#singularity transcript

[mehoymalloy]

SINGULARITY - FINAL FIGHT DIALOGUE

After completing my big Tilda transcript like a year ago, it was just now brought to my attention that there are special lines for when you die during the final fight (tldr: I'm stupid lol). After getting my ass beat by Specter Prime for an hour to get those lines, I also learned that there are special lines if you hide from Specter Prime (I used the stealth generator and ran away until the awareness symbol turned yellow). So as of May 2023, here's the full (hopefully?) list of lines, with the Death and Hide ones listed first.

TILDA, BATTLE DIALOGUE (not including attack commands; ex: 'Blast off!')

DEATH

If only I made you see.

Every bit as stubborn as Elisabet.

She died, and the world will follow her.

We could have conquered the stars!

It didn't have to be this way.

HIDE (Note: As I've ordered these lines, Tilda's tone steadily transitions from persuasive to agitated. The final one is practically dripping with disdain)

There is still hope, but only together.

You've taught me, Aloy, and I would learn more from you.

We cannot hide on this world. We must flee to another.

If you want humanity to survive, you must live.

There is no reason to hide.

Don't you see? You cannot win.

Elisabet saw hope and rebirth. We can deliver that together.

You think you can stay here and survive?

This is a mockery of the world Elisabet wanted.

You were Elisabet's heir, but now, you've outdone her.

FIGHT

I knew you didn’t truly want to hurt me.

Ask yourself why you’re holding back.

Sticks and stones against the lightning.

This Specter was designed to survive against more than that.

I can endure, you cannot.

You can only endure so much!

Don't make me hurt you!

Surely nothing is worth this pain.

How long can you keep this up?!

How much pain are you going to take?!

There are no answers in death.

I do not wish to mourn you.

Death brings only darkness; I can take you to the stars!

Is this where you want to end your journey?

Why do you not value your life?

Is this really what you want?

Fight on, and you will lose.

I am the only way you get to live, Aloy!

I’ve seen your life, Aloy; it should not be lost.

This world will die; you don’t have to.

You’ve fought well; now live!

This world is finished! We must leave together.

Soon we will be all that is left of the human race.

Say the word, and I'll stay my hand.

You must submit.

You cannot win.

I have you.

I will finish this!

Enough is enough!

Give it up!

Just stop!

Please, Aloy! Stop!

Let us end this!

Stop! I beg you!

ALOY, BATTLE DIALOGUE (not including player hints; ex: ‘Gotta target its gold plating!’)

I’m not going with you!

You’re not gonna beat me!

You’re not taking me, Tilda!

You’re finished, Tilda!

This won't work, Tilda!

That suit won’t protect you!

Go down!

[bumblingbabooshka]

Coda. You of all people. Grief. The way Kes had to break Tuvok's hold on her & The way he kept asking if she heard anything - anything at all.

Open yourself to the impressions around you, The thoughts, the minds that are on this ship. All the minds that are on this ship. So many voices.

They are a turbulent storm, and you are the one who must rise above the tempest, to a place that is quiet. It's difficult.

You must lift yourself from the confusion of the storm. Soar into the quiet space among the stars where everything is still. Is there a voice that you can hear? A single voice isolated in the stillness?

Is there anything? Any presence in the void with you? I can't hear anything.

Now I am with you, moving through the quiet space. My thoughts join with yours, extending the range of the search.

(You have to find me.) (Surely, you must know I'm here?) Empty. Alone. (We've shared so much.) Failure. Forced.

Tactical Officer's Log: Is there anything? Is there anything? Is there anything? I('m searching for) a good friend, one I can never replace.

Is there anything? Is there anything? Is there anything? A single voice, isolated in that void? (we've shared so much.) I don't want to come up for air. My lungs force me to breathe.

Patreon | Ko-fi

[switch]

wow they really did completely vacate moriarty from the crossdressing scene as soon as possible and in addition to moreso involving the girls as i mentioned they verbally gave holmes all the credit for it. they did not want that old man within 500 feet of the forcefemming in case it ruined anyone’s boner. you goddamn cowards. you philistines. taste my blade.

[rainystorm404]

head in hands WHAT THE ACUTLA HELL ARE THE STEPS OF PROTEIN SYNTHEISIS

[javelinbk]

The Beatles in Australia/NZ part three (part 1, part 2, part 4, part 5, part 6, part 7, part 8, part 9)

On the flight to Adelaide, George and John talk to Bob about their love/hate relationship with fish-eye lenses, and not wearing trousers to greet fans

Bob: Now, Ringo will now be here on Monday, I… John: Yeah, that's what I read, I thought he was coming Sunday Bob: I see he's well and happy as he came out of hospital, you'll be pleased at that news John: Yeah, that's good Bob: That's a close picture he's taking, isn't it? John: Fish-eye, it'll distort your face Bob: Ah, this is one of these fish-eye cameras… George is sitting beside John and he's taking a picture of me from about six inches away George: Well this lens is a funny one called a fish-eye, and actually we hate having our pictures taken with them… John: Cause they're awful George: … cause when they come out, you know it's just all distorted… you look like a dustbin or something, so I'm doing one of you to get my own back Bob: George… George is the boy who appeared in underpants yesterday George: Actually it wasn't, it was a towel I had wrapped around me, but erm… you know, we were watching on tv and they were saying 'I wonder why they're not coming out to wave' and we… there was no way we could tell them that we didn't have any dry trousers… John: None of us had any clothes… George: So anyway, in the end we went… they, Paul and John got a pair of trousers from somewhere and I went with a towel around me, just to wave - you know, otherwise I think they might have thought we were trying to be funny Bob: George, you look out the window, flying to Adelaide, you see sunshine, now that's a pleasant thing to see after Sydney George: Yeah, it's a bit of a change after all the rain John: Ah, well thank you Bob, cheerio George: See you, Bob John: Keep plugging the records, buy me book! Correct?

Bob Rogers interviews John Lennon and George Harrison on their flight from Sydney to Adelaide, 12th June 1964

[andromerot]

i should relisten to mabelpod <- the devil speaking

[masterkeynobi]

i will say i do kind of wish the transcripts were more stylistically consistent LDKHGDLSFJ but they do their job well and im glad theyre there

[kaoharu]

my tireless devotion to my fictional character

[candiliam328]

frustratedly practicing off of fake sheets means randomly yelling out "GOOD ENOUGH !! THAT SOUNDS GOOD ENOUGH I GUESS !!"

[boatemboys]

THANK U CLEO FOR THIS CLIP 🫡🫡

transcript:

Cleo: Monument or statue of... what.

Joel: So I was thinking, something involving me, and Jimmy, but then (Cleo starts laughing) you have creative range. How about that. How does that sound to you.

Cleo: Oh no, oh n- I- (starts laughing again)

Joel: Don't make it weird. Why are you making it weird. Why are you saying oh no like that. It's nothing weird.

Cleo: It's n- it's nothing weird, okay, um-

Joel: It's nothing romantic, it's just two good friends.

Cleo: (pauses) Okay, yeah, like two good friends on one singular block. Together. Uh.

Joel: Yeah well- You can, you can move the, like, you can do them off the block. You can do them on the floor if you want. Or like, if you need any more gold I've got another- gold block. It's up to you.

Cleo: No no no, I can do this. I can do this. It won't involve neck kisses or anything. It'll be less- (laughing)

Joel: Please don't make it involve- please. No. They're ded- they're left specially for Etho and I'm not willing to...

Cleo: You're not willing to share. (Joel: Nope.) Aw, okay.

[queerb]

Concertconcertconcertconcertconcert--

[fans4wga]

26 July update from WGA's Chris Keyser

From the WGA: With SAG-AFTRA now on strike and new levels of solidarity across all Hollywood unions, we are witnessing the spectacular failure of the AMPTP’s negotiating strategy. In this video, WGA Negotiating Committee Co-Chair Chris Keyser lays out what this moment means and how we move forward. To learn more about the WGA strike, visit https://www.wgastrike.org.

FULL TRANSCRIPT:

Fellow members of the WGA East and West. It's been a while since our last video and quite a bit has happened in the meantime. So on behalf of the negotiating committee and leadership, I wanted to give you an update on where we are and what the near future at least is likely to bring.

We've been walking side by side on picket lines in New York and Los Angeles for a little over 12 weeks now. Only now we're joined by thousands upon thousands of members of SAG-AFTRA who, like us, have finally had enough.

This is the endpoint and the fruit of the AMPTP’s game plan. For 11 weeks, they negotiated with everyone but us. They claimed it was just practicality, that they could only do one thing at a time, which is not normally a point of pride. But events have made clear what we knew from the start: that not only was it a strategy, it was their only strategy. Negotiate a deal with a single guild and impose that deal on every other guild and union in Hollywood, whether it addresses the needs of those unions or not, all with the implicit threat: if you want more, strike for it.

Wow. It’s their 2007-8 playbook applied to 2023 as if nothing has changed, as if the accumulation of economic insults and injuries inflicted on us over the past decade would be borne in perpetual silence, as if the giant of labor had not awakened. But it has. And you only need to look as far as the front gates of every studio in LA and New York to see the evidence.

Two unions on strike willing to exercise their power, despite the pain, to ensure their members get the contract they deserve. For us, that means addressing the relentless mistreatment of screenwriters, which has only been exacerbated by the move to streaming; the continued denial of full MBA protection to comedy variety and other appendix A writers when they work in streaming; and the self-destructive unsustainable dismantling of the process by which episodic television is made and episodic television writers are paid.

It means addressing the existential threat of AI and the insufficiency of streaming residual formulas, including the need for transparency and a success-based component. All of these will need to be addressed for there to be a deal because in this strike it is our power and not their pattern that matters, not their strategy. Their strategy has failed them. Now they're in the midst of a streaming war with each other, an admittedly difficult transition. And as they face the future, their interests and business models could not be more different from Disney to Sony to Netflix to Amazon.

We root for their success, all of them. They root for each other's failure. We are the creative ammunition through which they will succeed. They are each other's apex predators. And yet, in a singular shared dedication to denying labor, they have shackled themselves together in what increasingly seems like a mutual suicide pact, as the 2023-24 broadcast season and the 2024-25 movie schedule and its streaming shows disappear, melt away week by week.

So what does this mean? What does it mean going forward? How do you play chess against an opponent who insists on screaming checkmate at every move regardless of how the board looks and the game is going?

You stay firm, you stay resolved, because our cause is no less existential than when we started and our leverage is increasing every day. Alone we withheld our labor with the support of our union siblings and the Teamsters and IATSE and the Crafts, we were able to delay the vast majority of production. Now with SAG-AFTRA on strike, those few studio projects that remained have also shut down. And it's not just the obvious delays. If this strike drags on, it's the actors with conflicting obligations and the directors and the double-booked studio facilities and release date chaos that the companies must now also contend with. Some of their most valuable product could well be delayed for years.

Add to that, no promotion of movies or television shows and famous faces on the picket lines and social media speaking directly to their customers. For the tech companies and the mega corporations, that should be their nightmare scenario: WGA and SAG-AFTRA side by side. Our bargaining agenda may not be identical, but our cause is the same. Our army of labor, defending labor has increased 17-fold in the past two weeks alone.

Even so, even with all this wind at our backs this negotiation won't happen overnight. It's not because the negotiations themselves are so complex. Once the companies fully engage, it could go very quickly, but because their strategy of many decades has just fallen apart and they didn't see it coming, and it's going to take them a minute to regroup, 'cause the companies have things to work out internally, and saying no to labor in unison is a lot easier than saying yes. So either together or separately, as their divergent interests might suggest, they will come back to us, despite their understandable concern about how they've navigated this transition to streaming, which is on their heads and not ours; and their worries about costs and their worries about Wall Street; despite this being a season of doom and gloom, none of them are walking away from the riches of this business, and certainly not over the equitable minimum compensation to writers.

They didn't get the deal they wanted; that's fine, it happens all the time. They're not taking their ball and going home over it. And since we know they come from union families themselves, and since they've denied that “even-in-Hollywood-you-have-got-to-be-kidding-me” ugliness of threatening to starve us out and leave us homeless (which we assume they understand also means making our children homeless,) they will come back to us. Although I will say they took a long time to deny that statement, longer than I would have had it been ascribed to me.

But what does it matter? You can starve a labor force slowly or quickly. The effect is the same. It's not like day rates for comedy variety writers and endless free drafts for screenwriters in exchange for a single paid one in four-week mini-rooms isn't cruelty. It's just cruelty written in contract language instead of a press quote.

So what can we expect from the companies as all of this plays itself out? They will try to convince Wall Street that taking a strike, prolonging it unnecessarily, losing their content stream in the process—that all of that is just smart business and no reason for investor concern. We will be talking to Wall Street too, and reminding them that for all these companies, all of 'em including Netflix, the bill, the price for making nothing, will eventually come due. And Wall Street is listening already. Here's Michael Pachter, managing director of equity research at Wedbush on Yahoo Finance the other day: “I think the studios are completely wrong on this one. Content is their lifeblood. They're feeling really foolish about this."

Wall Street isn't the only one listening. We've been talking to union pension funds too about the risks the companies are taking. We talked to CalPERS, the largest public pension plan in the country, talked about the loss of programming and the cost to the industry, and we heard strong support from its board for our struggle and the promise that the companies will be hearing from them, from CalPERS, and demanding answers on behalf of its 2 million members.

To us, of course, they will continue to plead temporary poverty, but we know the drill. These companies support billions into the streaming wars and taken short-term losses these past three years, because they know that to the winner will go the spoils. We're patient, will they share that with us when the time comes? What are the chances?

Since 2017, the last time the studios negotiated with us outside of COVID, the big six companies alone have made $150 billion in profits off our work, while they slashed our pay and degraded our working conditions. Maybe if they had shared a tiny piece of that then, made $1 billion or so less, this year wouldn't seem so costly. As it is, there is no iron law that these companies are entitled to record profits every year, and it isn't some great travesty if their shareholders or their CEOs get a slightly smaller slice of the massive profits we helped create if some balance is restored.

Look, no one denies that corporations exist to make a profit and no one wants our employers to be profitable more than we do, but the singular pursuit of corporate profits to the exclusion of their social and human cost is a real problem in this country—it’s a real problem. A corporation's bottom line is not the same as the world’s, and there is nothing in our studio's bottom lines today that accounts for the quality of our lives or for our dignity, for the comfort of our retirement or the security of our families. Their numbers have no conscience, but the people who report them as victories ought to.

In their refusal to recognize that, these companies have also extracted an awful price, which is laid at their feet and for which they are responsible. Losses to the economies of New York and Los Angeles and everywhere that film and television are made, terrible losses that mount every day, thousands of people out of work; not just us, all the crews, the crafts, the janitors, the drivers, the businesses that thrive when Hollywood thrives, the restaurants, the stores—for what? For nothing. So they could avoid coming to the table to negotiate the deal they will one day give us. Measured today that is the painfully mixed legacy of our employers, weighed against every beautiful piece of work we have made with them.

And if history is a guide, they have only temporary stewardship over a kind of national trust, which is Hollywood. Our story, our sometimes conscience, our public conversation, our diversion of the worst and best of times, our greatest export, the repository of our imagination. They have some obligation to more than just their shareholders to behave accordingly.

Unfortunately, it seems big tech, mega corporations, and some of the people who run them, as the saying goes know the price of everything and the value of nothing. So they have built a business model that no longer works for human beings who cannot be paid minimum for 10 to 20 weeks a year and make a career out of that, be paid for one draft of a screenplay that demands a year of labor, be paid a few episodic fees for a show about which to take years to decide be paid a daily rate.

And now we have a first glimpse of what they offered our actor colleagues. We are not 170,000 Willy Lomans to be used and then discarded. We know what the companies believe they have the power to do. We know what they think machines can do and do without any of us. Oh yeah, we've seen the writing on the wall and it's plagiarized.

The thing is this: the difference between what you CAN do and what you SHOULD do is the greatest single difference in the world. Knowing that is the only real protection we have against a dystopian future. And if the companies sometimes forget that, writers will do it for them.

I can't know exactly how long it will take this revolutionary moment, and you've heard again and again what is happening today has not happened in 63 years, but I know that's not always how it feels, revolutionary and defining, even though we celebrate that on picket lines together, which is the right thing to do. That's not always how it feels when you go home at night. I know how tough this is: to strike, to hold the line. I know it gets tougher every day even with SAG-AFTRA marching beside us, how hard it is to face the uncertainty of when it will end, when we'll get back to work, how we'll pay the bills. I know it's hardest for those who've just gotten started, for those for whom the world opens doors more reluctantly, battled their whole life just to get here; but hard too for those struggling to maintain their long careers, who find work tougher and tougher to come by, or those with families with children or parents to take care of.

These companies understand the cruelty of what they're doing. It's their plan to starve us just a little, to exact as much pain as they can so that we wish more for the pain to end than for the better life we dreamed up. That we're more afraid of the uncertainty of the present than the certain devastation of the future. It's societally acceptable economic torture inflicted by management on labor every day, then blamed on labor for daring to fight back, for refusing to be complicit in its own mistreatment.

Here's how I know that's not going to work. Not with us, not with the writers, because we haven't come all this way, fought to have these careers in the first place, all the adversity, and marched together for all these months, only to let it slip away on our watch—because there is no point in rushing back to jobs that may not be there in a year or two anyway. Because the business, as the companies have twisted it, is now untenable, unsurvivable for so many of us, because even success is not enough to keep going, because this guild is younger than it's ever been and more diverse. And this young diverse membership knows from hard personal experience the system is broken and that it will not be fixed unless they fix it. And those of us who came before them will not let them down, because we and the writer's guild are the beneficiaries of all those who came before us who gave up everything for us.

Like the writers of 1960, the year I was born, who struck for 22 weeks and who gave away all the TV residuals for all the movies they had ever written so that we could have a health insurance and pension plan and residuals from that date forward. $15 billion flowed to writers and their benefit plans because of that sacrifice. Because writers are brave, because now it's our turn.

So what's our job? Even as we welcome SAG-AFTRA to our side, we are still responsible for our own deal, and so we must remain focused and diligent. We must continue to march, picket signs in hand. But we should also remember this and with pride, that before there was SAG-AFTRA, before even the Teamsters and IATSE and the laborers and the electrical workers and the musicians and the plasterers came to our side, there was the writers. Alone then, we looked at the blank page and began to imagine the future. With no net but each other we typed the words, what if?

And then we took a step into the darkness and found that it was light. And then we were joined by the crews and the drivers and the actors. The actors got a bit more fanfare when they showed up, but that's okay, we wrote the script. The WGA, still small, not alone anymore after all these decades. Hollywood labor has finally linked arms and found its voice, and that voice says enough. There is no road to longterm prosperity that burns a path through your own workforce. We are not your enemies. We are not merely a cost to be borne. We are your partners and your greatest asset. And we are, as you acknowledge yourselves, irreplaceable, but by accident or design and it doesn't really matter anymore, the business you are running no longer works for those who work for you.

What is the point in continuing to deny that? Why deny it when everyone else in the business to a person tells you it's true? Do you think it's a coincidence that two unions are on strike against you for the first time since Eisenhower was president? You can't exactly accuse us of being quick on the trigger. The effect has a cause, it has a cause. And there is no profit in insisting on the answers to the past for the questions of the future.

But if you want instead to invest in something that will reap you fortunes, I have a tip. And if you are visionaries, envision a solution, not a stalemate. Because this isn't a war we're in, it's a negotiation, it's just a negotiation. There is no face-saving here for either side, because there is no winner or loser. It's just a deal. And when you come to remember that again we will be here as we have been here all along.

And at this point with 170,000 writers and actors aligned against your intransigence, that is as generous as I can be, as close to an olive branch as I can offer. But if you insist instead on the same threatening rhetoric, on saying you would rather starve us than pay us, I would remind you of this: You are fighting for a dollar, we are fighting for survival. We are fighting for our home: writing is where we live, and we will defend that home with a bravery and stamina and ferocity that you will come to understand someday, which is why you cannot break us. You cannot outlast us, you cannot.

And not just because we have the will, because we have power. Nothing in this business happens until we start to write. And we will not start to write until we are paid.

Union now. Union forever.

[todays-xkcd]

The rare compound solar-lunar-nephelogical eclipse

Eclipse Clouds [Explained]

Transcript Under the Cut

[Cueball sits on an office chair at a desk, typing at his laptop.] Cueball: These eclipse weather forecasts are killing me. Laptop: refresh

[Cueball remains at his desk. An off-panel voice from the left speaks.] Off-panel voice: So you really want to see something block out the sun...

[Cueball is still at his desk.] Off-panel voice: ...But not a cloud. It has to be the Moon specifically. Cueball: My tastes are very singular!

[tpwrtrmnky]

Singular(1) nightstand,

[Transcript:

Panel one,

Green stick 1: I present green because that is how I identify. However my crouch is still magenta because I don't feel comfortable taking the pills that make you green.

Panel 2,

Green stick 2: And that's ok! Nobody should force themselves to medically transition if they don't want to. But I am exclusively attracted to green people, and that includes their crouches. So we are not compatible, sorry.

Panel 3,

Green stick 1: Does that mean don't think I'm really green?

Panel 4,

Green stick 2: Of course not, I don't believe our identities should be tied to the color of our crouches. But I'm not attracted to magenta crouches that way, and trying to force myself makes me uncomfortable.

Panel 5,

Green stick 1: Understandable, have a nice night.

Green stick 2: Thank you ]

imagine if preference discourse in real life happened that way rather than endless whinging about the mere possibility of someone having a magenta crotch

[sonic-fankid-showdown]

The Sonic Fankid Showdown 2: First Round.

We are so back!!! These are the match ups for the first round of the second edition of the Sonic Fankid Showdown! Everyone get your kids ready to fight other kids!!

The first round will start this Friday 12th of July! And will last one week. See you then!!

Image transcript under the cut.

Beryl (by @spoiledskullz) v/s Sky (by @m3tr0n0m333).

Thadius of the Night (by @thesummoners) v/s Sunny Rose (by @nodulemodule).

Geode the Hedgehog (by @oddogoblino) v/s Brutus the Hedgehog (by @susahnasomething).

Sirius the Starborn (by @aetherprism) v/s Mars (by @estellardreams).

Zayne the Chameleon (by @sapphanimates) v/s Scorn the Hybrid (by @transgender-battlekukku).

Zinnia (by @lethalbreadkills) v/s Sun the Cat (by @bymiar).

Moonlight the Hedgehog (by @aexonn) v/s Tiger the Thing (by @nonbinary-sticks-the-badger).

Ruby the Bat (by @peachvixen) v/s Spirit the Hedgehog (by @itz-pandora).

Gloom the Hedgehog (by @rosetintedjello) v/s Crystal the Hedgehog (by @mutatedleemon).

M.A.R.C.Y (by @time-of-your-life-au) v/s Soup the Singular Hedgetwin (by @honeyglazedcalamari).

Lily Prower (by @galacticghoste) v/s Wendy (by @maddestmewmew).

Maria the Hedgehog (by @averiesmiles) v/s Velocity "Vel" D'Coolette (by @sonicnewschannel).

Ghost the Cat (by @koreyeet) v/s Destiny Acorn (by @head---ache).

Ari the Hedgehog (by @pokeypoqi) v/s Aster (by @sushirolledghost).

Blake the Tenrec (by @st4rrzyy) v/s Matches the Badnik (by @nicoletheholo-lynx).

Willow Acorn (by @localsmallbeanidiot) v/s Roxy the Bee (by @somemismatchedsocks).

Blueberry the Hedgehog (by @the-gay-ghost-king) v/s Dream (by @lerenee).

Jellybean (by @kittyonakeyboard) v/s Marie (by @unholy-everlasting).

Aster Rose (by @t4tsurge) v/s Firecracker the Hedgehog (by @shadowandsonic96).

Asha the Tenrec (by @yourpalsalamander) v/s Silhouette the Needlemouse (by @kingprinceleo).

Mirage the Lizard (by @montydrawsstuff) v/s Sly the Chameleon (by @val-va2).

Emer the Hedgehog (by @ghost-with-headphones) v/s Star the Hedgehog (by @hibiishere).

Turnip (by @s0larsyst3mm) v/s Violet the Hedgehog (by @softichill).

Hoagie "Blade" Thornslash the Huskal (by @microwave-kid) v/s Mary the Hedgehog (by @veo-queenofcards).

Morganite (by @yu-melon) v/s Sakura the Hedgehog (by @ekaycheem).

Nova (by @pastelspindash) v/s Bean the Hedgehog (by @sonic-the-werehog).

Juniper the Cub (by @clonescubed) v/s Surprise (by @navy-the-tiger).

Soda the Hedgehog (by @ubtendo) v/s Solar the Darkling (by @chaospears).

Starlight the Hedgehog (by @shadows-coffeebeans) v/s C.I.R.C.U.I.T (by @mephiles-the-jester).

Maria the Hedgehog (by @6larosie9) v/s Mimi the Hedgehog (by @zeawesomeness).

Addison the Hedgehog (by @splatatsplatoon) v/s Wraith the Hedgechidna (by @sonic-polis).

Juno the Hedgehog (by @crow-withaphone) v/s Zap the Echidna (by @adaplayspiano).

I swear those images will get easier to read as we move forward njasncs

Good luck, everyone! And see you on Friday!!

[cereovo]

A set of very conceptual notes I drafted a while back for someone asking for advice on learning to draw humans. I'm entirely self-taught so this is less of a tutorial and more of a very rambling set of general principles I follow and ideas that helped while I was learning. I figured I'd post it in case anyone else could get use out of it!

I also recommend checking out:

Drawing East Asian Faces by Chuwenjie

How to Think When you Draw (lots of good tutorials in this series)

Pose reference sites such as Adorkastock

Transcript and some elaboration under the cut:

Img 1 - Drawing a face

The two most important elements (at least for me) when drawing a face are the outline of the cheek/jaw and the nose*. I often start with a circle to indicate the round part of the skull, then add a straight like and a 'V' to one side [to create the side of the face and the jaw]. The nose creates an easy template for the rest of the face's features to follow (eyebrows at the top of the nose bridge, eyes towards the center of the bridge, ear lines up to eye) and the placement/direction and overlap with other features is a very simple way to indicate dimension. [A sketch of a face that has been adjusted by moving its parts to create 3 different angles. The following text is underneath:] -Different 3/4th views can be created just by adjusting the position of and amount of overlap between the facial features. - The top of the ear usually lines up with the corner of the eye. Think of how glasses are designed [specifically, how the arms run from the eyeline to the ear] [I go on a tangent in these next few paragraphs] *One thing I see many artists do - not just beginners - is learn how to draw A Person. As in, one singular person with one set of bodily proportions and one set of facial features. It's an issue that runs a bit deeper than 'same face syndrome' because sometimes these artists can draw more than one face, they're just not very representative of [the diversity present across] real people. Part of the reason I'm talking more about how to think about approaches to drawing - rather than showing specific how-to's - is because there is no one correct or right way to draw a person. The sooner you allow yourself to explore variety - fat people, old people, people of color, people with [conventionally] 'unattractive' features - the easier it'll be! Artists often draw their own features honestly and without [harmful] caricature, so it's always a good idea to look at art made by the kinds of people you're trying to draw if you're ever unsure about how to handle something. In general, it's far more important to learn how to interpret a variety of forms than to learn how to replicate the Platonic Ideal of the Human Body.

Img 2 - Stuff that helped me

Jumping into drawing humans (faces or otherwise) straight from photo reference can be overwhelming. The trick is to simplify forms into shapes - but even this concept is sort of abstract and it may be hard to know where to begin. Good news - Thousands of other artists have already figured it out. [When starting out] I needed to learn from photo reference AND artists I admired in order to improve. [When looking at stylization you are inspired by] ask yourself: WHY does this simplification work? How can I translate it into a different pose? Instead of copying what you see in a photo reference exactly, try to focus on the general forms first. My two biggest style inspirations for humans while learning to draw them were Steven Universe and Sabrina Cotugno's art. SU gets a lot of hate [in this instance I was specifically referring to a time on tumblr when the art was knocked for 'losing quality'] but its style does a great job of simplifying anatomy in a way that still portrays a diversity of bodies + features. [Extremely simplified drawings of Lapis, Steven, and Amethyst] SU characters are still identifiable- and still read as 'human' - even when reduced to just a few lines!

Img 3 - Things I keep in mind while drawing side profiles

- Eyebrows + eyes close to the 'edge' of the face - Forehead needs enough room for a brain - Eye is > shaped from the sides - Mouth kinda halfway [between the nose and the chin] but closer to the nose - Skin/fat exists under the jaw [and connects to the neck] - neck is about one half the width of the whole head - the back of the skull always sticks out a bit further than you might expect - Sometimes less is more - contours exist on every face, but drawing them in may make your character seem much older than they're supposed to be. However, it's a good idea to use them when you *want* your character to look old! These are very general notes- every face is different and has different proportions [and playing around with them creates unique and interesting character designs]