. For the times when I can’t listen to anyone talk anymore, I listen to Jim James, Solange, Charlotte Gainsbourg, Shabazz Palaces. I just started listening to Andy Shauf’s new album which is lovely, it reminds me a bit of Harry Nillson. Also there’s a great massive playlist on Spotify called Twin Peaks Vibes that is excellent.

What’s your strangest or sketchiest art story that you want to share? I was eating lunch with some friends at this little out-of-the-way saloon in a canyon east of Malibu after a hike a few months ago. It’s pretty isolated down there — they’ve been using this place for filming Westerns since the 30’s so it’s a very specific strange and cool gem. I was sitting at the bar and these bros come in, being loud and raucous. I kind of internally rolled my eyes at them and ignored them. I hear one of them say “Excuse me — are you Stacey Rozich?” I got scared for a moment because anytime someone recognizes me by name I feel like I’m going to get into some trouble. I told him I was, and then he and his friends got very excited since they all were huge Southern Lord fans, and loved the album artwork I did years ago for the band Earth. I was really surprised (and relieved) and we had a good chat! It was a very unexpected encounter down at this little far away rustic saloon.

What’s a common misconception about artists?  Perhaps that we’re all lazy. That we don’t have a good work ethic since what we do is hard for most people to wrap their brain around. It’s a completely unconventional path to go down, and you have to be extremely dedicated to it. Yet somehow this doesn’t quite translate to most folks since it seems like basing your life and career on an unknown pursuit like art seems insane. And there’s an idea that artists have a lot of free time to spend laying around waiting for inspiration to strike. 

What’s been the biggest challenge for you as an artist? The largest challenge for me, honestly is: myself. I’ve been working solely on my artwork for the past six years and it’s been full of a lot of ups and downs: emotionally and financially for sure. There’s always a feeling of not being good enough, why aren’t I as good as this or that artist, why aren’t I doing X, Y or Z. Don’t get me wrong, I am proud of myself for what I have accomplished but I need to remind myself of that before I go down a spiral of anxiety. It comes from a fear of rejection which can prevent me from pursuing things, submitting a proposal for the aforementioned young adult series for example. Sometimes I need to remind myself to get out of my head and to get out of my own way.

What do you think you’d be doing if you weren’t an artist? I’d probably be in finance, on Wall Street most likely. Kidding! I think about this sometimes. Being someone who creates has always been so tightly wrapped up in who I am as a person that it’s hard to extract myself from what I would be without. I would hope I would do something in Slavic studies. My dad’s side is Croatian (by way of Detroit) and while that’s been a huge inspiration for my artwork I’ve always been really fascinated with that region’s history of conflict and resilience. When I spent six weeks there back in 2012 it only deepened my love for that place and also my curiosity for what makes it tick.

What are your favorite Vans? A pair of beat up, worn in, maybe a couple of holes at the toe blue or red Authentics. A true classic.

What’s a question you never get asked in an interview and would like to ask and answer yourself? It would be, ‘If there was one person living or dead who you wished owned or could have owned your art — who would it be?’ To which I would say that’s such a hard question there’s so many people I admire! But as of this moment I think it would be rad if David Lynch had some of my art. I love his unstructured style of storytelling, all the loops and the sometimes frustrating dead ends his narrative world has. The effect of creating an unusual if not downright confusing vignette just for the sake of it reminds me of how I approach the storylines in my work.

What cool and interesting projects or shows that you’re working on - should folks keep an eye out for next year? Since it’s the end of the year things are usually pretty quiet in terms of projects, but I’m in a group show in conjunction with Luke Pelletier’s solo show at New Image here in LA in February. I’m scheduled for a two-person show at Portland’s Talon Gallery in September and! Hopefully, if it all aligns, I’ll be headed Internationally to do some muraling. I’m stoked for it!

FOLLOW STACEY | Instagram | Website 

[eremji]

Thoughts on Infinity War, and Thanos' Motivation

Disclaimer: I'm not a Marvel expert. Some of my information on comic plots was collected from wikis and secondary articles, due to a lack of access to a primary source or the simple inaccuracy of my own memory. I also mostly enjoyed Infinity War, and any criticism herein should not be taken as decrying the whole.

Spoilers behind the cut. Please close your eyes and scroll super fast, block tags, duck and cover, etc. if you’re on mobile, because, seriously, spoilers.

An extremely simplified version of movie production:

From a production standpoint, Iron Man was a huge risk for the studios fronting the money for it. After critical and box office flops from 90s Batman films and other various superhero action flicks, studios typically found comic book movies to underperform in comparison to budgetary requirements for good visuals, making them unattractive. Marvel has taken a large step away from making comic book movies, to making comic book adaptations, because what works on the page doesn’t work in a moving picture.

Marvel Studios’ cinematic success has almost nothing to do with how compelling the source material is – because some of Marvel’s library is pretty much slush pile garbage. This was before your average artist or consumer realized you can get pretty literary while still having cool pictures on a page. They’re valuable because they propelled the comic industry to widespread success, but the source is best examined with a critical eye towards tone deaf and anachronistic viewpoints on race, sexuality, gender, and pretty much everything else. Marvel Studios has done a fairly consistent job of divorcing the cinematic canon from the original medium’s baggage, to which I attribute a large portion of the films’ success in comparison to very lukewarm iterations of DC or X-Men.

As media consumers, we’re accustomed to having a finished product to hold and analyze. When considering story, in terms of plotting and pacing, I personally believe it’s most helpful to compare the scope of the MCU production to be similar to that of a television show, rather than a traditional movie or movie series. It may be startling to know that even very successful television shows, like Breaking Bad or Stranger Things, often don’t even have all the episodes completely written out prior to beginning filming of a season.

Marvel Studios’ movies have been in production for ten years, with many, many different hands in the pot, and earlier scripts don’t always set up the best planting and payoff of character or plot elements later in the continuity. (For visual learners, Lindsay Ellis has a very layman-friendly example using clips from Mad Max: Fury Road.)

You can see where this might start to cause some consistency issues.

Crossover event comics and the necessary sacrifice of emotional development:

For anyone walking in to expecting Avengers: Infinity War to have a lot of character development, I’m very sorry for your loss.

There was never going to be a grand emotional reunion for Steve and Bucky, and there was never going to be whole hours dedicated to bonding and witty bickering and new friendships that weren’t absolutely vital to the plot. That we got things like the Steve-and-Bucky hug, the jealous Star-Lord vs. Thor moments, and Steve introducing himself politely to Groot were for the benefit of the audience more than advancing the plot, which is a huge victory in terms of crushing as much as possible into a theatrical cut.

A film production has a finite amount of screen time to allocate before a movie becomes bloated. When people joke about Infinity War being the most ambitious crossover event, I don’t think some of them realize how on the mark that is from a production standpoint. Hard decisions have to be made between what isn’t vital to advancing plot in a compelling way and what was retained to meet audience expectations. Infinity War often felt like it tried to recapture that Joss Whedon-ish sassy-but-kinda-flat comedy from the first Avengers, and that meant punchlines for jokes sometimes land at emotionally inappropriate times because characters just don’t have cinematic space for witty banter between shooting aliens and losing everyone they ever cared about.

There’s a difference in author-audience expectations of what’s important in these team-up movies, and also gaps between fans actively participating in fandom because they love the characters and casual moviegoers looking for a blockbuster. It all comes down to how much each party in the creative transaction is willing to settle for. Traditionally, Marvel has set up the character-driven plots and subplots in individual comics with occasional crossover cameos for a few issues when another character or baddie is relevant to the plot. The large crossover events, like Civil War, Contest of Champions, or Infinity are almost always plot-heavy and character-light.

This is so much easier in comic book format, where multiple series can be coordinated in regular, paced releases, and different comic issues may happen parallel or directly before/after the event crossovers. Movies take a significantly larger amount of time to produce, through pre-production, filming, post-production, marketing, and distribution.

A brief (I’m serious, they’ve been making comics since the 1939) explication of source material:

One of the largest disconnects for me, as a fan of both the comics and the movies, was the change in Thanos’ motivation, but not his mission. For those who aren't aware of the origins of his character, he essentially wants to murder people to impress a girl – Mistress Death, to be specific. He wants to kill half of all life in the universe so that he can be her equal and win her affection. 

Dorkly did a pretty solid breakdown of some of Thanos’ Infinity Gauntlet story and the innate misogynistic slant of his character, including comic panels from the original source material, that paints comic!Thanos an internet Nice Guy™. (Feel free to skim the article; it's a bit slow to get to the point.) Perusing the comic panels, you can see Thanos is hella into negging and is spiteful when Mistress Death shows interest in another dude (spoilers: it’s Deadpool). He clearly believes love is possession, and if he can’t have what he wants, then, good golly, no one can.

He’s also really off the rails – dubbed the Mad Titan even before his objectification mega crush on a badass corpse with a wicked bod – and is personally responsible for destroying Titan. He’s not a villain that believes he’s the hero, and this shift away from his motivation being dangerous-and-horrible to dangerous-and-misguided casts the first shadow on the premise.

My (very personal) opinion on the execution:

MCU essentially played keep away with some of the more supernatural elements of the source material, at least until introducing Dr. Strange. In doing so they had to construct Thanos’ motivation for a comic-book-inspired task out of whole cloth. There is no Mistress Death. Secondary characters that were discrete entities are often pulling double duty*.

(*Or triple. See also: Bucky Barnes, who is wearing the backstory of Captain America's gay best friend Arnie Roth and now White Wolf. If you were previously unaware of this factoid, please enjoy the irony that Marvel’s biggest pro-American propaganda piece had an openly gay best friend circa early 80s but Civil War ham-fistedly had to work in that awkward-as-fuck smooch between Steve and Peggy Carter’s hot young romantic surrogate niece.)

So, okay, they have to reinvent Thanos, who we've only seen in a handful of post-credit scenes and vicariously learned, through Loki in the first Avengers movie and then Gamora in Guardians, is a conqueror and also really Bad News™.

I buy everything so far. And why not? Black Panther made me love Killmonger and his rage, and the parallels to contemporary issues made him fairly empathetic without highlighting that his perspective was necessarily the ‘correct’ one. Similarly, Spider-Man: Homecoming’s villain, Vulture, was believable in the sort of suffering everyman-turned-desperate way, highlighting the fallout of the Space Invaders vs. Avengers destruction without suggesting the audience should root for Vulture.

In general, I am on board for these movies going straight for the throat on the big baddies of the comic universe because movie production is lengthy, expensive, and time-consuming. Dear Marvel Studios, Give me Avengers vs. Dr. Doom. Love, Me.

A villain can be built up over the course of a single movie (or two). Armed with this optimism, and heartened by recent Marvel Studios successes in characterization, I walked into Infinity War expecting as much gratuitous violence, universe-cleansing genocide, and genuine fear of Thanos as I could possibly expect from something Disney-adjacent.

I knew people were going to die. Let me say – there was no way to spoil this for me. The Infinity Gauntlet comic series starts with half the universe dying. I expected there to be ‘casualties’ and even though the Russo bros said that this wasn’t two parts of the same movie, it’s certainly serial. At minimum, I was expecting Thanos bent on conquering the cosmos, worshiping at the altar of death in the abstract, if not groveling for an inevitable-cosmic-force-turned unattainable woman.

And yet. And yet.

We got the purple version of the Kool-Aid man with some seriously unaddressed parent-child issues (mirrored in Tony Stark’s loss of Peter Parker) and a wholly unimaginative motivation. I won’t go too far much into the movie’s alarming efforts at framing Thanos as a sympathetic character despite his genocidal and horribly abusive tendencies, because I am A) not an expert at identifying film technique and B) the push for Thanos to be an empathetic villain has been analyzed elsewhere.

Phenomenal, limitless cosmic power and all you want to do is break shit? For all the immaturity of it, Thanos’ comic book motivation was more believable.

To those arguing that the his motivations in the movie are predicated off of him being the Mad Titan and therefore not rooted in logic: The film did not explicitly plant the idea – except in the way that we know genocide is bad due to an innate sense of morality – that he was unhinged and power-mad, nor did they really give the audience any payoff.

Instead, we get, ‘I don’t really want to do this, but I must.’

There was a point where I started wondering why the hell he wasn’t just being steadily roasted by the Avengers for not receiving some sort of basic education in the evils of wealth disparity and resource distribution.

As an audience member, was I meant to believe this incredibly powerful entity at the center of a massive fleet, accompanied by a group of talented and sycophantic followers, couldn’t think of a better way to bring ‘balance’ to the universe?

Perhaps Thanos’ justification is simply the conceit of the way the universe operates, required to propel a plot forward. However, this is also poorly explained. There are many unanswered questions: Why is it a given that killing half the universe will create balance? What does balance look like? Is this state permanent or is it a routine, necessary evil in order to stop entropy? Is balance a socioeconomic state, or does it have some greater cosmological significance? We know that Titan fell after rejecting Thanos’ extreme solution, but would the population have actually endured and flourished if his plan had been carried out?

For a movie that did so well at handling a cast so phenomenally large as the one involved in its production, Infinity War really didn’t go in very hard on selling Thanos. I would have been perfectly happy if Marvel Studios had taken the risk to lean in hard on making the movie Thanos-centric, given Thanos even more screen time to develop his character, motives, and the rules of the universe – and then make Avengers 4 about, you know, the actual avenging.

Parting notes:

What are we left with?

Infinity War gifted us with some badass action clips, a fairly jarring death performance by Tom Holland, Cheerful Goatherd Bucky Barnes, and emotionally traumatizing bubbles. It never really sells the conundrum it sets up via Thanos. You'll never hear me insist a peice of art or entertainment is required to carry some sort of social commentary or moral message, but I feel like this could have been, tonally, a vastly different film had it considered the core of Thanos' motivations the same way it considered Vulture's or Killmonger's.

Also, where the hell is Adam Warlock (set up at the end of GotG: Vol. 2; revisit planting and payoff) to shit talk Thanos’ lack of villainous veracity when we need him?

[pnstudios]

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[drawnbymani]

ANSWER ALL OF EM

well I already did 7 and 18, but the rest are fair game so LET’S GO

(but I am gonna put this under a cut because wow it got long)

1. Do you prefer traditional drawing, or digital?

Mm. Neither? I do most of my sketches/pencils traditionally, but a lot of my finished stuff is digital. They both have their uses.

2. How long have you been drawing?

A long-ass time.

3. How many art classes have you taken?

A few. Art classes in middle and high school, and I’m currently a studio arts major.

4. Do you have a DeviantArt, personal website, or art blog?

I do have a dA, but I hardly update it. The thing you are reading right now is on my art blog.

5. What’s your favorite thing to draw?

Big toothy critters. Bonus points if they got extra eyeballs or are maybe melting a little for undisclosed reasons.

6. What’s your least favorite thing to draw?

H A N D S

8. Do you draw professionally, or just for fun?

Both! Or I will soon, anyway.

9. How much time do you spend drawing on an average day?

About an hour or two, give or take?

10. Are you confident about your art?

I... honestly don’t know, ahaha. I’m pretty critical of my own work (as is any artist, I suppose), and it can be really hard for me to see what people find distinct or appealing about my work. But I like my own art more and more these days, so I guess that’s a kind of confidence.

11. How many art-related blogs do you follow?

Many.

12. Is it okay for people to ask about your process?

It is absolutely okay! Talking about the how-tos of art is one of my favorite things.

13. Do you prefer to keep your art personal, or do you like drawing things for other people?

Mm, both, maybe? Most of my sketches don’t really see the light of day, so to speak, because they’re practice/me thinking through a concept/they’re kind of embarrassing/etc. But at the same time I like doing gift art, requests or fandom events from time to time.

14. Do you ever collaborate with others?

Not very often. I’m doing a collaboration right now for the Victuuri Big Bang, and I sometimes do art trades, but that’s about it.

15. How long does an average piece take you to complete?

Dunno, never really timed myself. I wanna say 5-6 hours, ish.

16. Do you draw more today than you did in the past, or do you draw less?

Definitely more. There was a long period, a couple years back now, where I rarely drew outside of class work -and when I did it tended to be kind of stiff and stale. Now that I’m less depressed and in a better environment I draw more frequently.

17. Do you think you’re justified in giving other people art advice?

[shrug] I mean, I can tell you about color theory, and give you some pointers on things like Photoshop or Illustrator, but that’s about it. I’m still learning.

19. What is the most difficult thing for you to draw?

H A N D S

And kissing. Kissing being a pain in the ass to draw is the entire reason this blog isn’t wall-to-wall drawings of boys smoochin’.

20. What is the easiest thing for you to draw?

Good ol’ fashioned body horror.

21. Do you like to challenge yourself?

Sure. How else will I get better?

22. Are you confident that you’re improving steadily?

For the most part, yes. Sometimes I wonder, but I keep my sketchbooks, and it’s hard to argue with the evidence.

23. Do you draw more fanart, or more original art?

Original, overall. Been doing a lot of Yuri!!! on Ice fan art lately though.

24. Do you feel jealous when you see other people’s art, or inspired?

Both. There’s, like, a little jealousy (or despair) at first, but I usually come back and try and pick apart how they did their thing.

Also, sometimes, there’s nothing that gets you going quite like spite.

25. Do you like to draw in silence, or with music?

Music, and Let’s Plays.

26. For digital artists: what program(s) do you use?

Clip Studio for lines and color, Photoshop for color correction, re-sizing, and the handful of things Clip Studio doesn’t do well. I also use Illustrator for vector stuff and tattoo design, sometimes.

27. For digital artists: how many layers does a typical piece require?

Simple stuff usually caps at around 5-6 (base sketch, lines, color and adjustment layers), complex pieces can be 10 or more.

28. For traditional artists: what medium do you like most?

Pencils, ink, oil paint and ceramics.

29. For traditional artists: How do you usually start on a big piece?

Pencil sketch for large drawings and oil paint. For large ceramics, I usually just... take a big-ass hunk of clay, do some preliminary shaping, then let it firm up a bit before doing additions/carving/hollowing/etc.

30. What inspires you to not just make art, but to be a better artist?

Having fun, drawing things that I want to see, making other people happy/feel safe/feel represented.