#so many drawing ideas its UNREAL

[dhmis-autism]

made a terrible awful fluffybird playlist full of songs that are fine on their own but terrible awful if you apply it to this particular couple.

it is ALL ive been listening to since i made it.

[comidyye]

HAPPY 1 YEAR ANNIVERSARY TO TENDER TREATS !!!

feels cliche to ad-mit But . ..bob is certainly my current faborite character . I mean .A cannibal killer, are you kidding !?!? ...Anyways heres just sum art to celebrate the occasion .! : ))

rants in tags : o))

[pyjamaart]

My entry for the 7th Anniversary Gallery! >:]

[eorzeas-okayest-smn]

shiva..... 2!!!!

[slashmagpie]

Blood & Snow

Pt. I

Directory: {Pt. II} {Pt. III} {Pt. IV} {Pt. V} {Pt. VI} {Pt. VII} {AO3}

Welcome to my @hermithorrorweek fic! I spent a while trying to figure out seven different fic concepts based on the prompt, and kept coming up blank, up until I decided to combine them all and write a single fic, with each prompt being the theme for a different chapter. Blood & Snow is the result, and at the time of posting it is not quite complete, but I'm excited to share it with you nonetheless. I'm hoping to post a chapter once per day, but later chapters may be delayed depending on how long it takes me to get them written. Some of this builds off concepts I played with in some of my earlier Decked Out 2 ficlets, which you can find in my writing tag. TWs for this chapter include: non-consensual body modification*, unreality*, panic attacks

I. GAME MECHANICS

Game design is simple, really.

Well, no, it’s difficult—but the principles behind it are simple. Make it fun. Make it challenging. Make it rewarding. 

Decked Out 2 is a game.

To be more precise, it’s a long-running, deck-building, dungeon-crawling game. It’s competitive. It has rewards—bragging rights, for one. Trophies, for another. If you win, you can get crowns, and buy things to make you more powerful, to make the game more fun. You get frost embers, which are used to build the deck, and—

Clank is Decked Out’s central mechanic. Trigger a shrieker, generate clank. Easy as that. Taking your artefact will also generate clank, because it angers the spirits of the dungeon. That’s another important thing about game design: atmosphere. Design. Having something that feels cohesive. So—no, max clank isn’t quite as dangerous as it should be, but very few mobs would work to replace the vex, because, well, they’re not the spirits of the dungeon, and—

Hazard is generated every thirty-seven seconds, roughly. It used to be thirty, but that lined up with card draws, and the sound cues were hard to keep track of. So. Hazard is generated every thirty-seven seconds, roughly. Hazard makes the dungeon more dangerous to traverse, by closing doors, raising pathways, and otherwise making certain routes more dangerous or downright impossible to cross. People underestimate hazard at first, but quickly find out that hazard kills. When clank maxes out, that turns into hazard too, because max clank wasn’t dangerous enough by itself, because the vexes aren’t doing their damn jobs—

There were two older systems that got replaced. Not a lot of people know that. Focus could be built up, would synergise with other cards, but it was just—it wasn’t working. It got reworked. No one would miss it. Delve was a difficulty setting, but it was dumb, just press a button to choose your difficulty, that works way better, and—

Game design is simple, really. 

Decked Out is not a game.

Had it ever been a game? In its first iteration, back in season seven, had it hungered the way it does now? Had it slept, slumbering beneath the earth, soaking in blood that would slowly, slowly bring it to life? When the idea had wormed its way into Tango’s head, a sequel—had that been his own thought? Does it matter if it was?

He’d certainly thought it was. Began drafting up plans, re-evaluating what he’d done in the past and putting better spins on them. Decked Out 2 would be huge, would be the biggest project he’d ever worked on, but it wouldn’t take that long. Surely.

…Thirteen months later, Decked Out 2 opened its doors.

Thirteen months. It had started as a hole, as many things do. A hole, a build, a plan, a citadel—Tango had thrown himself into it like he would with any huge project. And at first it had been—it had been a project. A build, a game. A giant hole filled with promise. A castle built in a week. Just Hermitcraft things. The usual.

When had it started? When he’d dug, and dug, for hours and hours upon end? When he’d carved jagged-looking scars into the landscape and dragged the citadel up from them? When he’d started building level one? When he’d begun assembling the redstone? When the ravagers and wardens began to roam its halls? When did Decked Out come alive?

…Had it always been alive?

Okay, better question: when did—

A frozen shard is placed into the barrel. The door lights up, sounds play. The door opens. The hermit—Joe?—begins to take off their armour and items and set up the game. A difficulty button is pressed. A shulker is placed into its slot. The cards begin to filter through the system. A minecart ride, and a pressure plate—

Decked Out turns on.

The Dungeon watches carefully, hungrily. A shrieker triggers. A hazard door closes. The game is running, the game is alive, the game is always alive—

The Dungeon Master floats, untethered, bodiless, watching, speaking, unheard, unseen. His body stands in the dark, empty, eyes sightless and lungs unbreathing. Why would he need to breathe? Dungeons don’t need to breathe, after all. Games don’t need to breathe. And Decked Out isn’t a game, not really, but it still works on principles of game design, and none of those principles require the game to breathe.

So the Dungeon watches, and the Dungeon Master watches, and Joe runs straight into the blood-stained horns of a ravager, and—

And—

Tango tries to blink. To breathe. A hazard door slams open and closed. The wires are crossed, that’s not—he needs to go—an attempt to step forward dispenses a stack of frost embers into the dungeon. They’re not supposed to do that. That’s a bug, he needs to fix—

He needs his hands—

Stone walls aren’t fingers, but they flex all the same, groaning under the strain—

There’s an itching in his legs. Skulk creeps up the walls. This wasn’t supposed to happen. This isn’t—

It’s dark. A warden sniffs. A shrieker howls. Stone becomes sinew becomes skulk becomes shadow becomes smoke becomes a soul. The Dungeon Master wrenches open his sightless eyes, and the Dungeon sees—

(Buildings aren’t meant to have panic attacks. Neither are dungeons. Nor games. But Decked Out is not a game, never really has been, and Tango—)

Joe and Hypno stare in bafflement at the flickering availability metre outside of the dungeon. “Tango, fix your game!” Hypno cries, and—

Ha.

Here’s a better question: when did Tango become Decked Out?

[miafeystits]

if you’re still doing the ask game – i really liked how you incorporated different readings of dahlia in your most recent fic (i thought it was very cool how it could be read as analogous to audience interpretation of a fictional character, which works especially well for a polarizing character like dahlia). was there anything in particular that made you want to explore this idea? do you have any director’s commentary on it?

hello yes!! i absolutely have MANY thoughts on the topic and would love to give some director’s commentary

the thing about dahlia hawthorne & mia fey are dead is that initial versions of it were way different than what it ultimately turned into. mind you, it was always going to be written as a play, always set vaguely in the afterlife, and always involved mia and dahlia speaking and trying to get to the bottom of why dahlia did what she did. but these earlier versions were a lot less meta, and stuck much closer to a single interpretation of her character that was eventually uncovered throughout the work**. the placeholder title was “theaters of cruelty” and i was drawing a lot more from no exit than rosencrantz & guildenstern are dead; one idea of mine was to maybe follow a psychelock structure and ultimately get down to the core of dahlia’s issues that way. obviously, this did not end up happening

so i ultimately went in a different direction, because the thing is that in the process of trying to get at the core of “why is dahlia like this” i kept running into the same issue:  we don’t really ever get anything approaching a definitive answer to that question in the game itself—we get implication, the interpretations of other characters, we get a few things that dahlia tells us herself (if we can trust them), but nothing that ever feels truly substantial or complete to me. and in most cases this wouldn’t be THAT big of an issue—this is fanfic, the whole point is filling in the gaps with your own interpretation. so i tried to fight against the issue at first, create my own interpretation use that, but it never felt quite right, always like i was forcing it. i think creating and sticking to a single interpretation would have been easier for me to do had i been writing in prose, because that’s a medium where the world and the characters often feel more concrete to me in some way, it’s a place where it feels more necessary to stick to a single interpretation/version of reality. but in theater, at least for me, there’s this greater conscientiousness of the medium and its inherent unreality, especially since i tend toward a more metatheatrical mode in both what ive written and what i like to read—there’s a much stronger sense of the characters as characters, and as potential actors in/directors of their story. so eventually instead of fighting against the lack of finality in dahlia’s arc by imposing my own interpretation, i decided to embrace the problem as the actual subject of the piece

because ultimately i think what i realized in the process of writing the early drafts is that the tragedy of dahlia to me is not so much whatever deep dark secret that lurks inside her and makes her act the way she does, it’s the fact that she’s never given that full interiority in the first place. if we want that interiority we can’t look to the text, we have to invent her out of the scraps we’re given, which leads to such a wide variety of interpretations. and then we decide on which version of girl we prefer, but no version will ever be more correct, only more convincing, and we have to make peace with that as members of the audience.

but we as the audience also get to make peace with that. much like in rosencrantz and guildenstern are dead, i wanted to highlight that there’s an absurd tragedy to being a character in a story, and more so to being an incomplete character in a story that’s not about you. the tragedy of the character dahlia hawthorne is that even if she wanted it, she could never get true closure about why she acts the way she does. there’s no answer! it’s all interpretation

anyway, i hope that responded to your question! thank you for the ask and letting me ramble about this!

**as an example of how different my approach to the character was in each version, compare dahlia’s introduction:

from an early draft: “In center stage, on a white couch, sits THE GHOST OF DAHLIA HAWTHORNE. Around her neck hangs an ill-fitting noose, and her neck is decorated by a collar of bruises/rope-burn, the moment of her death tattooed onto her phantasmal form. She wears a light blue prisoner’s uniform and her hair is a mess, braids falling loose. Her hands are stained with blood.] [In her hands she holds a picture frame, grip tight. We can’t see what’s in it.]”

vs the final version: “Enter DAHLIA HAWTHORNE. She is a beautiful young woman, and gives the appearance of never having been anything else. She wears the white silk dress she has always worn, although without the accessories she has always carried— no shawl, no parasol, no shoes. She walks to center stage, and takes a seat in the empty chair: the witness stand.”

[randomfoggytiger]

Twenty questions for fanfic writers

Thank you for the tags, @baronessblixen, @xxsksxxx, and @slippinmickeys~!

1. How many works do you have on AO3?

50 (ooh.)

2. What's your total AO3 word count?

47, 807

3. What fandoms do you write for?

The X-Files; and The Beauty and the Beast (1987), once.

4. What are your top 5 fics by kudos?

"Mr. Mulder, I Know Something About You"

"No More Paranormal than a Change of Wardrobe"

"Gold"

"The Next Chance"

"Celebration"

5. Do you respond to comments?

Yeppity yep!

6. What is the fic you wrote with the angstiest ending?

Discounting the fics that partially resolve their angst in a second part, I've got to go with "I'm Tired", "What Must a Mother Go Through?", "Latkes", or "Did You Really Have to Bring That Thing?"

7. What’s the fic you wrote with the happiest ending?

At least 3/4s of 'em. Today's example will be "Time Passing in Moments” (still has a hold on my fuzzy feelings.)

8. Do you get hate on fics?

Not yet-- I've seen it done to others, however.

9. Do you write smut? If so, what kind?

Smut's not for me~

10. Do you write crossovers? What’s the craziest one you’ve written?

While opposed to crossovers on principle, I've written three-- ironic, I know, namely: my first ever fic Son of Egypt (Prince of Egypt lite), The Hospital Where You Slept (While You Were Sleeping lite), and "I Know You. It’s What I Do." (for @amplifyme, who introduced me to The Beauty and the Beast 1987 and went above and beyond to pass on resources and interest. Incredibly grateful.)

11. Have you ever had a fic stolen?

Nope! Don't expect them to get stolen, either, unless they're multichapter pieces.

12. Have you ever had a fic translated?

Nope! Not opposed, though.

13. Have you ever co-written a fic before?

Nope! I don't see it happening anytime soon, either, because my irl schedule is all over the place.

14. What’s your all time favorite ship?

MSR-- objectively, as well as personally.

15. What’s a WIP you want to finish but doubt you ever will?

I have an idea blooming about reworking S8 in some way or form-- but there are already so many fics that tackle it from nearly every angle; so, I'll just reread those instead. (That, and I have to finish my S8 meta series; so....)

16. What are your writing strengths?

Pfffft... voice, I believe.

17. What are your writing weaknesses?

Characterization-- there's a reason I haven't created my own characters when writing, drawing, etc. ;)))

18. Thoughts on writing dialogue in another language in fic?

Not opposed; but I'd have to learn another language first.

19. First fandom you wrote for?

Star Wars. Must have been in kindergarten or first grade.

20. Favorite fic you’ve written?

Proud of 'em all-- especially the reception to "Son of Egypt"-- but Bill Scully's POV ("Mr. Mulder, I Know Something About You" series) was such an unexpected... everything. That, and the discussion between Mulder and Scully in "My Religious Convictions Are Hardly the Issue Here" were wound around a POVs I wanted to tackle.

Tagging (if you want~): @welsharcher, @agent-troi, @numinousmysteries, @skelavender, @virtie333, @suitablyaggrieved, @nachosncheeze, @living-in-unreality, @aloysiavirgata, @cecilysass, @leiascully, @pennyserenade, @invidiosa, @settle-down-frohike, @piecesofscully, @thescullyphile, @p34chi, @incidental-ao3, @cock-holliday, @ragnarockz, @frogsmulder, @bakedbakermom, @cutelilcurtain, @dreamingofscully, @freckleslikestars, @amplifyme, @scullys-scalpel, @ghostbustermelanieking, @o6666666, @sigritandtheelves, @contrivedcoincidences6, @two-microscopes, @sixhours, @jessahmewren, @enigmaticdrblockhead, @wexleresque, @danascullysjournal, @seek-its-opposite, @frostbitepandaaaaa, @oohnotvery, @atths--twice, @thatfragilecapricorn30, @storybycorey, and anyone else!

[nights-nonsensical-ramblings]

ugh, I really need to get a fic done and posted so i can feel like i've actually accomplished something, but at this point so many of them are in a state where i feel like I'll never ever get them done. It's like im just trudging through and endless swamp and that even if i do reach the end they're so niche that they'll barely get any attention and like what's the point of putting so much effort into them then? like i used to draw but all my motivation vanished as i could rarely get it to be what i wanted. I've got some stuff im genuinely proud of, but at this point they feel like flukes and im never going to get something like that again no matter how hard i practice. I still get ideas for drawings but then i remember even my basic sketches make me cringe, theres no way i could draw what im wanting to and then im just goign to be even more upset.

but unlike with my drawing i AM writting but im writting and just going round in circles with the same wips, always addign but never getting anywhere close to done. But actually. some of them are near done, so done in fact that when i go to read them its like reading a completed story/ but there in lies the problem these cycles and bouning back and forth between fics means that when i ome back to these near completed ones im no longer in the writter mindset but the reader and the closer to complete i am the harder it is to get back to them somehow.

like my fics have genuinely turned my life for the better, without them i wouldn't have met or befriended so many wonderful people and i likely would've remained just an observer of the internet and in a much more lonely place. I can't even imagine what the last couple years would've been like my cuz of what my fics lead to, its kinda unreal.

where was i even going with this? I started writing in a miserable state but ive since calmed and now just feel dull so whatever my original point was has faded to. I guess my brain was just being over dramatic about "those good days of people being excited about things you make, ideas you have and so on are eventually going to end". It tends to do that. (I still struggle to fully enjoy a song cuz two of my best friends clowned on it all the time and its been literal years since i've talked to them, and my brain likes to tell me that saying something "wrong" in a conversation has sims mechanics and damages their opinion on me lol.)

Maybe i need update my pinned post to my fics ( i haven't done that since 2022...) That way new people can be aware of my fics. even if i think a majority of them aren't really that great and are full of errors.

Ugh. sorry for this rant whatever it is, this was just supposed to be a "i need to finish a fic" post but i got a lot of feelings and i just couldn't stop typing once i started

[captainbobbin]

Hi- I have somehow survived the depths of completing a whole game in one sitting, grinding for the talents of a character in another game, and completing one of 3 endings for undertale as well as attempting to art. So how are you? <3

Also would love to make you aware your Saix/isa, Xemnas, and Terra are the reasons I question if I'm truly AroAce because of the FOUL, down right HEINOUS things I want them to do to me.

Also, I was going to ask this on Retrospring but I have no idea if the ask button was either tricking me by looking like it was doing nothing or if it just wasn’t up to doing its job, but, I scroll through the Saix tags often and there was this one post that pointed out that he has a hourglass figure and I could not for the life of me tell if you draw him with one too or not so, are you aware of this? If I’m wrong about him having that figure or if you do actually draw him with one then you can just ignore this.

Also, finally looked at your twitter since I don’t usually use it and there was this one thing you said and while I can’t exactly pinpoint what it was I know it was enough to make me audibly gasp and then mentally agree. Anyways that’s all, have a good night or morning I’m still trying to figure out time differences. (Also if I ramble too much feel free to tell me I’ll gladly shut up a bit….maybe- I can’t even trust myself to remember to breathe actually so- nvm)

long response so -

ayyy I'm glad that you've been doing okay lately bud - its always satisfying to complete a game that you've been sucked into, and I hope you had a fun time with it!

You know. You'd be surprised how many aro and/or ace people have said such things to me/are actively in my chat encouraging me to make more nsfw content regarding my blorbos lmaoooo I actually had a message on retrospring the other day regarding my portrayals of certain characters making people question their orientation and I'll put what I responded to them here - 'there's a post that I love and its like. If you are really into something and are passionate about it, you will accidentally convert others to enjoying it. By making content where you genuinely show how much you love a certain thing and you project your headcanons onto it and display the depths of your inner love about a certain concept, character, body type, topic, etc, that people will see it and connect with it whether you mean for it to be convincing or not hahaha. Sometimes just really loving something inspires others to love it and see it your way too.'

Saix undoubtedly has a pretty curvy silhouette, yes lmao there is no way I wouldn't realise that hahaha - Its harder to see it in his KH3/Unreal Engine model due to the stylistic overhaul but his original (and superior imo) model has notably wide shoulders and hips compared to a small waist, yeah. All of the original Org members had really distinct shapes so you can tell who is who, even with the hoods up. I do tend to draw Saix with fairly muscular thighs and broader shoulders, but in general my artstyle is what I would say is 'not very anime proportioned' in that I try to have a decent amount of realism in my anatomy/shape rather than super lean or angular bodies. I don't ever want my blorbos to appear emaciated or for them to have the 'ideal standard' body, if you know what I mean, I really enjoy drawing my faves to look like real people that have folds and bulk and 'imperfections'. I do typically try to draw Saix as fairly broad, with a balance between topheavy upper arms and chest and a more rounded hip area compared to his waist. (some examples below, including a super super old sketch I did to visualise lfotr isa and terra's size difference). I do try and make all of my usual blorbos have identifiable yet still human proportions; I tend to draw Xemnas slightly softer and chubbier around his middle but he is still broad and powerful. Saix is curvy but still noticeably strong and while not entirely lean he has a sleekness to him. I draw Hendrik with a lot of padding, hair and with much more unique facial features. Sylvando is probably the only character I draw that has a body close to the canon source - he is lean and muscular and tbh the only character I really draw with pronounced ab muscles, the same way that in canon he is shown to be very cut - but in all fairness he's a gymnast/acrobat/performer/contortionist/dancing clown so drawing him as noticeably and suprisingly ripped tracks imo. Plus I sprinkle on so many of my own headcanoned features regarding his hair, skin tone, freckles, etc that it doesn't feel too weird to me haha. so tl;dr yes I do draw Saix with somewhat of a curvy shape (when I do fullbody draws of him, its been a little while) however I think my version is pretty masculine and doesn't read as disproportionate or exaggerated.

Anatomy and stylization are things I always want to push myself on and develop more - my biggest fear is having 'same face syndrome' or for my work to feel like my love for the characters don't come through haha - though by the sounds of it, the way I portray my blorbos is definitely doing something for you, so I must be going in the right direction haha

oh I yap about all kinds of bullshit on twitter lmao I use it as a place to talk about my blorbo thoughts often :p for those who don't follow me on twitter, you can find me here, although I'll warn you that I do most some n/s/f/w stuff there that I do not post here. Let me know if you find out which post I made that vibed with you, I'd love to hear which thing I said resonated with you and why haha! I am somewhat more active on twitter than on here/I tend to share more of others work and do general updates on twitter just because its easier, but I think interacting long form with others is a lot easier on tumblr for sure. Long asks and chats like this area always nice!

[wolfsplosion]

my headcanons btw (more thoughts under the cut teehee)

Nathan: gay, cis; he's so closeted it is unreal. every time he's around women in the show he's apathetic, like he likes sex but does not feel anything for them - and then when he meets Abigail, he gets obsessed with her bc she rejects him & then he chooses Pickles over her (much to think about.) and then his arc in the movie is accepting that he only liked the idea of her? MUCH to think about. also I think after all that, he's actually given his gender some thought and came out of it like "yep, I'm a dude" (Pickles is very proud of him <3)

Skwisgaar: bisexual, agender; he def prefers feminine people but doesn't really give a shit <3 his whole "I'm not a man I'm a god" thing is very agender to me also, like he's fine being perceived as a man or whatever he just likes being both masculine and feminine

Toki: bisexual, nonbinary; classic he/they, his gender is def "boy not man". and he has autism for sure which affects the gender situation of course. also he just likes pretty people <3

Pickles: bisexual, transmasc; this is basically canon to me to the point where when I see people draw him with a dick I'm like "wow congrats on the bottom surgery king" hgkfdjf.. like I feel so strongly that he's been on T since he was a teenager.. usually the highest honor I can bestow upon a character is gay transmasc (because I am gay transmasc. I hope you understand) but he's giving sooo bisexual

Murderface: gay, genderqueer; he canonically has gay thoughts. many such cases. also he has something going on gender wise.. I don't know what pronouns he'd end up with but it/its is probably in there somewhere !

Charles (not pictured): unlabeled; I think he's only interested in men and nonbinary people & didn't click with any label he's tried out for that! he's not cis and I can't decide which flavor I like best of that. whatever it is, he's comfortable being perceived as a man (enjoys it in fact, his gender is Suit Guy) but there's more goin on than Just Man, y'know?

[amodernpersephone]

top five things you love about eichi?

HNG. OK IM ANSWERING THIS NOW BC IM NORMAL . Cut bc its LONG AS FUCK

1. he's got soooo many issues (ok on a srs note i do love how much potential there is always left in his character bc hes not the "got beaten by the good guys, proceeds ro alter entire world view to fit theirs" because despite that eichi firmly believes his actions are in the right and he is!!! what difference does he have from the eccentrics who sought to fix yumenosaki but were incapable of breaking a system forcing them to be caged? eichi merely acted upon his words and decided that if these idols were to grow unafraid of how the entertainment industry would break them then by fucking god, eichi will have it done himself. his whole morality hinges on the idea that he has the means to reshape this world and he will act upon those means because he views his actions in the right!! yet he knows he's hurt people and it's hurt him just as much, but what is a little bloodshed to a victorious war? and ill never ever stop claiming that they MAY have dethroned eichi but they didn't succeed. yumenosaki was changed. the systen was broken. eichi managed to create his poisoned idol heaven, even for just a few minutes. and in that, he won.)

2. his design!! i say it a lot but again i just rly like yellow and blue and he has both in his color scheme. i also love fine's outfits and his outfits in general (ESPECIALLY HIS PRIMAVERA AND DINER LIVE OUTFITS. those won my heart) his expressions are always so . genuine and warm to me no matter what people say how can you fool me into thinking this baby little thing has committed so many war crimes? hm? no.

3. oohhh girl are you insane because youre boyfriend is also insane. GOD DO I FUCKING LOVE WATAEI. its not even funny anymore theyre practically stitched onto my brain stem ive known them for so long they might as well be my neighbors. idk. its just the way theyre both each other's missing puzzle and how they slowly try their best to grow out of the idea that wataru is only in fine to experience the exhilerating thrill of eichi's insanity and that eichi can and will be inevitably betrayed by wataru and he would be broken beyond repair, sure, but he wouldn't hate wataru for it, he could never resent something he loved wholeheartedly. its just the way theyve slowly consumed one another and it takes just a little more for them to realize that "the mask is yours, and as is i" and "if you were to betray me, i could never hate you." and just. wataru admired eichi when he was the infallible emperor who executed him mercilessly but he loved eichi when he stared at his performances as though he carried the stars themselves and eichi envied wataru from the electromagnetic screen, his savior enigma that only made him burn at his own contempt and the nature of his situation but he loved wataru when he held his hand and pressed a loving kiss against his palm and glowed alongside him in every performance as though he was no longer perfect, or unreal, yet here and now, hand in hand, loving him just as he once did. they are both such perfect absolute halves of one another that they would and could devote their lives into each other wholeheartedly. ough.

4. man's got an iv drip sticking into his soul every which way and so do i . ik its normal to ne drawn to characters with similar situations such as yourself but eichi resonated w me straight into a paraself bc. i too fell got a crush on my gf after hearing her sing a few times in my hospital. his struggle w his illness is probably the closest experience to mine in fiction which gets surreal a few times i have to turn off my device. i just love how its an integral part of his character and debilitates him in a lot of ways but it's equally one of his most notable traits and the part of him that draws so many into his side.

5. hes a sad pathetic baby girl and hes mine. hes trans in ways i cant even explain. hes trying to change, maybe be a little less manipulative and scheming and hes failing but sure. he wants to fully realize that wataru is tangible and by his side just as he is to wataru. hes doing his best. hes failing miserably. he makes me wanna cry. its been years since i came into enstars and ive gotten legal problems bc of it and eichi specifically thrice now and . yeah. i could never P anyone as much as him. i joke abt hating him and shit but ultimately hes a massive part of my life and i love him wholeheartedly. my eichi <3

[kuwanxs]

It's something i admire in both mha and opm is how distinct they are in character design and making them fit the world around them.

Hori's art is crisp, round and blocky at the same time, it's goofy and charming. The way he draws bodies is soft and more realistic looking, and he makes awkward/stiff looking poses look fluid and dynamic by using various objects and background quirks, as if you just captured a photo at the perfect timing. He's awsome when drawing emotional scenes. He colors as if it was smudged with markers and the colors are melting together.

Murata's is the pure juice of the comic superhero kind. All the characters are outlandish, larger than life, they have a certain brutishness to them that makes it look really cool and stand out against the hyper realistic and detailed backgrouds, he poses them artfully and forcefully, like they are moving while they're standing still. He loves action scenes, so there's a lot of great references for it. His coloring is very oil paint like.

One thing that caught my eye while reading OPM were the volume covers. If you compare the artstyle alone for MHA and OPM its so distinct in nature that if you judge it by art alone you'll be able to get a good idea of what the stories are about or atleast the surface level themes within them. Hori's art, especially his twitter pieces and even the volume covers have an interesting fluidity to them in terms of colouring, you don't see too many harsh colour lines that compose the piece. His bodies are often softer and fuller, there's a kind of youthful radiance, softness of layered skin, in the bodies he draws, and it conveys the nature of the manga really well because its centred around teenagers. The adult characters typically have sharper faces, or harsher defining characteristics like the beard for Aizawa, or the slanted/narrow faces for characters like mic or allmight, but i do feel like this specification kind of falters in female characters because they don't appear starkly different in age when compared to the younger cast, this isn't applicable to all female characters ofc but most of them lol.

OPM on the other hand consists of a lot more harsher lines, like you said, very oil paint like. The shading often intensifies around certain areas and the final product is composed of variations in shadows. There's also a lot of playing around with textures which kind of gives the covers a very intimidating appeal lol, almost like its preparing you for what you're about to get into. And the covers often differ in colouring techniques used for them because some of them have your typical oil painting approach to them while some have cross-hatching and harsh pen scribbling on them, Murata also plays around with textures a lot from what I have noticed, the Genos cover having such intricate detailing to the light shift and shadows on his metal arm and the other covers often having certain textural definition to them, it all feels very experimental and i think this sentiment is carried into the manga as well. Because like you said, Murata's brutish characters often blend so well with the astounding structural changes around them, their hyper realistic bodies and the distortion in them adds to their appeal as canon typical "villains" in a superhero manga, the collapsing buildings, the effort put into portraying the everchanging enviourment in a battle, its very fun because it fits into the whole "superhero-comic" vibe OPM has to it, just like you state, and i feel like Saitama's contrast to this plays so well into the overall theme that it almost feels unreal!!!!

[jambjars]

ACADEMIC BLOG POST 4- Realism: Emotional and Visual Shades

Art isn't always about what's most impressive. Don't get me wrong, I enjoy a good photorealistic portrait that took years to make as much as the next arts student, but art isn't always about capturing the precision of physical reality, regardless of the effort that goes into such projects.

Many of the largest names out there in production are dedicated to the idea that realistic art = good art, as if stylized works are less deserving of respect. I thoroughly disagree with that notion, especially when voiced in relation to my field of animation. The most striking examples I have in mind are, of course, Disney's two Lion King projects. The sheer amount of work that went into the image on the right can't be denied, and it's certainly beautiful, but I feel it was an utterly unnecessary project save for excellent portfolio work for the CGI artists.

The story of The Lion King shines because of its emotional weight, its human nature, being an adaptation of Shakespeare's Hamlet. While we as people can empathise with animals very easily, this is a human story in an allegorical skin to begin with, and its beautifully stylized animation and expressiveness was what made it so. Animation captures the impossible and draws us into an unbelievable narrative, and as such I believe the 2019 version suffers from the pitfalls of hypermediacy. Despite its realistic style, immersion cannot truly be experienced by the audience because of the sheer unrealism of the narrative taking place in apparently normal animals. There is no compelling reason for this narrative to take place, which causes an intense disconnect in audiences.

On the opposite end of the style scale is a gem I've stumbled across-- the game Perfect Tides by Meredith Gran.

The visual style is nothing like reality, but the game so realistically captures the emotjonal realities of teenage girlhood.

Bibliography

BadElephantGaming (2022). The Best Gaming Story of 2022 Is In PERFECT TIDES. [online] Available at: https://www.youtube.com/watch?v=nmloIlBnXac&ab_channel=BadElephantGaming

Coleman, Tina. "There Are No Stars in Brooklyn: Octopus Pie." Booklist, vol. 106, no. 16, 15 Apr. 2010, p. 33. Gale Academic OneFile, link.gale.com/apps/doc/A224774955/AONE?u=uniherts&sid=bookmark-AONE&xid=17871665

Culkin, Kate. "Octopus Pie Extends Its Reach." Publishers Weekly Online, 25 May 2010. Gale Academic OneFile, link.gale.com/apps/doc/A477430812/AONE?u=uniherts&sid=summon&xid=ba261c77.

Sorlin, P. (2017). André Bazin, or the Ambiguity of Reality. In: AITKEN, I The Major Realist Film Theorists: A Critical Anthology. Edinburgh: Edinburgh University Press.

The Lion King. (1994) [2D Animated Film]. Buena Vista Pictures.

The Lion King. (2019). [Film, CGI] Walt Disney Studios Motion Pictures.

[itlion]

How To Create A Mobile Game?

A comprehensive handbook covering all the aspects of creating a game, including web development services, design, programming, graphics, and more, for mobile devices.

Nowadays, almost everyone owns a smartphone, so it should come as no surprise that the market for mobile games has exploded; mobile game development company is an intense requirement. This article will lead you through the seven steps you need to take to create your mobile game app from idea to release if you've been yearning to learn how to make your own with a mobile application development company.

7 Steps to Creating a Mobile Game

To create a mobile game, follow these seven steps:

Create a plan

Select your program

Pick up some programming knowledge

Get your project going

Put your graphics to use

Make your play better

Launch the game

1. Create A Plan

Your strategy may succeed or fail depending on how well or poorly you plan. You must decide what kind of game you want to design before you can begin developing your first one. Is this scroller sideways? An enigma game? A racer of some sort? Which will it be—3D or 2D?

Spend some time brainstorming, creating original characters, experimenting with various art styles, and considering the kind of gameplay that would add enjoyment to your game. This YouGov list of well-liked mobile gaming genres might help you get started if you need help knowing where to begin. Once you've chosen a genre, be careful to write down your design specifications and draw out your game's appearance to help you know your idea to the website design company. It can be vague. As you work on your game, keeping a notebook with a list of the features you want to see will help you stay organized.

2. Select Your Program

Why add more difficulty to the process of making a video game app? Utilize the mobile application development company and its tools that have evolved to do the coding for you so that you can concentrate on the more artistic aspects of your product.

When it comes to software, mobile game creators use Unity the most. It has excellent graphical capabilities and is entirely free to use (until you put your game on the market).

Unreal Engine-powered UDK (Unreal Development Kit): This includes a basic project that is already completed, so you may practice creating a prototype game and gain experience with the tool sets. If you're interested in UDK and Unity, you can compare the two platforms by clicking the preceding link.

GameSalad: This uses a "behavior-based logic system," yet it doesn't require any understanding of coding at all. Consider it to be similar to a drag-and-drop game developer. Naturally, there is still a learning curve, and using it to create sophisticated games will take time. It can effortlessly adapt your games to iOS, Android, and Windows with a single button press, but it is also mighty.

3. Pick Up Some Programming Knowledge

Regardless of the game creation software you select, learning a programming language is still crucial. Since C# is the most popular programming language among Unity developers, it's an excellent place to start. The object-oriented programming language C# is straightforward to learn.

Another well-liked language for creating mobile games is Python. One of Python's many benefits is its abundance of libraries, which can help you develop your mobile game to the next level by a mobile game development company

4. Get Your Project Going

Even while it could be scary to begin your project, if you keep things basic, you can see results immediately. Here is what needs to be done from start to finish:

Start with the fundamental gameplay mechanics and guidelines.

Then, create your first level, put your images into practice, and test, test, test.

Create the interface, which includes the screens, menus, options, etc., last.

5. Put Your Graphics to Use

It would be best to choose between 2D and 3D visuals for your game throughout the planning phase. When the time comes to put them into practice, you must choose between hiring a designer or doing the graphics work yourself.

With Photoshop for 2D graphics and Maya or 3DS Max for 3D graphics, you can make your graphics. Hire a different designer to create your visuals. Numerous websites are devoted to assisting you in selecting a designer who will provide you with the desired aesthetic.

6. Make Your Play Better

Once your game is designed, it must be polished to produce a fun and unforgettable experience. The following typical adjustments will guarantee that gamers enjoy your game:

Make sure that your competition doesn't pixelate.

Make the controls simple to use and apparent.

Include a captivating and intriguing plot.

Use upbeat, non-distracting music to set the mood.

Test once more, then again, then again.

7. Launch the Game

One standard error made by novice game producers is to put less effort into making the game flawless, which causes the game's release to be delayed. While you shouldn't completely neglect testing and improvement, you should also be aware that it's preferable to release the game soon. If it attracts a following, you can then update the game and make improvements.

You'll also need to set aside money for your game's promotion if you intend to profit from it. Additionally, you may send your game to sites like Android Guys or Mobile Startups for review. You'll probably want to submit your app to an app store like Apple or Google Play to release your games.

Source:

[kaizey]

I think as well its worth pointing out, because theres already been a cascade of usual unfunny jokes from non-speakers listening to De Selby (mostly americans) about "this spelling is so fantasy/weird" or "theres no way thats how its sounds" or "hahah speaking garlic"

Theres all fun and humour to be found in anything, but for alot of us, gaeilgeoirí or neamh-gaeilgeoirí, the legacy and current state of irish is still a touchy subject with affects in the modern day. Especially for many of us who are stuck living in the 6 counties

Please try and remember that this is our language that has existed for over 2000 years, and for several centuries was on its death bed at the hands of the English systematically trying to culturally genocide us into being "non-irish", because its the closest they could see us to being british. The history of the likes of the staute of Kilkenny, the penal laws, hedge schools, tally sticks, An Gorta Mór etc kept An Ghaeilge on a downward spiral until the 1900's. But even today, you already see that as a country, English has cemented its roots into Ireland, and while so many of us still speak our language and work on its growth, more than afew are content to let irish still be treated as a tourist draw or cutural decoration. Like a token "Fáilte" mass printed on trinkets or the names of roadsigns that few know the meaning of anymore, rather than a piece of our cutural soul thats still just hanging on

The case in the 6 counties in the North makes the topic even more personal. How many outside this country wouldnt have known that it wasnt until December 2022 that Gaeilge was officially allowed official status as a language in the North. This menat that it technically officially ended the english-imposed Administration of Justice Act, which meant if you were to carry out any legal activity in irish, filled in legal forms in irish or spoke irish in a courtroom, you would be fined for every utterance. The act was in place since 1737. This is also in a place where for nearly all of the 20th century, especially during the troubles, you could find yourself on the recieving end of a beating or potential murder if you were found to have an irish name or background and were in the wrong part of town. There is a reason so many irish families in the North anglicised their surnames during this time

People outside Ireland can have a romantacism or feeling of fantasy for our island and language, because honestly, yeah, theres a deep, deeply rooted level of awe and wonder woven into An Ghaeilge, with words and ideas that truly arent possible to express in english with the same poetry and feeling as you can when you truly speak Gaeilge ó chroí. But please. Show it the respect it deserves. Learn some of our history and the context for why something as simple as Hozier writing a verse in it means so much. Its a living languge, rooted in the soil of our home, thats had so much stripped of it. But still; Maireann sé fós

Anyway; Stream Unreal Unearth. Keep languages alive. An Ghaeilge abú

On Gaelic vs Gaeilge vs Irish

Since several people have been asking me stuff regarding this today, and with Unreal Unearth adding to the eyes on it, I wanted to lend an irish voice to the pile already saying this, but it can be useful for non-irish people to learn (mostly americans)

Anyway; Gaelic vs Gaeilge vs Irish

Gaelic: This is infact an english word. As béarla, ok? It derives itself from the irish Gael, which itself comes from the old irish Goídel, an adapted word from old welsh meaning "wildman" or "forestman". In our actual language, the word for 'gaelic' is itself 'gaelach'

Gaelic, also, in the broader sense, is more than just language. Its a word covering the Goidelic languages originating in Ireland, and of wider Gaelic culture across Ireland, Scotland and Mannin. These are widely disparate places in our regional cultures, lexicons and yes, language.

Irish: The english word for our language and by far what the majority of anyone here will refer to as our language when speaking about it i mBéarla

Gaeilge: The Linguonym for irish *in* irish. Its by far the second most encountered term youll hear anyone from here use when talking about irish other than the english word. See where the common term "as gaeilge" comes from

tl;dr Youre not technically incorrect for saying Gaelic when referring to the irish language. But its much less accurate than just calling it irish, and in our language, we refer to it as Gaeilge (general pron. Gw-ale-guh)

Anyway, Go raibh math agat and hope youve been enjoying the Unreal Unearth as much as I have. Definitely not emotionally wrecked by it or anything

Slán

[jonathankatwhatever]

Still 8 Oct 2023, and I can barely remember what I typed this morning. Had a very striking breakthrough in Storyline, and it’s very strange. I’ve been seeing that Joanna as a female me would have a different mix of characteristics so the transformations make sense, so they map male to female. The flip happened in my eyes because I have thought about my grandmother, and how I’ve identified certain traits of hers in face shape, in the brow, in the chin, especially in the nose, and yet I missed the obvious that she had blue eyes. So I replaced brown with blue and suddenly she looks unreal.

I’m not sure how the connection works, but then I heard Joanna describe half a proof of the Riemann hypothesis, which made no sense because this is a case where you construct Is and the Not fits to that. I know that is a weird sentence. Makes it sound like something stupid happened, when I mean the opposite. I heard a two paragraph summary that made perfect sense, but I can’t remember what it summarized! That’s an index failure, right? Can’t locate the record. Reason is that kind of information is very high energy, is very lightly constructed, is set to the exact speed of a sketch conveying truth. That’s a hard idea to pull apart. It looks at the tangible from the intangible perspective. So the sketch is what I see reducing to D3-4 from D4-3, drawing that thread of gs. Oh wait: I can see how a line draws with gs, since the scale effect is to draw to the Bip.

Oh, that’s how Recombinance works! It draws to the Bip and then expands into various layers. So one layer is Hexagonal, and another is gs, and that means pentagonal is in there but not necessarily looked at in the same way that Hex is also Triangular, and Triangular is the scale of D3. Holy smoke! I just saw D3 in a new way. That was super powerful. Knocked me over on the couch.

It’s the scale of drawing a Triangular over Hexagons, and how Hexagons do the same. So if you were to list all the attributes of a human body, all of its movement potentials, remembering that you’re going to get a finite list because our imaginations are constrained by the fact that we are constructions.

And you put all those in the combinations they can make, which again is finite. All this restates the idea of gs construction in a different way. So, then we can imagine a really large from our perspective Triangular, one that fully describes you as a construct by listing out all those combinations, pathways, etc. Why D3? Stop thinking of geometry. Think D-structure. We have 3 examples of D1, of a single End with a flailing arm. And that makes 1-0Segments, and ambiguity in pairing.

This is coming to me. I see growth by fT’s, of the 3bT facing one way, and 1bT facing the other. What if I think of the 1bT as 10 to make 13. That is 1 stands for all powers of 10. Now I have to take another look at what D-structure represents: D3 to 3D and back. Take D2. The idea of D2 is of a 1-0Segment plus a flailing arm attached to each End, so the potential for D3 Triangular is there within all that Not. The Is inherent in Triangular forms out of that Not. And that is the conceptual bridge I’ve been struggling to find.

Okay. Deep breath. Said that D3 forms out of the potential Attachment to D2’s Ends. Note that I presented this as flailing arms, and these almost connect to make D3, in the same all but the label way of counting we’ve used many times before, meaning edges and 1Space. But it can also be another End’s flailing arm connects. Or that lots of them do. Like in D24, nearly 200,000 equidistant connections. Is that why 200K from SBE to IL? Tempting, isn’t it, to say that part of the delta is processing over a D24 lattice, which invokes the Monster Group, but above and attached to the IL. That’s an interesting translation of the delta: that 18*419, with the Attachment to within the IL more obvious now, processes through a D24 lattice. But it’s not exact; it’s 196,560, which is 3,440 off exact. I can get lost in this and never find anything compelling.

So a D3 form can be as simple as the axes which we use to locate or triangulate a point. Or as complex as possible within the construction.

I’m a little too disorganized for my taste. Try again. So have contraction to the Bip, and expansion out from the Bip. These together are Injection. And now I think we see why primes Inject.

So that is tightening up.

I’m noticing again that when I draw fT’s getting biger and smaller, a pattern is that you shrink by counting an fD, then carving one side of that fD into the 3fD, which means a 1-0Segment folds not at the half but at the ¼.

I’m very tired.