#of themselves in the same style that I draw my own body. and I think I want to make some openings for a few of those when I have time

[sergle]

the only downside of my personal art and self portraits being semi well received (thank u by the way) is that on occasion some wah wah transphobe blog will get ahold of it and sing my praises of Wombmanhood and Femininity. which is so fucking funny, because terfs harassed me relentlessly about the fact that I pursued a breast reduction (butchering my body, reducing my femininity, being brainwashed, and so on) only to sing praises to my current body as The Natural Female Form. very, very funny. I normally do portraits of my body, for the extremely, *extremely* obvious reasons, which include but are not limited to: I have infinite reference images of my own body. but I think I would like to expand, in the future

[parisoonic]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[littlemoondarlingarts]

Did an artstyle study of the gorgeous art of @iliothermia and I genuinely learned alot so I'm very thankful that he gave me permission to do this 🙏🏻🙏🏻

As usual, rambles and process pics under the cut, be warned that I talk alot because this drawing was a true labor of love both for his art and Rouge

I wanted to use elements from his art but at the same time i know how deeply personal his art is to his own life and struggles and culture so i tried to be as respectful as possible (and if I failed at that please tell me I have no problem in deleting this) and tried to minimize my use of direct elements from his art to keep it to the skull which was heavily inspired by a drawing he has done, the waves which are such a beautiful staple of his art that I just couldn't not put it and the use of candles and small floral patterns and the style of the mold, but I tried to keep the rest to things that are symbolic to the character.

While he may have restraint to not explain everything, I'm not famous for that lol, so I will be explaining the symbolism behind my choices.

Part 1: the symbolism:

The red rose is Rouge's flower and it is heavily associated with him. The meaning of it being romantic desire and passion mixed with the thorns of it perfectly sum up his position as a beautiful black widow.

Voyeurism is a big part of this drawing and it is first noticed with the eyes motif on the roses' leaves, this symbolises his response to his trauma which left him feeling like an unwanted pervert on his own self. I can talk about this aspect of his story for hours but I'll spare you lol.

The X-ray cutouts are his complicated relationship with his own body and death, it is a thing that is constantly on his mind as he suffers from suicidal thoughts but at the same time he is always running away from it in fear, but he knows that eventually, he will have to stop running.

The candles melting represent him being only wanted when he is useful, when he is giving parts of himself up for others to use and abuse, when he is lighting their lives by slowly draining his own.

The piano is one of the rare things that bring him happiness and peace, but he needs to be heavily dissociated to be able to enjoy it which is represented by the hands being disconnected from the rest of the drawing and just floating in their own reality.

The snake represents two things, one is him being venomous to those around him, the mistakes he's made, the promises he's broken, the pain he's caused etc. But it also represents those who slowly wrap themselves around him in a warm embrace, presenting themselves as a saviour in his most dire times only to end up being the ones who will hurt him the most.

The book is about his obsession with keeping track of everything and of studying people, accidentally turning himself into an unwanted voyeur on their lives to the point where he has written the life stories of many people who would never want to be remembered through his eyes in his little books.

The butterflies are him, both in the way they are seen as "the good insects" and the beautiful delicate ones despite the fact that they eat flesh sometimes, it is also related to the way his simple presence for a few minutes in someone's life can create a whirlwind of change that will leave it unrecognizable, or he can simply be another body in their bed.

The hair turning into waves is meant to reflect the way he is always drowning in his own thoughts, a hand crafted constant state of misery.

The beta fish are some of the most beautiful and colourful fish out there, yet they are seen as cheap and easy first pets, leading to them being neglected and given environments that are too small and crammed, making their beautifully slow death the only thing they can offer to their owner. I don't think I need to explain more..

The skull is probably someone he's loved, or someone he's killed, or both.

The heart is his, it is rotten and covered in mold, any love he offers is tainted by his inability to heal and it is spreading to infect every aspect of his life.

Part 2: the inspirations:

The roses are a homage to the way Rachamim always places flowers in his art, either in the background or as a focal point of the illustration, most of the flowers he uses are cultural in nature, so I opted to not reuse any of them and changed it to a flower related to my oc.

Eyes are a repeated theme in his art, whether it be angel eyes, the evil eye or anything else, and as you can tell both of these are cultural and religious and while the evil eye exists in my culture, it does not in my oc's so I didn't use it. Instead I opted to pay homage to one of his beautiful merman drawings in which he used the plants to make an eye-like shape that stares at the viewer.

I thought I was being real smart in turning the hair into waves but yesterday I saw an illustration where he did the same so rip to me thinking i was being original lol.

The snake and butterflies are my way of replicating his use of animals while trying to not directly copy any animals that have a connection to himself or his culture/religion.

The beta fish is just to reference the ever present fishies in his art. I know he uses them because they represent friendship for him and they are the only animals safe from the evil eye (thanks for the fun fact) so I uh... I don't really know if this was disrespectful or not to be honest but I tried to use a different type of fish, idk this might still be slightly problematic and again I'm always ready to delete this if it makes anyone uncomfortable.

The waves are a direct copy of how he draws the gorgeous waves in his art, another case of something I fear may be crossing the line because the waves are drawn in the style of cultural jewelry 😭

The tiny flowers are an obvious reference to his own tiny flowers that decorate his art and characters.

The skull with the candles is heavily inspired by a specific drawing of his.

The cutouts are my way of paying my respects to my absolute favourite piece of art he's done without directly copying its concept because as far as I can tell, it is a very personal and emotional piece.

The mold style is a reference to his mold man (I forgot his name I'm sorry).

And the candles are another repeated motif in his art as well as the pillars and the pant style.

And ouf I sure do talk alot don't I? I just really love the amount of things I was able to cram into this piece and I haven't even mentioned everything😭😭 I will NOT be doing this again because I'm simply not as patient as he is and as proud as I am of the result, this was torture. I hope I didn't disrespect him, his art or his culture and I genuinely tried my best to be as respectful as possible but I might have some blind spots due to our experiences being so vastly different so again, please don't hesitate to inform me if you want this deleted!

[tobuzzu]

bows! Archery! Dragons would probably do archery mostly the same way humans do, pull the string back and stuff. One slight issue is that dragons might have a shorter arm-to-body ratio than us humans, which can be an issue since a dragon might not be able to pull the bowstring as far back as required to effectively use the weapon… But that can be fixed with an extended grip! Which then creates a new problem as the dragon would lose or at least be limited with their ability to stabilize the arrow with their talons… so then you could get an arrow shelf to hold the arrow! Problem solved!

You can also fix the short arms problem by just, like, using certain art styles— Like, my art style for dragons has them have really long friggin arms, but a dragon in joy ang’s style is probably gonna have stubbier arms and thus a far harder time using a bow!

Now for flight archery! I think horse archery would be a good parallel to shooting a bow whilst flying since both involve shooting bows at fairly high speeds. there’s a bunch of horse archery styles and techniques in the world, so I’ll narrow it down to Mongolian horse archery since they’re the most famous!

Mongolian horse archers typically use a different style of shooting than how most modern archers, where instead of using the Mediterranean draw where you pull the string back with your index, middle, and ring finger, they’d instead pull the string back using the knuckle and thumb in something called a thumb draw! (or eastern draw/Mongolian draw/Turkish draw/—I’ll just call it thumb draw)

Mongolian horse archers also placed their arrows on the outside of the bow (that being the right side of the bow arm facing outward if your right handed and vice versa) which makes it easier and faster to knock arrows.

Both of these techniques, the thumb and placing the arrow on the outside, when paired together actually help stabilize the arrow. The thumb draw provides a constant torque/force against the arrow which helps keep it pinned against the bow arm which makes it less likely to get knocked about. This can be rather useful when shooting from an unstable and shaky platform like a galloping horse, or in this case, a flying dragon!

That doesn't mean its impossible to use the mediteranean draw on the standard olympic side on horseback of course, as proven by Lajos Kassai, a Hungarian bowyer who exclusively uses the Mediterranean draw due to a thumb injury he sustained!

The parallel between horse archery and flight archery isn’t perfect though, as in horse archery the archer is independant from the horse, meaning that the archer can shoot in whatever direction they want whilst also being able to move in a straight line at the same time.

For a dragon however, the direction of their flight is directly tied to the rotation of their own body, as their wings are connected to their torso. So if a dragon twisted their torso to the right, then the angle of their wings would also be changed and the dragon would begin to veer towards the right.

And In order to pull a bow, it has to be around perpendicular to your torso, meaning that you can only fire an arrow from your left or right flanks.

So for example, a human horse archer could just twist their body and shoot straight forward, and the horse would continue to run in the same direction. If a dragon wanted to shoot at a target that was directly in front of them however, the dragon would have to twist their torso about 90 angle or less either left or right in order to get the bow lined up with their target, which would then cause the dragon’s flight path to veer off course.

Of course, a dragon could probably just reorientate themselves right afterwards and continue on with their straight flight path, though it might slow down their speed a bit. That might not sound like too big of a deal, but in a scenario where the dragon is pursuing another target, it could become a bit of a hindrance as the dragon would be forced to slow down or make their flight path longer every time they fired their bow!

Also, it also might be practical for a dragon to learn how to be ambidextrous with a bow. For example, if the dragon was holding their bow in their left hand and wanted to shoot at a target to their right, they might find it faster to switch the bow to their other hand, rather than turning around in the opposite direction just to aim at the target.

A dragon also can’t exactly flap their wings whilst drawing a bow, as the bow would get in the way of the wings when being aimed. So a dragon would most likely have to glide whenever firing a bow to avoid accidently clipping their wings.

There’s also a problem with aiming, as most WoF dragons have helluva long necks, so their eyes aren’t going to be as aligned with the arrow. It’s not impossible to shoot an arrow like this, but its definitely trickier! I suppose the dragon could technically twist their neck down to the arrow and aim it regularly, though that does sound rather uncomfortable and there’s probably a good chance the string might slap the dragon’s cheek or ear whenever it’s released, which can be a problem if your use a heavy draw weight bow.

Oh, also one final tangent that isn't too relevant but I thought was cool, a WoF dragon bow would be really big. According to that one official Rose and Smolder measurement chart, adult dragons can be like around 17 ft/5m tall. Long bows can usually be as tall as humans, so if you upscaled that to a dragon height you could probably end up with a bow in the 15-20ft range depending on the type of long bow, that's basically a seige ballista right there! Imaging getting hit by that? You’d just immediately vanish! Poof! Gone! Nothing!

…Yeah that's about all, cheers!

[thecoolerliauditore]

saw you mention gender for a bit - i wonder why grian is feminized so much? it's of course because of the feedback loop of fanon but how did it snowball so much? it would be funny if it's from him using the alex player model

I'm probably not the guy to ask for this just to be clear right off the back. I love observing fandom trends but I'm just not keeping an eye on Grian stuff more often than not. Grain (lol) of salt, blah blah blah.

So first off I think we should tackle what "feminized" means in this context because I can see that argument being made for both the default-ish generic young anime guy grian I have in my head when I think "fanon grian" and. well. arianna griande and the like (I'd argue cuteguy falls into this latter category)

I'm gonna start with the first one and use my own Grian as an example because I think he's pretty much as standard as you can go in the former category, and that's more or less on purpose. Pictured here in all of his tiny anime twink glory (next to Joel and Cleo who are also meant to be pretty short!)

So while I can't read the minds of other Grian artists, I can offer what went through my head when I designed mine and try to have a guess at how much other people thought the same.

First things first I do think this specific brand of Grian is "feminized" -- if you compare him to the CC. The goal at least for me was more to communicate youthfulness than femininity, but those traits tend to go hand in hand with male characters due to them having pretty much the same features (no facial/body hair is a big one).

Artists in this fandom tend to swing on the younger side, and people tend to base their designs unconsciously (or consciously tbh) on themselves or media they like, the latter being very likely to be media aimed at their age group and thus having a cast of characters around their age. Doesn't help that most popular animated things are made for younger audiences, so chances are most people are basing their art styles in media where the casts age range is 12-25.

For me I do think most of my designs have a little bit of added in youthfulness/femininity unless I Really want to get across age/masculinity. It's a lot easier to separate the 30 year olds from the 40 year olds if the 30 year olds look a bit closer to 20, doubly so when most of the stuff I like (and thus reference from purposefully or not) has casts full of 15 year olds. Alot of this also applies to the other younger men in my designs aside from Grian, like Joel who's next to him.

But Joel is still drawn with stubble and a bit taller than Grian, so what gives about Grian specifically?

For me personally, I draw everything with the Life Series in mind, especially Third Life in Grian's case. And the character who Grian plays off the most in that series, especially in Third Life, is Scar.

While I do think the aforementioned age factor also impacts a lot of Scar designs (as well as younger artists' tendency towards shyness when drawing muscles), I think most people see Scar's masculinity as a key trait of his. I think I'm kind of unique in that I take descriptions of their appearances ingame as somewhat canon (e.g. Scott being canonically referred to as "handsome") but Scar really lays it on thick with "Hot Guy" and the abs and so on that it's pretty much screaming for acknowledgement when you're designing him.

Grian is also short irl and this even gets mentioned by Joel in the first WL episode, so it made enough sense to me that should be something exaggerated with Desert Duo's designs to make them look better next to eachother.

This is also maybe getting a bit into headcanon territory but when I think Grian I don't necessarily think predator or brute force, I think of him setting his traps and giggling maniacally and manipulating what he wants out of people with his words instead of his sword. And him just being like. a little gremlin thing compared to his Big Strong Man partner in crime whilst also, actually being arguably the more dangerous of the two feels harmonious.

If we do a layer deeper into headcanon land, I've also always seen him as more frail and physically weak due to Martyn's concern for his safety and his own more anxious nature in 3L as one of the first players to really consider having to defend himself -- if you're dropped into a death game arena and you're the smallest one there, you would naturally be a lot more nervous than the big guys and come off as more "insane" for wanting to set up seemingly unnecessary defenses or striking first. (<-- this is why I don't talk about Grian much btw all of my thoughts regarding him are seeped in headcanons lol)

Alot of Grian artists are also Desert Duo artists and while they might not be operating by the same logic I am I have to assume there's some common points.

I've seen this meme used a lot when people make fun of other peoples DD art and it's almost always people with very little self-awareness. it's funny to me (and this probably could be its own discussion about queer tropes and xenophobia, but whatever haha funny it's literally them so true so true.)

One final note on this is I think this specific brand of twink Grian might be dipping in popularity? I've been seeing a lot more Grians that are chunkier or entirely throw out his anime-main-character-ness by making his glasses or curly hair heavily exaggerated. Which is cool I especially loveeee the more cartoony puff ball grians that have gotten more popular. Idk if it's necessarily in response to the anti-twink-propaganda or if it's just a new stage in Grian design development as we get further away from the Third Life Desert Duo meta, but it's fun and I think speaks the feminizing not really being an intentional trait and more of a consequence of other things.

As for CuteGuy/Griande I can't really offer as much insight since I don't really get the appeal either lol except that I think it's fun in the way drag is fun.

I think what a lot of people need to remember when they ask for more masculine designs is that masculinity irl is often synonymous with less customization. Alot of it is practical (like short hair obviously you can't style like long hair) and especially outside of queer circles a lot of it is just gender roles -- alot of men will refuse to wear literally plain mens t shirts if it's an eye-catching colour.

There's a great Derek Guy interview where he talks about how men tend to misunderstand what "fashion" is and how most cishet men actually care deeply about fashion. He makes the example of offering two pairs of jeans -- one is a regular pair of blue jeans that costs fifty dollars and another is free of charge but happens to be pink, and how most men despite "not caring about fashion" will go for the fifty dollar blue jeans.

If you want an example of mens fashion and its "boring" aesthetics made more to fit into a crowd than to stand out, just go on instagram and look at pictures of the Empires CCs together and watch the guys get absolutely mogged. This isn't me calling the men badly dressed (in fact I've actually noticed before that CC Joel is like. super well put together) but more of a statement on how womens clothing is designed vs how mens clothing is designed.

I know where my eyes go first, at least. (self indulgent note: Pearl is kind of an exception to the rule for reasons but I cannot say lest I betray my own moral code. however my eyes go to her first anyway because she is stunningly beautiful she could wear a potato sack and it'd work)

And while I don't agree with this sentiment (I actually loveee menswear deeply it's. a thing), in the world of fandom artists who typically are big fans of the gay gay homosexual gay and more into high-decorative, sexier stuff, clawing at any ounce of femininity that these men exhibit is probably an opportunity hard to pass on. This also happens with Jimmy on occasion I think, with stuff like the maid dress. And Ariana Griande is like Drag Drag, not just a dress but a whole persona, so that in combination with feeding into yaoi tropes for popular ships like Scarian and Grumbo, I'm not surprised there's such a gap between actual screentime and fanmade content.

Also is Griande even like. That popular anymore? I also don't think I've seen CuteGuy all that much unless it's DDVAU stuff specifically.

I'd be interested to hear my artist friends comment on this too since again I feel like I'm not the right person to ask lol. Take this as an invitation to yap I would be fascinated hearing your perspectives.

I also think his popularity and younger audience might be playing a big part in this especially in conjunction with the first point about drawing characters younger-looking but this is getting fairly rambly already lol

Go follow the menswear guy (@/dieworkwear) on twitter if you're interested in menswear btw he's very insightful and funny

[frozenjokes]

long list of mcyt ships and my dumbass opinions this post was getting too long and I have so much more to say

skizzpulse: needed to write about this because I don’t ship them at all but something is deeply weird about them in a way that is neither platonic or romantic. They have transcended human definitions of Relationship to me. No they’re not a QPR either. They’re weirder. Whatever you’re thinking they’re weirder. Do not separate. Attached at the hip.

etho: etho is in a realm of his own where I simply can not ship him. he’s not doing the romance. he’s not doing the qpr. he’s not doing shit. And it’s not because he can’t pull bitches; he is swagless and a loser in a way that brings ALL the boys to the yard (as opposed to Grian who is similar except he can’t pull anyone), he’s simply getting weird with it. He walks right past any sort of relationship into something deeper; resident sopping wet animal. aro/ace also but this isn’t nearly as relevant as the autism

cubscar/convex: favorite hermitcraft ship and it is not even close. It is NOT EVEN CLOSE. in the way scarian are both covered in lighter fluid and holding matches, convex are also doing that except it’s become a game of who can set the other on fire without being lit up themselves, and they’re both having the times of their lives (ends with both of them on fire every time without fail and it’s usually scar’s fault). they’re insane about it. the vex shit???? insane. their minds are beautiful and deeply wrong. I think they should kill each other.

solidaritimes: I will never forgive Scott smajor for separating scar and Jimmy in secret life he has no idea what he took from me. In a world where Jimmy is often the butt of the joke (by his own volition, I understand) the sheriff deputy thing was fucking beautiful. Sunshine and rainbows, love and support and adoration and everything good and healthy. A massive breath of fresh air and easily my favorite part of the hermitpires crossover. They mean everything to me. I’ve never seen such losers be so in love. Failgirl power.

redscape: another banger. These guys are GOOFY and I think Scar hits a magical combination of being Completely Exasperating vs Setting Off Mumbo’s Bullshit Radar which makes them bounce off each other in a lot of fun ways. They are versatile as a couple between banter and shenanigans and dedication, it’s a pairing I generally think of as very healthy and fun and if you also like all of these things don’t read my Boatem Ghosts AU because I make redscape awful and Mumbo pays the full price! Whoops! I love to think about them falling fast if I am writing them as romantically/sexually inclined characters, where Scar is frustrating but at the same time charming and silly in a way that draws Mumbo in. Mumbo on the other hand challenges Scar and chips away at his facade in ways he finds exciting. I like a Scar that wants to prove himself to Mumbo, win him over, where Mumbo is just lightly exasperated about the whole thing.

cleo/cub: probably the only pair on this list that I think are friends normal style. I just really adore normal style friends cleo and cub feuding about their museums so I had to tell you. I need to write them as friends more often. I love thinking about cub helping cleo fix up her stitches as well as other maintenance on their body. guys who nudity doesn’t matter to they’re both just chilling with their shirts off. special platonic dynamic to me.

ranchers: I don’t care about ranchers

moonrot: I don’t normally ship cleo and pearl in most of the smps or whatever. However. The specific dynamic they have in my boatem ghosts au makes me a little insane I really like them together. Pearl is a little bit deranged in her Wanting Revenge On Scar but ougghg that pirate scar’s hanging out with… she’s so cool… and then Cleo brings them to the ghost island and Pearl thinks she’s even cooler cleo is So Awesome ougghggh and then she gets worried because Scar is a Ultra Murderer TM so she’s quite protective over Cleo and doesn’t like Scar being around them AT ALL but her ass is dead so she’s not doing shit about it. The pining once Scar is out of the picture is Out Of Control. I should write a one shot about this.

ethubs: I think this is the only ship I can honestly say has ever been too weird for me. I think they’re deranged in a way that makes my skin crawl. I am deeply afraid of them. They’ve never kicked it normal style in their lives. I look at them and I don’t know what I’m seeing. It scares me. I respect this ship deeply and leave freshly slaughtered sacrifices at an altar once a week in a hope that will be enough for ethubs to leave me alone.

[valend]

Just curious about your opinion! Do you think real historical Hamilton was queer?

Short answer- yes, Hamilton was most likely some level of queer

Longer answer- it’s complicated to say what the sexuality of any historical figure was after their death, especially if they didn’t label themselves outright. What makes this question even more difficult is the fact that the definition of what is considered queer or homosexual keeps changing. For example two men in an Ancient Greek army engaging in what we today consider homosexual acts was something completely normal back then. Now I’ll be real I haven’t researched homosexuality in the 1700s at all but from what I do understand Hamilton’s relationship with Laurens mainly would definitely be considered more intimate than ‘just friends’. People back then often used flowery language when writing to one another but the way Hamilton wrote to Laurens differs from the way he wrote to his other friends.

I really like the way Chenrow puts it in his biography.

When John C. Hamilton was preparing his father’s authorized biography, he omitted a loose sheet that has survived in his papers and that describes the relationship between Hamilton and Laurens thus: “In the intercourse of these martial youths, who have been styled ‘the Knights of the Revolution,’ there was a deep fondness of friendship, which approached the tenderness of feminine attachment.” Hamilton had certainly been exposed to homosexuality as a boy, since many “sodomites” were transported to the Caribbean along with thieves, pickpockets, and others deemed undesirable. In all thirteen colonies, sodomy had been a capital offense, so if Hamilton and Laurens did become lovers—and it is impossible to say this with any certainty—they would have taken extraordinary precautions. At the very least, we cansay that Hamilton developed something like an adolescent crush on his friend. (RC. p95)

The best way to determine whether Hamilton was queer is to look at his own letters to Laurens.

“Cold in my professions, warm in ⟨my friendships, I wish, my Dear Laurens, it m⟨ight⟩be in my power, by action rather than words, ⟨to⟩ convince you that I love you. I shall only tell you that ’till you bade us Adieu, I hardly knew the value you had taught my heart to set upon you. […] To excite their emulation, it will be necessary for you to give an account of the lover—his size, make, quality of mind and body, achievements, expectations, fortune, &c. In drawing my picture, you will no doubt be civil to your friend; mind you do justice to the length of my nose and don’t forget, that I ⟨– – – – –⟩.” -From Alexander Hamilton to Lieutenant Colonel John Laurens, [April 1779]

According to this post the words omitted by John Church Hamilton say “do justice to the length of my nose and don’t forget, that I <never spared you of pictures>” which could just be friendly banter amongst friends but again we can’t really be sure

“I have written you five or six letters since you left Philadelphia and I should have written you more had you made proper return. But like a jealous lover, when I thought you slighted my caresses, my affection was alarmed and my vanity piqued. I had almost resolved to lavish no more of them upon you and to reject you as an inconstant and an ungrateful ——.” -From Alexander Hamilton to Lieutenant Colonel John Laurens, [11 September 1779].

He was writing to Laurens in the same manner her wrote to his wife!!!

“I would invite you after the fall to Albany to be witness to the final consummation. My Mistress is a good girl, and already loves you because I have told her you are a clever fellow and my friend; but mind, she loves you a l’americaine not a la françoise.” -From Alexander Hamilton to Lieutenant Colonel John Laurens, [16 September 1780]

One of the most telling examples of Hamilton’s queerness he’s basically inviting Laurens to witness “the final consummation” between husband and wife but noting that Betsey loves Laurens in an “American” way (friendly) not in a “French” way (romantically).

Besides these very obvious examples, Hamilton often had very strong, often obsessive, attachments to other men. For example being jealous of John André and trying to prevent his execution. And you already know my thoughts on whatever psychosexual obsession he had going on with Burr, especially in 1800. I mean just look at this:

In short, I think it’s relatively fair to assume, applying modern terminology to older times, that Hamilton was queer

[spell-cleaver]

Just realized that a lot of the mechanics of the Dark Side (pain, fear, anger -> abnormal + unsustainable strength) are similar to hysterical strength and adrenaline reactions. What do you think the implications on Star Wars wordbuilding would be if the Dark Side, at least in its most basic form, was just a magical version of the stress response?

Honestly, I keep swinging between "it would totally change the worldbuilding" and "it wouldn't change it much" (which is why I'm responding to this two years later...) My, admittedly limited, understanding of the stress response is that it give you hysterical strength and adrenaline as you said, but only for a very short time, and after that it begins to damage your body because your body is just not built to be in that sort of fight-or-flight situation for any extended period of time. You can hurt yourself and push through it so you don't feel it until later, possibly aggravating the injury, and it's the prime example of how we're wired to survive as best we can and have built in mechanisms to keep us going even in moments of crisis.

Which is fascinating if you apply it to the dark side! The idea that you can use your heightened emotions to achieve power you didn't have before, but it comes at a great cost and you'd constantly be chasing it, is largely what the dark side is about. Who needs Jedi training and discipline when you can access the dark side by drawing on an artificial fight-or-flight response? It fits into the "quicker, easier, more seductive" definition of the dark side and especially fits the fact that people are more likely to fall to the dark side when they're desperate, or when they're in a natural fight-or-flight response (see Luke beating Vader in ROTJ because he threatened Leia, so Luke's anger and protective instincts kicked off). It makes a lot of sense!

But another important aspect of the dark side imo is the moral aspect. You don't just get power from your own suffering and your own desperation; you can draw power from others' suffering. You get power by causing others' suffering. That's why the Sith are evil: because the dark side twists and corrupts the user's mind in the pursuit of power, so they cause more and more suffering along the way. The dark side is what would happen if, after experiencing the stress response for the first time, the person enjoyed feeling strong so much that they sought to induce the effects in them again, and again, caring less and less about pain and more and more about the power, and hurting people in order to achieve it.

If the dark side was just a matter of the stress response in Star Wars, it would change the worldbuilding a lot because I think those that use it wouldn't be ostracised in the same way. In real life, people get pushed too hard all the time, and have to have care and support to recover from the health impacts of that. If a Jedi was near death and used the dark side in a specific situation, if it was just a magical version of the stress response, the power would fade, and I imagine the other Jedi would come in to help them recover, not hold it against them, and simply be happy they're still alive. I imagine the dark side wouldn't be a moral issue, but rather a danger issue - it's not that you can't use it, it's that using it burns you through, so only tap into it if you absolutely have to. (Especially since Force powers are dangerous, so if you're near death and you're suddenly wielding ridiculous magic powers, someone near you could get very hurt indeed.) It would be more in line with other magic systems where there's this deus ex machina-style power that competent magicians can use, but shouldn't use extensively, to protect their bodies and minds.

Meanwhile, I imagine that the Sith in this scenario would be more along the lines of a religious organisation that do induce artificial stress responses in themselves to achieve short bursts of enormous power at great cost to themselves. The Jedi would be against the Sith because they teach children from a young age to harm themselves in order to gain power, functionally teaching them to be walking Force bombs into the future. Think teachers irl who think students work best under enormous pressure vs teachers who actually provide learning support. Worldbuilding like this would be a really interesting way to look at pedagogy and health and creativity! The idea of the tortured artist who can only produce masterpieces when they're struggling with demons or something is really powerful in pop culture, so writing a story with this sort of worldbuilding could be a really fun way to explore that.

Also, in this universe, it would make so much sense that the Jedi won against the Sith to the extent that the Sith are in hiding. Not only would the Sith's methodology likely count as child abuse under non-magical law, but Jedi would be better at fighting, at tactics, at building organisations and systems that last. They're healthier and happier, so they ultimately outlast, despite the Sith's enormous, erratic power.

[divorcedwife]

hello!! i really love your art and your characters, it always makes me so happy when i see them on my dash (thank you for sharing them with us!!!) i was wondering if you had any advice or tips or tricks for making them recognisable/look the same each time you draw them? I’ve just recently gotten into making my own characters but i can never seem to get them quite right each time

thank you so much!! 💕💕 that’s so funny, i was thinking of this right topic right before i went to bed. that actually was one reason why i didn’t really have OCs for the longest time - i don’t like using references so it felt simpler to just always draw new characters

and yeah, i get it! i've been at times very frustrated when drawing them, because what makes a character look and feel like themselves can depend on small details!

for example, oriane's hair. i finally figured out how to make it look like i want (i draw it in three little waves) because i really struggled capturing what i like in her hair style, how fun and carefree it looks. i chose this hairstyle because i wanted something practical enough for her lifestyle as a traveling musician, but cute enough that it's clear she cares about her appearance and washes it a lot

contrast that with em, who has spiky hair she cuts herself very randomly, and does not take care of it at all

so when i draw them, that's something i keep in mind. we don't have any control over our facial features (and character design advice that acts like there are "evil faces" and "kind faces" is, um, not good) but we do have control over our hair, makeup, facial expressions, and body language. these are all important things to think about for your character. i have a lot of fun with that for em and emelin, because they have the exact same face, but everything else is different

generally, when i design a character, i also have a couple things about them that i purposefully make anchor points : a strong nose shape, or eyes, or jawline, something that feels somewhat unique to them. so for oriane, i may draw her nose slightly different every time, but i always pay attention to her eye shape, because that's my favorite part of her design. having something like this really helps me make the character look recognizable without needing to make every line in their face the same every time. this allows for variations and exploring a character's design, while still keeping them recognizable

so yeah, that would be my advice !

giving them some features that are distinct (and making sure not to only give big noses and scars to villains lol)

looking at the art of your character and analyzing it. what's your favorite thing about them? what do you want to communicate about them?

i would also say : it's ok if your character looks different in the process of finding it. sometimes you just need to draw the same character over and over again and that will help you answer these questions along the way

i hope this helps!! good luckkkk and thank you again for your kind words 💕💕💕💕💕💕 means so much to me that people like my girls!! i've figured out so much about them through interactions on there. if they're cool characters, it's also because of people helping me :-)

[gamesception]

Sception Reads Cass Cain #21

Ghost / Batgirl #1-4 Words: Mike Kennedy Pictures: Ryan Benjamin Additional Work: Randy Emberlin, Howard Shun

One impression I used to have that going back to look at ~all~ of Cass's early appearances has forced me to reconsider is the idea that she didn't appear outside of her own books very much. While later on that is more the case, early on she does have a fair few guest appearances and cross overs, including in this bit of non-canon dual publisher cross promotion with Elisa Cameron, aka Ghost, a Dark Horse character with a solo that had been running since 1995.

The miniseries pits long time Batman villain Harvey Dent against brand new Ghost antagonist Malcolm Greymater - a (fictional) confederate general turned zombie libertarian corpse reanimator - in a conflict over Greymater poaching some of Dent's employees (ie reanimating goons that Dent killed). Babs, Cass, and Elisa get caught in the middle and are forced to work together after following separate threads of a bombing by Two Face and bodies stolen by Greymater only to be sold off into unsavory employment after failed reanimation experiments.

I don't want to go through the whole thing with a plot summary - it's four issues of non-canon stuff after all. But as a stand alone story it works fairly well, worth a read if you're a fan of early Cass. In particular there's solid characterization of Harvey Dent and what it's like to work for him - pretty bad actually. You can see why he'd get upset at someone trying to poach his guys, working conditions for goons in Gotham are terrible, if word got around of better conditions in Arcadia (Ghost's hometown) or wherever else then Batman's villains could easily find themselves suffering a labor shortage. The mere idea of that is funny enough to me that I can't help but like this little mini series, and it's an idea I'd love to see brought back. Goons On Strike - now there's a solid idea for an ongoing Gotham event crossover.

Anyway, Ghost/Batgirl is definitely a higher fantasy story than we usually see from Cass, at least back in the early days, but there's a focus on the individual lives and humanity of the underlings working for the villains that's very grounded and down to earth. That fits in really well next to the "street level" focus of Cass's early solo title. As for the book's cross-promotional function, it does make me curious about Ghost, though probably not enough so to go back and look at her solo title. I like her villain here, but Malcolm Greymater and his crew seem to be more or less exclusive to this crossover? Comicvine is telling me he maybe appears in a single issue outside of this, so that's kind of disappointing.

So setting aside the story, how's our girl in this? Well, first of all, she's being drawn by new hands. In costume she's mostly fine.

Sleek and spooky, glossy black. The details of her form are sometimes lost in the darkness, which loses some specificity in the action panels, but in a way that mostly works aesthetically. My only real complaint here is that her facial expression doesn't really show through the mask. You don't get a sense of what she's thinking or feeling in costume, she's just this dark angry spooky form, not so much a person or a character. As I've said in the past, though, that's as much or more a criticism of her costume design as it is of how any particular artist draws her in it.

It's also worth noting that, as with Cass's early pairing with Azrael, her costume contrasts very nicely with Ghost's. White with round hood and billowing cape vs. Cass all black and pointy. Aesthetically it's a great fit.

Out of costume, though...

I don't know. Just doesn't quite look like Cass to me? I know, I know, comic character facial features don't have the same specific canon as their costumes do, different artists have different styles so characters will look different, and there's definitely a stylistic element here that isn't gelling with me. The overall shape of the head is too thin, maybe, making her look a bit older than she should, where I'm used to Scott's more rounded face, stronger jaw, bushier eyebrows, shorter, poofier hair.

Scott's style, at least at the time, also just packs in more emotional expression, which is absolutely critical for a silent protagonist.

By contrast Benjamin's Cass, when she's not in costume, is often just standing a bit behind Babs with a sort of blank, neutral expression while Babs interacts with other characters or the audience for her.

...

Which also kind of brings us to the writing for Cass here. Ghost / Batgirl is probably the best example yet that silent Cass was a mistake, because yeah, the creators of this book just do not know how to convey her character to the reader without words. The first image starts with Cass looking out over the wreckage of a bombing, and of course there's pseudo noir internal monologue all over it, because how else do you start a bat-book, only Cass can't narrate so Babs provides the narration even though she isn't even in that scene.

Babs goes along on the adventure mostly so the writers have someone who can talk for Cass, or even in some panels quite literally talk over Cass.

Cass is an intimidating physical presence in costume, but in this book she functions more as an extension of Babs than as a person in her own right.

...

It's not all bad, though. In particular there's this one bit introducing an additional ability for Cass that makes perfect sense with her backstory and yet sadly I don't think is ever mentioned again in a canon Batgirl story:

Cass gets poisoned, but she survives, and recovers remarkably quickly, because she has a natural resistance to many poisons and venoms built up from repeat exposure to tiny amounts when she was a child, because of course that's something David would do. You could just imagine little Cass and David having drinking contests to see who could take the most poison before passing out, or even sneakily poisoning each other as a little game of escalating pranks.

...

So yeah, overall a nice little stand alone series with maybe not the best depiction of Cass, but one that is illustrative of why the major change to have her start speaking, while I still don't like how it was done, was probably for the best.

[ashipiko]

random ahh q but how did u develop ur artstyle? :D

HIYA!!!! oh yeeeesh this is gonna be such a long answer 😭😭 it’ll be under the cut…… but um. warning for old Ashi art HAHAHA it’ll basically just be me guiding you through my gallery from all these years <3 I HOPE IT CAN HELP A LITTLE!!!

old Ashi Art JUMPSCARE

BUT BASICALLY. YEAH! this is me starting digital art in like? 2020 and getting into a3! <3 as you can see. this is my kind of sad attempt at replicating the style ??? you can tell from the way I colored my eyes, hair, and copied the way the hair is drawn!! it’s not OVERLY obvious but if you look you can see that I REAAALLY referenced it. which is kind of a big thing for creating an artstyle

and queue in my art around a year later!! 🤔 kinda more used to drawing the a3! characters (which mind you were the ONLY characters I drew for like. a whole year) and so naturally I adopted the artstyle more into my own art. learnt more about airbrushes would reference the original art a LOT. redrawing really helped me 🙏 once again. lots of referencing and looking at character references. and while I didn’t always redraw it exactly, looking at the character designs themselves made me pick up quirks of the original artstyle to better display the characterization and charm of the characters!!

then 2022 rolls around and I start getting more into proseka. start finding little things about this artstyle that I liked— whether that be finding that out through redrawing the art or trying to replicate the style. started picking up things like the smaller face shapes (as compared to twst and a3! which I was focused on previously) the way they drew the hands, the bodies, etc etc!! along w softer brushes and rendering 🫶

at around the same time I return back to a3! and make attempts at replicating the artstyle (left) or making edits to the predicting art to try and make it blend in (right). as you can tell I start playing around more w hair highlights and the rendering and all that stuff!!! 🤔 sort of like picking up new skills that I missed out on the first time. starting noticing more of the little details

and SO then I returned yet again and begin redrawing a3! cards!!! but you can tell that there’s more of a concrete style w the squisher faces and more experience the rendering 🙏🙏

and I did a LOT of redrawing. 😭😭 a3!’s artstyle is soooo dear to me because it has so much charm despite not being insanely rendered or having too much detail. and I LOVE that. so to try and add it to my own art I redraw and redraw and MIMIC in attempts to gain that exact same energy.

🤔 and though it’s not twst art…… this is when I started replacing the twst style and picking up on it’s quirks, then adopting what I thought was fun about it. most notable the varied opacity rendering. and you might notice that my lineart is more see though!! I MUST SAY!!! THAT WAS JUST BECAUSE OF A LITTLE EXPERIMENT I WANTED TO DO and I enjoyed it SO much that I dropped solid lineart sketching IMMEDIATELY!!!!! I think developing an artstyle is really dependent on you being willing to step away from your “art style” and look at others. maybe try some new things. pick up smth else and try to mimic it, and see what ingredients are used to make that artstyle succeed in the way that it does. between these three images you see such a change because behind the scenes I’m trying all of these different things, and seeing if I like doing them!!

🤔 sorta like….. oh I like this ingredient. so I’m gonna take them and add it to my own food because I like it. if that makes sense?

AND SO YADDAH YADDAH. you follow my blog you know my art and where it is now

A SNEAK PEEK FOR ASHACE ART SINCE YOU READ THROUGH ALL OF THIS….. and like. as you can see my art really is just a mutant combination of all of these things that I like from the artstyles I enjoy. slowly it came together w no rush and I’m sitting here now satisfied with a signature artstyle that everyone can recognize.

!! I REALLY DONT THINK YOU NEED TO WORRY TOO HARD ABOUT HAVING AN ART STYLE especially if you’re a beginning or learning artist still. and don’t think that art styles just come out of nowhere!!! art is a combination of stealing parts of things that you like and putting them together. as all things are 🫶 but yeah!! the Ashi gallery HAHAHA

[clever-fox-studios]

Art Lessons

I'm just dropping this here because the idea keeps floating in my head about revisiting something I did back in the SAMS server (yes, hi, I was there, some of you probably know me from art chat) that I really enjoyed and I've been considering trying again to provide accessible resources to young or under-skilled artists.

So, back in the day (early 2023) when I was there (SAMS), I held a couple of streams where I tried to explain anatomy and breaking down bodies into shapes and how those lessons overlapped into other subjects like non-humans. I felt there was a moderate success, as I am and always have been, self-taught and thus I don't have the formal knowledge that comes from university classes (though I would like some one day); having been online enough I've seen the biases in the art community with the agism and such where older people who "missed" the window of opportunity are often pushed aside because they're expected to "know" by now how to Do The Thing when they weren't given the same opportunities then.

I've also seen how most how-to books, videos and classes, in many countries, seem to lack general fundamentals as part of their criteria; the number of 'students' who professed that their teachers or the instructor seemed to assume they had a basic idea of how to draw already before starting class was... staggering to say the least.

"I didn't know what [this] meant, I was just told to do it."

"We were never taught how to break this down, we just had to copy [this]."

Etc.

Nevermind the style biases; I despise the "Anime isn't art" arguments and how they try to force a style onto the learners as if they're superior for being 'traditional' or 'realistic'. I'm a person who does push for the fundamentals because they can be applied to all styles in some way; learn the rules to then break the rules and all that. Technical skill is not the same as style, in my book.

So, that being said, I would really love to revisit those streams one day soon, if the interest is still there. I'm planning to open a discord server for it where I can host the small-scale streams until I get a platform open for larger audiences; I'm thinking Twitch, but my set up isn't really good for that, and I need a certain amount of watch time/followers on Tiktok and Youtube (for some stupid reason) so while I figure that out, discord is better than nothing. VODs could be made or uploaded to Youtube later for review until I make proper edited stuff, but that's much later.

I just really miss offering help because art should be accessible and no one should feel isolated in the "you should know by now" bubble simply because their living situation or environment didn't afford them the time or resources to sit and draw all day, every day and teach themselves where classes failed or assumed they knew what they were dong already. Also, that live feedback can help a lot and allow others to run at their own pace instead of getting steamrolled by the 'natural talent' as I can repeat or revisit something and answer questions in real-time (as much as I'm able).

So if that's something that seems fun or interesting, I'd leave it open to any age (behave yourselves) to come learn; if I get enough interest I'll start making the discord and think of a schedule plan, but for now it's an idea!

Thank you for dropping by!

[clevercorvidae]

Hazbin Hotel 1st Season Review

Ok so I've been sitting on this ask I got back when the series started airing for some time now.

And I was struggling with how to answer it because as much as I personally love the show and had a lot of fun with it I understand that it isn't really for everyone.

But now that the series' first season has concluded I feel like it'd just be easier to give a review of all the negatives and positives that I saw in the series for anyone who is wondering if its worth getting into. I'd like to give a fair and honest overview of all the show's quirks as there is a lot of misinformation, bad faith criticism, and blind praise of this show going around. It can be overwhelming with so many strong opinions and I'd like to give people a more balanced and down to earth look at the show for what it is.

I'll start with spoiler free stuff and put all spoilery stuff below a cut in a reblog. Be warned, this is still gonna be very much based on my own opinions and very long, I just hope its less...intense than most reviews.

Overview

For anyone who doesn't know, Hazbin Hotel is a new animated series on Amazon Prime Video created by Vivienne Medrano and A24 Studios. It's basic premise is that every year, sinners in Hell are killed by angels from Heaven in order to keep the population low. This devastates our main character, Charlie Morningstar, the daughter of Lilith and Lucifer and Princess of Hell.

So she decides to start a rehabilitation center called the Hazbin Hotel in hopes to allow sinners to redeem themselves, keeping the population in Hell low whilst allowing people to continue existing, and hopefully putting an end to the exterminations for good and saving her people. She does this with the help of her girlfriend Vaggie, a famous pornstar named Angel Dust who agrees to be her first guest, a very shady demon named Alastor, and more.

The show's pilot episode was first released on youtube in 2019 and has a sister-show called Helluva Boss that takes place in the same universe and began airing episodes on youtube while Hazbin was being shopped around to be picked up by a bigger studio.

I personally do not recommend this show at all to anyone under 18 due to its subject matter and depictions. However, the show is listed as 16+ for all but one episode which is 18+. Make of this what you will.

Now, onto the discussion.

Positive 1: Design

So a lot of people look at this show and are put off by its character designs and general look. But frankly I think it's very well designed and cohesive for what it is. Its designs are complex and gaudy but they're earnest in their presentation. It very much draws from Vivziepop's roots as a youtube animator who got big in the 2010's

All the designs are very out there and edgy and almost sparkle-dog-esque. And I think it's commitment to that style in favor of something that would draw in wider appeal makes the series feel more artistically genuine. Just look at Angel Dust and Alastor's designs for example. They ooze 2010's deviantart and I find it very charming.

I also enjoy the balance and uniqueness of many of the designs, they're so fun to look at. And their level of detail makes them super fun to pick apart. The range of body types could definitely be improved (an unfortunate remnant of that 2010s style I was just praising) but there is still plenty of diversity in silhouette to differentiate the characters at a distance.

I also often see the criticism that there is far too much red used in the designs and frankly this criticism is so unfair. Within the context of the show its pretty obvious that red is just part of the design motif of hell.

I can see the issue ringing true in the pilot that the characters bleed into the backgrounds often because of this design choice but in the official show the background style is a lot more distinct from the characters and they don't really have this issue at all.

Here's a screengrab from the pilot that I find to be a particularly bad offender vs a screengrab from the official show including acvery red character on a very red background that I think highlights the difference a bit.

There's nothing wrong with a show having a very cohesive visual motif to tie all of its characters to one location. The heavenly characters in the show have their own color motif of bright pastels for instance. I think the designs are a highlight of this show and people should stop being so harsh and unfair in their assessment of them. They're so fun! Enjoy them!

Negative 1: Pacing

You've probably heard people mentioning this one and unfortunately I 100% agree with this criticism. The show is INCREDIBLY fast paced and it seriously impacts character development.

Now, I don't think the way people criticize this aspect of the show is very fair. Most people push the blame for it onto the creators and writers when in all actuality they're just doing the best they can with what they were given. 8 episodes is a very short runtime for a show of a this scale.

A story with this much worldbuilding, this many plot threads, and this number of important characters could NEVER be told properly in this amount of time. Even if they'd properly paced it it would've ended up awkwardly truncated with an unsatisfying finale. Frankly I think the writers did a very good job stretching what they had, but unfortunately the issues are still very present and impact the viewing experience.

This show desperately needed filler. They NEEDED low stakes plots and episodes. As is the story is very complete and I'm glad the short runtime didn't create any agregious plot holes but its still...lacking. The first season is meant to take place over six months of time and it really doesn't feel like it.

The lack of episodes means we don't get to see the natural progression of these characters and their relationships. Many characters have seemingly out of nowhere changes of heart. Even the best done plot lines still feel pretty cramped and rushed.

It's very sad and unfortunately is becoming increasingly commonplace for shows to have such short runtimes that they feel like extra long movies rather than feeling like a tv show. Hazbin Hotel feels like a very long musical pace-wise. And if you decide to watch it that way I think you might have a better time honestly. But its still sad to think of what could've been.

Positive 2: Music

Oh my fucking god the songs are so good. None of them are bad in my opinion. I have my favorites and least favorites of course but none of them sound bad or annoying which I can't say for 90% of musicals especially cartoon musicals.

Almost every song feels like its 100% necessary to express what the characters are thinking and feeling. Every single VA has a fantastic singing voice. Apparently one of the main writers of these songs is half of The Living Tombstone which is pretty apparent from the style of the songs. If you like their music you'll be in for such a treat here.

There are 2 songs per episode and I think its safe to say you'll enjoy the crap out of at least one of them. They make up for a lot of the short runtime with them too, being able to fit a whole lot of character growth and interaction into a shorter period. This show is definitely carried by its stellar soundtrack. I think it's its best trait for sure.

If you like musicals, you have something to gain from watching this show, I can guarantee that.

In the spoiler section I'm gonna rank all 16 songs and explain my reasons btw so look forward to that.

Negative 2: Editing

The editing of this show can be...questionable at times. Sometimes there will be very harsh unnecessary cuts and sometimes the camera moves all over the place when it really doesn't need to. It really feels like the editors got the raw animation files and were trying to clock in overtime by making unnecessary and bizarre editing choices all over the place.

It wasn't very jarring to me personally and I feel like most people will get used to it within a single episode but if you're unsure of how to feel about it I'd go watch the song Happy Day in Hell on youtube because it's probably the worst offender in the show and about as bad as the editing will get.

Positive 3: Characters

As sad as I am that the show has so little time to explore the characters they are VERY well established regardless. These characters have a lot of charisma and almost all of them have a completed arc within this season.

I've heard a lot of people claim that Charlie, the main character, doesn't get enough screentime or doesn't feel like a protagonist and I'm sorry but I can't see this as anything but bad faith criticism. Hazbin Hotel is an ensemble show with a very limited episode count, not every episode can have Charlie at the center. But she IS the center of the main plot and she is a very active protagonist with strong relationships to the other members of the ensemble. Her goals are tightly wound in with the central plot and themes and she makes the decisions that drive the story.

She very much fills her protagonist role well and I think this attempt at criticism is just a biproduct of the several years of development where occasionally we'd get bonus content for other characters and Charlie didn't get much. But it's pretty clear that that was cause her character IS the plot and Vivziepop didn't want to spoil the entire show before it even aired.

Beyond that I've seen people claim that all the queer characters are over-sexualized. Which is hilarious because as far as I can find there is only one canon straight character in the main cast and the rest are all queer. There is only one character that has an storyline focused around sex and that's Angel Dust...because he is a sex worker. The other characters occasionally make sex jokes but no other queer characters have sex as a focal point.

Overall, the characters definitely balance each other out in this story and they're a big draw for me. Even minor characters that only appear prominently in one episode are super charismatic and interesting. Hell, my favorite character in this show is one of these minor characters.

One thing I very much enjoy is how none of the characters ever seem to be dumbed down for the sake of the plot. The stakes remain high because all of these problems genuinely feel like there is no easy solution that the characters are just conveniently ignoring. All of the characters' choices feel like theyre in-character which is very impressive given the episode count.

Neutral 1: Dialogue/Jokes

So this is a topic I've seen a lot of people discuss specifically here on tumblr. The characters are very sweary and many of the jokes are very crass and explicit.

Personally I had no issue with this at all the jokes were fine to me and the swearing just felt like Hell's natural dialect to be honest. Plus I swear like a sailor irl so it was barely different to my normal. Very much a non-issue for me.

I could see how it could be off-putting to others though if it's something you're not used to. And I do find it to be a bit much in the sister-show Helluva Boss because it feels a lot less natural. (side-note, if y'all want me to make one of these for Helluva Boss let me know cause I have a LOT to say about that show). So honestly I think this is a matter of personal taste and I'd encourage people to still give the show a whirl if this is your main issue with it as its pretty minor.

Positive 4: World-building

I really enjoy the complex world in this show. A lot of its takes on the lore it's drawing from are actually pretty unique and nuanced, it's obvious the creator did a lot of research. Any lore that is changed was clearly done with the knowledge of its true origins. It really feels like Viv knew the rules well before she broke them with this.

This is one of those worlds where you can't help but imagine yourself in it, especially with it being the afterlife. It's no wonder the fandom is so dense with oc content, its very fun to imagine creative character designs when there's so few limits to what a character can look like.

And the world-building seriously elevates the story so well. This is one of the few times the short episode count actually helps the story I think, because there's still so much to explore and discover here. I like the delayed gratification of getting all the info about how hell and heaven function its nice to chew on theorize about. It's just a very appealing and interesting setting what can I say.

Neutral 2: Handling of Subject Matter

This has got to be one of the most divisive things about this show and I think this is the thing that most comes down to personal opinion.

There are a lot of criticisms against how this show handles incredibly serious subject matter. And frankly, as much as I don't have any issue with its portrayal of these things personally, its incredibly understandable why others take issue with it. I encourage everyone to give the show a fair shot and judge it in its entirety as a lot of these things really need context to be criticized fairly.

However I understand that, even if you agree with the way Hazbin hotel handles these subjects, you may still be incredibly uncomfortable or even triggered by the graphic depictions. So I'm going to take some time and list out every possible trigger that you will encounter in each episode to the best of my ability based on my recollection. Because even though Amazon does give warnings they are too vague for my tastes and I wanna make sure anyone who watches this show on my recommendation is going to be safe (Let me know if I missed anything and I will edit this to include it):

Episode 1: 16+

Blood

Knives

Religious Trauma

Graphic Violence

Mild Gore

Eye Stabbing

Genocide as a topic

Sexual harassment

Drug Use/Alcohol

Beheading

Guns

Christian Imagery

Death

Episode 2: 16+

Mild Body Horror

Drug Use/Alcohol

Guns

Christian Imagery

Episode 3: 16+

Beheading

Blood

Cannibalism

Graphic Violence

Sexual Harassment

Guns

BDSM

Episode 4: 18+

Graphic Depictions of Sexual Assault

Rape

Sexual Harassment

Graphic Depictions of Physical Abuse

Graphic Depictions of Routine Sexual Abuse

Alcoholism/Drug Addiction

BDSM

Roofies

Nudity

Graphic Violence

Guns

Emotional Abuse

Exploitatin of Sex Workers as a topic

Building on Fire

Gambling Addiction

Episode 5: 16+

Alcohol/Drug Use

Non-sexual exploitation

Graphic Violence

Guns

Blood

Religious Trauma

Absentee Parent

Christian Imagery

Episode 6: 16+

Religious Trauma

Christian Imagery

Amputation

Eye stabbing

Graphic Violence

Blood

Guns

Knives

Alcoholism/Drug Addiction (+enabling)

Physical Abuse

Exploitation of Sex Workers as a topic

Sexual Harassment

Genocide as a topic

Episode 7: 16+

Guns

Knives

Blood

Cannibalism

Episode 8: 16+

Guns

Blood

Graphic Violence

Genocide

Gore

Death

Animal Death

Christian Imagery

Religious Trauma

Amputation

Knives

Building Collapse

Stabbing

I believe that should be everything.

I highly encourage you to be cautious if you have PTSD or C-PTSD regarding sexual or physical abuse in particular for episode 4. The episode is quite graphic and realistic in its depiction. As someone who hasn't been through sexual abuse I cannot speak to the accuracy of its portrayal apart from the fact that it is very clearly not created to be tantalizing or glorifying.

I've been told many different opinions on how this episode portrays sexual abuse and whether it is accurate or respectful and it seems like the answer varies greatly person to person from being extremely comforting and relatable to being offensive and feeling gratuitous. In my opinion I think this means the show did a decent job and had good intentions, but it also means that this show and this episode in particular just aren't for everyone. Make of this what you will and stay safe.

Positive 5: Themes

The themes in this show are baked into its core. It manages to get its message across without feeling too clunky and the focus of the story never strays from that purpose.

Redemption is often a mixed bag in shows especially in cartoons. But I think Vivziepop and the rest of her crew do a good job showing the effort it takes to change and grow as a person in the short time they have.

I think the dedication to themes is a huge part of how genuine the story feels. It's earnest in its message and that gives the plot a soul.

If you want to watch a story about broken people lifting each other up this is the one.

Neutral 3: Vivziepop

So a lot of you have perhaps heard some not-so-great stuff about this show's creator.

From what I've gathered in my research almost all of the serious claims made about her are either proven to be false or big ol nothing-burgers. However, there might be legitimacy to some of her employees and coworkers' complaints about her company, Spindlehorse, which aren't great. And I personally dislike how she conducts herself on social media as the spokesperson for her creation.

In short, she doesn't seem to have much tact.

I think its a little ridiculous and overdramatic to avoid the show over it personally but if this just strikes a particular nerve with you there is always the option to pirate ig. It's fully up to you. Just make sure you do your research and don't go around shaming fans of the show or spreading misinformation about a very real person.

Conclusion

I'd personally give the show an 8/10. Its a fun time and clearly made with a lot of passion. I'd recommend it to everyone who's interested. Now I'lll start working on the spoiler bit of the review.

Let me know what y'all think! If anyone reading this has questions I'm happy to answer as well.

[justmaghookit]

THIS IS A SUBJECTIVE OPINION, MY SUBJECTIVE OPINION AS AN ARTIST AND CHARACTER DESIGNER. IT IS FINE IF WE DO NOT AGREE.

Ok you can continue

I'm sorry I need to be a hater for a second though it goes against my nature but hh has some of the absolute worst character and scenery design I have ever seen in my entire life and you have been tricked into thinking it is cool because it uses bright colours and bombastic shapes to cover the fact it's actually boring.

It's not bland, but it is boring.

Every single screenshot or gif I have seen makes me go crosseye'd, the characters blur into the background because there is no fucking proper saturation difference. I thought the new white and red cheeked character was literally just the first character but with a haircut and style change. Every single character has a copy-pasted shape there is no actual variation in body type or face shape outside of superficial changes. You have Triangle or Triangle with Tits.

You would have to tie me down clockwork orange style to get me to actually watch it. Maybe the story is good and the characters are cool or whatever! I don't know! I haven't watched it and you can't make me!

The characters apparently have aesthetics and theming but I honestly couldn't tell you what it was because there is so much going on in the designs that it's impossible to tell. One of the first rules of character design is that you should be able to get a feel for a character from the silhouette alone! But you can't do that here because their silhouette's are all so similar! The shape language for everyone is the fucking same! It's infuriating!!

I understand stylisation and personal choice but if you cannot draw diverse designs because it doesn't fit "your style" it is your failing as an artist and you are putting a limitation on yourself, it's like shooting your own foot!

I honestly think V would benefit from going back to basics and re-learning figure drawing and colour theory but from everything I've heard she can't handle any form of constructive criticism, which is once again like shooting yourself in the foot. Artists need to be able to take criticism and advice from other artists in order to grow, an artist that believes themselves above criticism is incapable of growth and will stagnate.

If you are an artist and have gotten this far I am begging you, remember to practice your silhouettes and don't blow off colour theory. Please... please learn about values [colour edition] if you don't your art will become a muddy messy and unless that is what you're going for you really don't want it to be like that

THIS IS MY SUBJECTIVE OPINION AS A TRAINED ARTIST, I HAVE A DEGREE, I AM ALLOWED TO CRITICIZE OTHER ARTISTS IT IS WHAT ARTISTS DO. BY PUBLISHING HER WORK V HAS PUT HERSELF IN THE PUBLIC FORUM AND THEREFORE IT IS SOCIALLY ACCEPTABLE FOR ME TO EXPRESS MY OPINION. IF YOU DISAGREE THAT IS FINE, BUT THIS IS NOT AN INVITATION FOR DEBATE.

[thecurioustale]

The Prop Department Is Empty

J. Draper on YouTube got me thinking recently about iconography in my writing.

She was addressing the question of how a very young kid is supposed to tell all the Disney Princesses apart since there are only so many hair and dress colors, and whereas my answer was going to be "How about having more than one body type?" Draper's answer was "SOCIETY PERFECTED THIS CENTURIES AGO!!"

Basically, how do you distinguish all the different Saints in drawings? You give each one a distinctive prop, like a spiky wheel or some keys. If you're precise enough about it you can go super deep, becoming able to tell what time of year a given representation is set, etc.

And that's a clever idea, and something I probably wouldn't have thought of, because iconography is very much outside my own thought process as an artist. I tend to rebel against this kind of symbolism on the grounds that character development should come from character traits and behaviors and not external labels. While I do associate certain objects, colors, etc. with certain characters, these associations are not identifying or exclusive; e.g. Silence is associated with green but you'll see plenty of other characters using green, wearing green, speaking of green, and so forth.

Props are a distinctive shortcoming of iconography in high-realism works as it constrains the props themselves and also imposes artificial meta-expectations by the audience upon the character, e.g., Fonzie's leather jacket, which if taken to its logical terminus ends up caricaturizing the character. ("Just say the line, Bart!")

So don't expect me to start using props anytime soon, is what I'm saying. At least not with anywhere near the consistency required for them to actually function as such.

But it's fun to think about.

However, having put some thought into it recently, the exercise reminded me of how unnatural it is for me. This just isn't in my style at all. I've been working on Galaxy Federal more recently so that's where I started, and I picked Cherry since she's the most developed character, and she has a bunch of traits and backstory I could choose from to pick out props...but I found the effort most difficult and strangely unsatisfying. I tried it for other characters with the same result.

This represents a serious setback to my eventual plans for merchandizing tarot decks...

[jellybeanium124]

once upon a time I was a skinny white child who liked drawing. consequently, I drew a lot of self portraits and a lot of doodles of characters who looked like me: other skinny white children. I have so, so many OCs from my youth I used to draw comics about, and all of them are skinny white children. then I got a little bit older, and became a skinny white teenager. I had boobs now, though, so I had to learn how to draw boobs if I wanted to keep drawing accurate self-portraits. so I learned how to draw skinny white teenage cis girls. then in late high school thru my first year of uni, I put on a bit of weight and went from being properly skinny to more medium sized, so if I wanted to keep drawing accurate self portraits I had to learn how to draw people who were medium sized. so I did.

and at this point I was an adult, and became more aware of my failings as an artist. I realized I was so used to drawing cis women that I didn't know how to draw an adult with a more traditionally masculine body. I didn't like that I only knew how to draw one kind of nose. so I challenged myself. I learned how to draw men. I learned how to draw different kinds of noses. I learned how to draw fat people and muscular people. I looked up reference images and challenged myself to learn how to draw different Black hairstyles. I watched our flag, and realized I only knew how to draw young people, so I learned how to draw middle aged and old people.

I'm not perfect, and I'm still learning and growing as an artist. as all of these things were happening, I was also trying to learn proportions, how to draw people at different angles and in different positions, or even how to add necks that look right and hands with fingers. anyone who's seen my art knows that it's cute and nice, but not professional level or something anyone would pay for. I'm not trying to make money, I'm trying to become a better for the sake of my own growth as an artist.

I'm not mad at myself or wracked with guilt for spending my entire childhood drawing skinny white kids. kids are naturally self-centered, and I also happened to look exactly like what society deems a "normal" girl. of course I was going to draw people who look like me. that's normal. it's also normal, to say, be 11 or 12 and beg your parent for the "how to draw anime" book and learn how to draw anime characters from it. that book will also only teach you how to draw skinny young people.

but we don't stay kids forever. we grow up, and as an adult artist, it is your responsibility to learn how to draw diverse people along every axis. challenge yourself. it's ok if it's a challenge at first, or if the drawings turn out bad. you don't have to post every drawing you make to the internet. but keep practicing!! the same way you eventually learned how to draw hands and feet, you will eventually learn how to draw diverse faces, bodies, hairstyles, ages, etc.

i's fun and easy to draw things you're comfortable and familiar with, but it's also fun to draw new things. when I draw something new and challenging, it lights up a different part of my brain that's excited to learn. humans naturally want to learn our entire lives. that's how we're built. I just don't understand how so many adult artists whose technical skills are leagues above mine can be happy with themselves knowing they can only draw twinks. don't you want to be able to do more? don't you want to be able to draw anybody? even if you're a very stylized artist like myself, don't you want to be able to capture people in your own style in a way that makes viewers think you captured how that person looks accurately? don't you want to learn and grow???

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