#so right now i'm trying to be more efficient about my art

[bill-gates-hate-blog]

definitely not my best work but i can forgive myself after being away from my drawing tablet for so long

[makapatag]

realities, maximalism,and the need for big book™️

some gubat banwa design thoughts vomit: since the beginning of its development i've kind of been enraptured with trying to really go for "fiction-first" storytelling because PbtA games really are peak roleplaying for me, but as i wrote and realized that a lot of "fiction first" doesn't work without a proper sort of fictional foundation that everyone agrees on. this is good: this is why there are grounding principles, genre pillars, and other such things in many PbtA games--to guide that.

broken worlds is one of my favs bc of sheer vibes

Gubat Banwa didn't have much in that sense: sure, I use wuxia and xianxia as kind of guideposts, but they're not foundational, they're not pillars of the kind of fiction Gubat Banwa wants to raise up. there wasn't a lot in the sense of genre emulation or in the sense of grounding principles because so much of Gubat Banwa is built on stuff most TTRPG players haven't heard about. hell, it's stuff squirreled away in still being researched academic and anthropological circles, and thanks to the violence of colonialism, even fellow filipinos and seasians don't know about them

this is what brought me back to my ancient hyperfixations, the worlds of Exalted, Glorantha, Artesia, Fading Suns... all of them have these huge tomes of books that existed to put down this vast sprawling fantasy world, right? on top of that are the D&D campaign settings, the Dark Suns and the Eberrons. they were preoccupied in putting down setting, giving ways for people to interact with the world, and making the world alive as much as possible.

one of my main problems with gubat banwa was trying to convey this world that i've seen, glimpsed, dreamed of. this martial fantasy world of rajas and lakans, sailendras and tuns, satariyas and senapatis and panglimas and laksamanas and pandai... its a world that didn't really exist yet, and most references are steeped in either nationalism or lack of resources (slowly changing, now)

i didn't want to fall back into the whole gazeteer tourist kind of shit when it came to writing GB, but it necessitated that the primary guidelines of Gubat Banwa were set down. my approach to it was trying to instill every aspect of the text, from the systems to the fluff text to the way i wrote to the way things were phrased, with the essence of this world i'm trying to put forward. while i wrote GB mainly for me and fellow SEAsian people, economically my main market were those in the first world countries that could afford to buy the book. grokking the book was always going to be severely difficult for someone that didn't have similar cultures, or are uninterested in the complexities of human culture. thus why GB had to be a big book.

in contemporary indie ttrpg spaces (where I mostly float in, though i must admit i pay more attention to SEAsia spaces than the usual US spaces) the common opinion is that big books like Exalted 3e are old hat, or are somewhat inferior to games that can cram their text into short books. i used to be part of that camp--in capitalism, i never have enough time, after all. however, the books that do go big, that have no choice to go big, like Lancer RPG, Runequest, Mage, Exalted are usually the ones that have something really big it needs to tell you, and they might be able to perform the same amount of text-efficient bursting at the seams flavor writing but its still not enough.

thats what happened to GB, which I wanted to be, essentially, a PbtA+4e kind of experience, mechanically speaking. i very soon abandoned those titles when i delved deeper into research, incorporated actual 15th century divination tools in the mechanics, injected everything with Martial Arts flavor as we found our niche

all of this preamble to say that no matter how light i wanted to go with the game, i couldnt go too light or else people won't get it, or i might end up writing 1000 page long tome books explaining every detail of the setting so people get it right. this is why i went heavy on the vibes: its a ttrpg after all. its never gonna be finished.

i couldnt go too light because Gubat Banwa inherently exists on a different reality. think: to many 3 meals a day is the norm and the reality. you have to eat 3 meals a day to function properly. but this might just be a cultural norm of the majority culture, eventually co opted by capitalism to make it so that it can keep selling you things that are "breakfast food" or "dinner food" and whatnot. so its reality to some, while its not reality to others. of course, a lot of this reality-talk pertains mostly to social--there is often a singular shared physical reality we can usually experience*

Gubat Banwa has a different fabric of reality. it inherently has a different flow of things. water doesn't go down because of gravity, but because of the gods that make it move, for example. bad things happen to you because you weren't pious or you didn't do your rituals enough and now your whole community has to suffer. atoms aren't a thing in gb, thermodynamics isn't a real thing. the Laws of Gubat Banwa aren't these physical empirical things but these karmic consequent things

much of the fiction-first movement has a sort of "follow your common sense" mood to it. common sense (something also debatable among philosophers but i dont want to get into that) is mostly however tied to our physical and social realities. but GB is a fantasy world that inherently doesn't center those realities, it centers realities found in myth epics and folk tales and the margins of colonized "civilization", where lightnings can be summoned by oils and you will always get lost in the woods because you don't belong there.

so Gubat Banwa does almost triple duty: it must establish the world, it must establish the intended fiction that arises from that world, and then it must grant ways to enforce that fiction to retain immersion--these three are important to GB's game design because I believe that that game--if it is to not be a settler tourist bonanza--must force the player to contend with it and play with it within its own terms and its own rules. for SEAsians, there's not a lot of friction: we lived these terms and rules forever. don't whistle at night on a thursday, don't eat meat on Good Friday, clap your hands thrice after lighting an incense stick, don't make loud noise in the forests. we're born into that [social] reality

this is why fantasy is so important to me, it allows us to imagine a different reality. the reality (most of us) know right now (i say most of us because the reality in the provinces, the mountains, they're kinda different) is inherently informed by capitalist structures. many people that are angry at capitalist structures cannot fathom a world outside capitalist structures, there are even some leftists and communists that approach leftism and revolution through capitalism, which is inherently destructive (its what leads to reactionaries and liberalism after all). fantasy requires that you imagine something outside of right now. in essence read Ursula K Le Guin

i tweeted out recently that you could pretty easily play 15-16th century Luzon or Visayas with an OSR mechanic setting and William Henry Scott's BARANGAY: SIXTEENTH CENTURY PHILIPPINE CULTURE AND SOCIETY, and I think that's purely because barebones OSR mechanics stuff fits well with the raiding and adventuring that many did in 15-16th century Luzon/Visayas, but a lot of the mechanics wont be comign from OSR, but from Barangay, where you learn about the complicated marriage customs, the debt mechanics, the social classes and stratum...

so thats why GB needs to be a (relatively) big book, and why I can contend that some books need to be big as well--even if their mechanics are relatively easy and dont need more than that, the book, the game, might be trying to relay something even more, might be trying to convey something even more than that. artesia, for example, has its advancements inherently tied to its Tarot Cards, enforcing that the Arcana guides your destiny. runquest has its runes magic, mythras (which is kinda generic) has pretty specific kinds of magic systems that immediately inform the setting. this is why everything is informed by something (this is a common Buddhist principle, dependent arising). even the most generic D&D OSR game will have the trappings of the culture and norms of the one that wrote and worked on it. its written from their reality which might not necessarily be the one others experience. that's what lived experience is, after all

*live in the provinces for a while and you'll doubt this too!

[tomlinfonda]

"Why are artists so butthurt about AI art? Horse carriage drivers didn't complain when they invented the car, they were just grateful that the technology evolved and made it easier to get around."

Art is not a carriage, it's not a vehicle. Its purpose is not to be efficient, to do a practical job with as little effort as possible. Art is not something that can be automated, because its artistry lies in the humanity of its creator. Art is wonderful, from a baby's first drawing, inexperienced and unskilled, to the paintings adorning the ceiling of the Sistine Chapel.

If you consider yourself an AI artist, I ask you: are you proud of yourself when the computer has completed another image that you will claim as yours? Do you look at it and feel the joy of having created something?

Does the generative process teach you how to see the world better? With every image created, do you evolve? Do you understand the planes of the face better now than 1000 images ago? Do you know what rim light is, and where to put it? Do you understand light sources? Tones? Could you take a piece of paper and shade a portrait by yourself?

"AI software is just like Photoshop or Blender, the next step in artistic technology".

It's not though, is it? A digital artist uses a pen to put colors on screen, chooses where to put each brush stroke, when to smudge or use the liquify tool. A 3D sculptor manipulates basic shapes into characters just like a traditional artist molds clay. An AI "artist" doesn't make any of the thousands of choices that lead to the creation of a real piece of art.

"But art is hard, and I'm not good enough."

Neither am I! Man, I'm not the worst artist in the world, but I'm not great, still not at the level I would like to be. Sometimes I draw something and I look at it and realize that it sucks ass! Sometimes I post a drawing online and realize that I drew a character out of proportion, that the light source is not consistent, that I've shaded outside the lines! And you know what's great? That I get to have an understanding of what I did wrong! I get to evolve! I redraw something from 5 years ago and realize that my composition is much better, my shading more believable. And I know that in 5 more years, I might redraw it again and pride myself in how much I've evolved.

I've been drawing since I was a baby, and I still have a long way to go. And that is also fine, because art is a lifelong pursuit, growing, changing, just as I am.

It's okay to not be good. Hell, it's okay if you don't even try to get better. By drawing, you WILL. It's inevitable that, by practicing, you'll learn.

You know what will not make you a better artist? Software that will generate your "art" for you. The result might look more complex than what your skill level allows you to create right now. But it doesn't look better. You could draw a crooked circle on xerox paper and it will look better than all the AI art in the world. Because you made it. Have some faith in yourself. Your vision has more artistic value than what that computer generated.

"If you're afraid that AI will steal your job, learn to draw better!"

I'm trying. Are you?

[genericpuff]

As someone who can't afford to go to animation school n adores your work- are there any advice or tips they taught you could share that transfer to art or comics? I know you talked about learning how to properly reference things which I admit I think I and a lot of other artists struggle with knowing how to do

Ironically enough, as much as I learned that I do NOT have the patience for animating (which is... ironic, considering all the patience that's required to make a comic LMAO) I did still learn a lot from it that I was able to take into comics. Storyboarding was one of the more obvious ones, as storyboards are basically just the "still versions" of an animation before it's been animated, with establishing shots, camera pans, dialogue shots, etc. all of which you'd find utilized in a comic.

Alongside that was learning how to draw consistently. Turnaround sheets are a shared practice in both animation and comics, they're necessary to creating an ongoing project that features the same core cast of characters. Learning how to draw the same characters the exact same way every time in a way that's both consistent and efficient is crucial.

That said, aside from those little starting tips, I do hope that some day you're able to find the means to go to school for animation or whatever it is that you're desiring to go into and learn. Yes, post-secondary schooling is expensive, and there are a lot of risks in pursuing a diploma/degree that can affect your future. That said, as someone who went to a school that literally no longer exists (like fr I don't even know if I can get my transcript anymore so for all I know, the year I spent in animation college only exists in the student loans that I'm still paying off, rip) I still learned and gained so much that I simply wouldn't have in high school or on Youtube. The biggest of which was the environment - being put into an actual dedicated space for learning art, with peers and teachers who were all unified in that space working towards the same goal, made so much more of a difference in my learning than I initially anticipated. I got so much feedback and guidance thanks to my instructors, and it really put me into a space where I was forced to try new things, I couldn't keep relying on the same tricks and comfort zones anymore. If it weren't for my instructors pushing me to step outside of that comfort zone, I never would have learned how to draw from life or use other mediums that subsequently became the foundations of the stuff I make today.

And while a lot of the things they taught I could have learned on Youtube or CTRL+Paint or Draw-a-Box, being in an actual classroom with grades and a schedule to abide by actually kept me moving in a forward direction and gave me so much more help on a personal level than some guy on Youtube could have given me reading from a script or, in this case, some rando on Tumblr responding to anonymous asks LMAO

Obviously, I'm never gonna recommend that anyone put themselves into financial ruin for post-secondary schooling, ESPECIALLY right now with the economy being what it is, but I do hope that if you genuinely want to go to school that you can find the means to do so, whether it's opting for community classes or applying for scholarships/bursaries/grants/etc or even just signing up for a local art class. Do your research on what's available and feasible to you - even art clubs can be super helpful in getting you out there and talking to people! As much as we may all be slaving away over our desks creating our next big piece, art is still a form of community and interpersonal communication - whether it's between you and an audience, or a peer with whom you exchange new ideas and feedback, or a mentor whose skills you hope to inherit and pass on to the next generation.

Until then though, keep creating and keep getting inspired. If you've never drawn from life before, set up a bowl of fruit and draw it as closely as you can to the real thing, or go to the food court and see how quickly you can sketch the people walking by before they're gone. If you've never tried storyboarding before, grab a piece of paper, find a scene from a live action movie you like, and storyboard it as if you were making an animated film. Try things! Fail at it! Try it again! See what happens!

[t00thpasteface]

hey! i was just curious if i could use your art in an artist study? i looked over your faq and i didn't see any mention of it so i just wanted to ask. it's okay if the answer is now, no pressure :)

(⁠ ⁠ꈍ⁠ᴗ⁠ꈍ⁠) sure, if you credit me! i would be incredibly flattered!!

now that being said, i would also like to share with you some artists whose work i've enjoyed doing studies of! i find it's very useful to "follow the money" with artists you like, and go along the chain of inspiration to see how ideas and styles can change from person to person.

vincent van gogh is my BIGGEST inspiration in terms of color and composition! his unique style of brush work is what he's best known for, but i recommend looking at his works holistically too, and seeing where the eye is led and how he plays with light, color, and mood. if you want to go further, he was very inspired not only by prior impressionists, but also by japanese ukiyo-e artwork— try comparing "starry night" to "great wave off kanagawa" and seeing the similarities in the grand, sweeping movements they convey.

i'm sure i've said this a million times, but genndy tartakovsky has probably my favorite cartoonist style. it's at its peak in samurai jack— opinions are mixed about the narrative quality of season 5, but if nothing else, the art direction is absolutely jawdropping. one of my favorite scenes is the bit in the tomb, where jack is hiding in a sarcophagus, because the music and visuals are paying homage to a scene at the climax of "the good the bad and the ugly"!

in a totally different direction from those two... i'm a huge fan of gil elvgren's pinup girls! i've had a few different pinup calendars over the years, and at the end of the year, i like to cut up the pages individually for mini posters— i've covered pretty much all my available wall space in his illustrations. i love it when artists don't feel the need to sacrifice expressiveness for realism; his girls are SO DARN CUTE and they all look like they're having so much whimsical, cartoonish, flirty fun!

here's a post where i talk about more inspirations!

here's a post listing some other tumblr artists i like!

i'm also just very heavily inspired by 50s-60s print illustration... things like advertisements, "clip art" (which you had to physically clip out of a book and paste onto the page), and of course, tv cartoons. one big trend i love with that "googie" art style is how incredibly limited the palettes were, and how efficient the economy of line was. as much as i love the bold, blocky, dynamic shapes of styles like tartakovsky, who takes insp

also, please remember i'm entirely self taught and am NOT an expert, so just be aware of that if you see any weird stylistic choices in my work... i admire the work of a lot of professionally trained artists, but that doesn't mean i have any training or real right to go around teaching people stuff. i'm just some guy from a big crazy family full of artists, only some of whom went to school for it.

okay, that got way longer than i meant it to, SORRY! here's a pic of my cat Carmen as a thanks for reading this far ^_^

[astoundingbeyondbelief]

Kaiju Week in Review (March 3-9, 2024)

Shin Ultraman took an eternity to reach home video, but Godzilla Minus One will proceed as a more reasonable pace (by Japanese standards). Toho will release roughly one billion different editions on May 1, with Amazon- and Godzilla Store-exclusive physical bonuses both on offer. Godzilla Minus One/Minus Color is included with some of the pricier versions, or you can buy it as a standalone Blu-ray or DVD.

The black-and-white version of Shin Godzilla, SHIN GODZILLA:ORTHOchromatic, also hits Japanese home video on May 1. Like Minus Color, no 4K edition, just Blu-ray and DVD. A handful of new bonus features about ORTHOchromatic are included.

As is standard for Toho, none of these releases will be English-friendly. But given the films' popularity (and the lack of any legal way to watch Minus One since it left theaters), expect bootlegs to circulate at light speed.

Unsurprisingly, Godzilla Minus One cleaned up at the Japanese Academy Awards, with eight victories out of eleven nominations: Picture of the Year, Best Supporting Actress, Best Cinematography, Best Screenplay, Best Editing, Best Sound, Best Art Direction, and Best Lighting. That's one more than Shin Godzilla, and pretty much guarantees that the Toho Godzilla series will keep the prestige pictures coming. Strange times!

We'll see if Minus One can also capture Best Visual Effects at the American Academy Awards tonight. The Creator remains its biggest competition. The Gareth Edwards film is better-positioned by the usual metrics, with a second nomination for Best Sound and five wins at the Visual Effects Society Awards, but the enthusiasm gap for the films themselves may prove decisive. I'll be doing a much lengthier analysis during Wikizilla's Oscar stream tonight, which will start at about 6:00 PM ET, an hour before the ceremony begins.

Godzilla x Kong: The New Empire tickets may not be on sale yet, but Cinemark theaters have rolled out the above merch (much more efficiently than Target and Walmart have rolled out the toyline, if my local theater's any indication). I have a suspicion those plushies will be worth a mint a few years from now, small as they are; don't know about the other stuff. I bought the larger popcorn tin when I saw Dune: Part Two on Thursday. The promo image is deceptive, as the green area is transparent plastic and the Titan image is on the opposite wall of the tin, so that popcorn's either defying gravity or being held up by a hidden insert. There are Kong and Skar King variants as well, the latter revealing his height (318 feet). Poor Shimo; being the "secret" villain really narrows the amount of merch you get.

The other interesting GxK news this week (apart from the endless TV spot variants, which I'm not even trying to keep track of) is a collaboration with the American Red Cross, of all institutions. Donate blood, platelets, or AB Elite plasma from March 25 to April 7, get a free T-shirt. And for completion's sake, I'll mention the Roblox and Call of Duty cross-promos too.

Chibi Godzilla Raids Again, an unexpected delight last year, is getting a second season starting April 3. The official site revealed that Minilla is joining the cast, while those silhouettes to his right look like Titanosaurus (unjustly neglected in recent years), Gigan, and Gabara. Expect to follow the first season in being uploaded to the GODZILLA OFFICIAL by TOHO YouTube channel with English subtitles.

Here's another chance to watch Tsuburaya and Toei Animation's Kaiju Decode short, originally released in 2021. (It goes away at the end of the month, because every Japanese studio is apparently hellbent on making short films ephemeral, so download it now.) It's the basis for a recent mixed reality game for the Meta Quest 3 and Meta Quest Pro, hence its return to the spotlight.

UniVersus, a collectable card game predicated on pitting characters from various franchises against each other, is going all in on Godzilla after offering a couple of Minus One cards through highly convoluted means last year. They're releasing a couple of Godzilla Challenger Series (preconstructed decks) on June 21, one based around Godzilla and Mothra, the other around King Ghidorah and Rodan, with Mechagodzilla thrown into the mix for both. I've never played this game in my life, but the prospect of a shiny Godzilla card with James Stokoe art is sort of tempting.

[shelandsorcery]

Astronomics Game Art : Designing Mining Equipment!

Gonna talk this week about designing mining equipment for the sci-fi game Astronomics - demo on steam right now! - And I thought I'd start with a little conversation about research and process (...that doesn't really have on a much art in it but just stay with me) and maybe get to tap in a little bit into how someone like me who doesn't do a lot of technical design learned a lot about how to get excited about that whole field through the research stage of this game.

So when I say research I really do mean fairly old-school research — and this is probably gonna be a theme with a lot of the posts about this game in particular, because I don't think you can build sci-fi without some understanding of engineering systems and current scientific realities to then play with, you know?

As you may gather from the trailer, Astronomics is a game about asteroid mining, among other things. Which meant that we had a lot of need for legit industrial feeling props and tools for the player to use, things that felt functional and believable without feeling complicated or delicate. I really enjoy the challenge of adding appeal to something that maybe people don't always think about being appealing or fun or cute (this is never an absolute statement — there's always somebody already able to see more appeal in any given subject and I could ever imagine) so part of the research stage is going and looking for that appeal. So above you can see a sheet of loose rough sketches I did in clip studio paint from reference that I gathered with the rest of the team and by myself that seemed relevant to some of the designs we were pursuing.

If you've had the chance to play the demo, you'll know that it's not just surface mining but we are going to be letting you mind gases and liquids and underground mineral veins as well — these are all things that people do in the real world of course, so process one was taking a quick look at those actual industries and then figuring out how I could condense that activity down into a pretty simple and easy to understand machine.

So turned out what we needed was something that drilled and dug, something that pumped liquids, something that sucked air, and all of these things needed to then produce some sort of container to hold what they had collected.

In a videogame you really need to communicate to the player why each act they do is significant and different from the others, and as the art director it was my job to figure how to do that through visual design of the tools they're going to be using. So that meant that even though you could certainly store liquid and gas and solid resources in the same kind of box, I wanted to try and find ways to keep each thing feeling different. Best case scenario is that you're able to look at a prop we've designed and know in a split second which of these three states of matter it will be containing; in the research stage one of the things I'm looking for is any existing visual language that we have (in this Western English-speaking North American videogame audience culture) that already solves this problem.

The great thing about industrial design is that they indeed have very intentionally tackled this problem. Part of it is purely physics optimization that the field of engineering has been working towards for human history. For example, when you're storing liquid and you want to remove all of it from a container you probably don't want something with corners — that's how you end up with cylindrical liquid storage. When you're storing a gas you're likely keeping it under pressure, which means you need a shape that will withstand pressure evenly, which means you're looking for something with literally no corners or edges ideally — and that's how you end up with bubble-shaped gas storage like a propane canister. And then when you're storing something solid and you want to use the space most efficiently and be able to stack whatever it is that you have packed it into, you have a box.

Real good news is, a box and a cylinder and a sphere are all wonderfully visually distinct shapes in a fantastically strong place to start when it comes to solving the question of storage. So then we get into the challenge of the machines themselves — what distinguishes a drill from a pump from a vacuum?

So that's the beginning of some of the questions that you have to answer when you're designing props for a game — in the research stage is only one of bunch of different ways you start figuring out these answers. But I want to talk for just a second a little bit about how I personally wrangle my research, because I am definitely not telling you this is the only way to do it. It seems like it may be worth explaining what I get out of this process and see if anything here make sense for you!

One of the reasons that I have this huge page of sketches, big and detailed or tiny and loose, all laid out in one place for me to look at, is because I personally learn and remember things more strongly by taking notes. With my hand holding a pencil ideally. And when they're abstract concepts or verbal or numerical then I'll use writing and I won't have a problem with it, but my job at this stage was not to figure out abstract concepts or to find themes — my job was to solve visual problems. So my first order of business was visual research specifically. Now for me, that involves lots of things — I have a Pinterest board for any sort of subcategory of stuff I'm researching to just do enormous broad research with; then I probably bring most of those images into a huge working .PSD file and move them around to create groupings. And then I start drawing.

I really think that drawing is integral for me at this stage. I don't think I could do this without drawing as part of my research. There's so much that I just don't bother noticing if I'm not going to be drawing the thing that I'm looking at; even the worst, fastest, sketchy as drawing makes me pay infinitely more attention to something then I do when I am simply collecting information mentally. I'm phrasing this in a somewhat exaggerated, self-deprecating way, but I really can't exaggerate how much more I get out of things when I sit down and draw them. They talk about drawing is a way of seeing, and for me that's a practice I've intentionally pushed and explored in my life.

The other thing, though, is that visual problem that I need to solve. Sometimes solutions to the problem aren't obvious until they are visualized — it can be very easy to get distracted by things like surface details and miss the silhouette language, or vice versa, but when you are doing the drawing you have to wrestle with the silhouette and the details and make decisions about them. Visual trends appear way more clear when you are drawing something for the 10th time as opposed to simply seeing it for the 10th time. And all of the layers of cultural meaning and context that clutter up a photograph can be simply ignored as you transfer only what you need to a drawing, where you might discover something that everything else hid until then. Beyond that, one of the things you may notice about the sketches is that they are somewhat cartoony — I'm certainly trying to capture important details and be representational to a degree, but much like gesture drawing the human figure, researching this way lets me start finding out what the gestures are of these different sorts of subject matter. This is something that I knew about creature design, and about flora design, and one of the real joys of this game in particular was proving to myself that this gesture approach applied to industrial machines and technology as well.

I mean, I knew that there were cute trucks out there, but gosh.

I think if you are in need of something to reinvigorate a particular piece of subject matter for you — if you're designing something that you are just not that excited about, or if you don't feel challenged by the work in front of you — I really think sitting and sketching from reference can open up the complexities and help push you and your work farther. It certainly works for me and I know that the learning I did on this game is something I carry with me to future projects as well.

That seems like a pretty strong place to leave this post in particular, but I'll be back later this week with more breakdowns and screen caps of the actual design process of all of our adorable mining equipment!

I would really love to hear from folks if you also engage in similar research processes before going into full design mode — or if you have a completely different way to get your mind revved up and ready to go, I would really enjoy reading about it!

In the meantime, if you're curious about mining asteroids but it's cute please feel free to check out the Astronomics demo on steam, I made an awful lot of visdev art for this and handed it off to some incredible game creators who have done some really impressive stuff taking their ideas and my ideas and running to honestly some pretty new and exciting places with them.

[suri-da]

Hey there, been a while hasn't it.

Sorry for the lack of posts...been going through the wringer recently, both in irl and my own art style. Ive been wanting to improve my anatomy skills in general and experiment with different art styles (three of them if you can tell, yey). Its...genuinely tough, there's so much more I have to think about, whereas before I would just kinda sorta place elements on an object and make it work. But honestly, that's kinda why its also exciting to try out.

Most of my stuff, if I do end up posting, will probably be sketches for the time being, and probably just head shots...I'm working in increments right now, and the head is my first target in trying to get right. Hopefully if I can improve my efficiency at it to a decent rate Ill move on to digital works. Its also why I can use feedback; any constructive criticism is appreciated and helps immensely.

Also, I already have decided on the next sketch batch, but feel free to suggest any ponies for future batches and Ill consider them :0

Hope you guys have a good one ^^

[kkbardd]

hi! popping in quickly.

I absolutely adore your artstyle and your ocs. their personalities and stories are always so interesting, and I look forward to seeing any type of art you post.

If you take a break from drawing asurei, that's completely okay!! doing things with joy is more important than just doing them. I will enjoy whatever you draw regardless— in fact, I regularly go back to that drawing of the unnamed pink haired girlfailure OC and her "friend" daily. i am mayhaps their number one fan.

please continue sharing your stories and ideas!! I adore your characters and designs so much. I am very excited for your toxic yuri freeloader/assassin story.. they are very interesting!!

also saw you did some dialogue in japanese.. do you speak it ? im quite interested in any language so.. apologies if this is off topic ><!

In any case, thank you for continuing to create. I love your art and hope you continue to draw what makes you happy and what you feel motivated to do. I love all your art regardless of subject matter!! in fact it convinced me to to start watching madoka magica :}

best wishes !! hope you're well!!

wahhh isopod !! u always send me the nicest asks when i need them most!! i hope ur doing well ~ although my last post sounded pretty depressing im actually doing pretty well too! im going to the aquarium next week w some friends so im looking forward to that more than anything >:D

I've been reading a lot of short yuri stories by Toyo Totan & Iwami Kiyoko lately and I'm excited to use that inspiration to improve some of my own OC stuff too! (I recommend 'Last Summer Vacation' !)

And yes I'm fluent in Japanese !! I'm actually an officer in my college's JP language community & I used to translate manga on the side !! I'm completely self-taught through videos though, so while my listening and speaking are fluent I actually suck at reading LOL I'm so bad that when I translated manga I'd use my camera's text to speech to do everything...

I'm a huge language nerd too! I watch a bunch of scientific videos/TED-Talks on how our brain learns languages and tips to learn things more efficiently! For example, apparently when you first start learning a language you should never try to speak it right off! If you try speaking before listening for a very long time, your brain just kinda solidifies your verbal pronunciation and it can have long-term effects on not only how you sound, but also how you HEAR sounds! This is also why some think that children learn languages better, because they spend a long time exposed to it while being non-verbal. I love this fact bc I kinda experienced it myself!

I spent about 2 years just watching JP translated videos of people speaking naturally (not videos aimed at foreigners, nor shows that have acting, more like vlog-type stuff!) and only started speaking when exposed to others who could speak it too ! Especially during COVID, I think I was pretty much spending ~80% of my day listening and thinking in Japanese so I was very immersed! And because of that, I'm a little famous in my community for having the best pronunciation 😤 Going to on a trip to Japan & translating for the people who went with me also boosted my confidence a lot! I'll never forget this guy at an izakaya who asked how many years I've been living in Osaka LOL ("three days actually!")

I think the biggest downside though is that once u learn another language, ur first language skills get bad.. i often think up half-sentences and sayings/metaphors in Jap that just sound wrong when you try to translate it back into Eng ;;; i sometimes trail off when i speaking because i forget the english word for certain things, but my friends are now just used to my weird metaphors so!

I went on such a long tangent!! But anyways!! Thank u for always sending me the sweetest asks, I always save them to my phone and I'm pretty sure all my friends know abt u bc I always show them the nice things u say 😭!! And yes!!! Madoka is so good, especially the movie so im excited ur gonna watch it!! I hope u like it!

and finally for their #1 fan <3 :

[clarafyer]

MY PERSONAL ART TIPS! A big thread I'll be adding to

I too, was once a 10 year old gacha kid whose only drawings were a way too detailed catgirl persona and friends. I didn't have much in-person or online inspiration and help for a long time! So I'll help others earlier in their art journey (and perhaps the masters too, never not a good idea to try some advice!)

So let me spare some of you a few of the unnecessary mishaps during everyone's art life.

If you've never seen my blog before, hello! My name is Clara. I'm a neurodivergent teen artist, aspiring animator, and resident cat person. It's nice to meet you! If you'd like to know who you're taking advice from, here is some of my latest work!

Now without further ado, LET THE HELP COMMENCE!

STROKES: Fix stiffness in your poses!

To start off, a BIG thing I recommend for newish artists, is don't be afraid to draw loosely! The looser the lines, the less stiff the pose. And stiff poses are a very common issue within the community. Sure, your anatomy may look bad for the first while of drawing looser lines, but it will help you be more confident in strokes. The more confident the stroke, the more efficient an artist. The more efficient an artist, the faster you learn.

To practice loose lines, simply draw a long line as fast as you can. Over and over again. I know, that may seem boring, but it helps train your hand and arm to be faster. But if it's so much a hassle to do in your free time, then do it on the side of a worksheet if you're in school, or a sticky note if you're at work.

Speaking of practicing...

PRACTICE MAKES BETTER: Get over it!

I said the phrase wrong, didn't I? Oh wait, no I didn't. NO ONE IS PERFECT. And don't forget that! There will always be issues, problems, and mistakes in your art that you don't realize until the day after you've shared it with everyone you know. The artist is always their worst critic. So the best thing you can do is to keep at it. Practice your weak points to support the composition more, hone in your strong points to better make a focal point. Practice will always help, even if you don't see it. A slow pace is better than no pace!

"But Clara, what are my weak points? How do I know what I always mess up on!?" you may ask...

ANALYZING YOUR ART: Pros and cons!

Well, pick your latest finished piece and tear it apart (NO NOT LITERALLY OH GOD NO PLEASE-) I mean analyze it. Grab your pen and a separate paper, or just your notes app, and make a list of pros and cons in it. Doing this with multiple pieces is especially important, as with multiple examples, it's easier to find a pattern.

How about this, I'll give you an example!

Here we have a piece I made a few weeks ago. It's of my Western AU of my main cast of OCs. TIME TO NITPICK!

WEAK POINTS

- The clouds are too detailed compared to the rest of the composition

- The right horse seems very stiff (I already am aware I struggle with drawing animals nowadays)

- The funky hatching I did with the plateaus in the background just isn't working out as well as I thought it would anymore

- the god damn horse on the right

- The sky in the middle just seems far too empty. I could have added more indication of the sun at the top to add more noise

STRONG POINTS

- The color palette I chose blends well while having the colors still be sharp and clear against each other

- The entirety of the woman and her horse on the left

- The glitchy effect adds some zestiness to it that I love

- The whole thing looks quite cinematic, with a successful wide shot and the black bars imitating that of a movie's

- The inlines of the otherwise completely flat-colored silhouettes help define the overlapping shapes quite well

And there you have it, 5 pros and cons each I found in something you probably only noticed were little to none. No, I'm not bragging, it's an actual psychological phenomena where the artist notices so many more intricacies than the average outside viewer. Your mom isn't hanging up your art out of pity, GET THAT OUT OF YOUR HEAD! People love your art so much more than you do.

That's it for the first post. Don't worry, there'll still be more helpful tips coming! I just won't be able to fit everything in here with Tumblr's picture limit and all. Happy drawing!

[waywardstation]

I'm a little sad to see this blog mostly shares polls nowadays... I miss the AU talk and random chatter about ideas or headcanons, your opinions on things and the wip wednesdays I'm still happy to see your art in between all those polls. (before forgetting: you might have already lost but to me Train of Thought IS and WILL BE my favorite submas AU. No contest. Nope. Never.) But yeah, missing the old days here. Dearly. Verrrry much. Don't get this wrong, you're either probably still recovering, you're insanely busy or maybe even moved on... either way wishing you have fun with wherever tracks take you! I was happy to be on this blog in it's prime.

Hey Anon! I will be honest with you on this cause I do want to explain what has happened with this blog lately, and where I plan to go with it. (It’s not going anywhere, don’t worry!!)

There are a few reasons for the inactivity. Part of it is just me recovering from university work. I pushed myself way harder than I should have for way longer than I should have, and now I’m kinda trying to just recalibrate my brain and mental health. It’s really foggy and I struggle with concentration and comprehension a lot currently. (And this is also why I haven’t really answered asks, when I tried to answer Papa Ingo AU asks while like this, it really only led to getting confused and correctional asks in response, because I kept getting things wrong, and that made things really overwhelming.)

AND SECOND! Most of my free time right now is not being spent on this blog, because most of it is going into writing and editing. Concentration and comprehension issues are making it take a lot longer than I’d like it to right now, but I have a lot of content on the way!

- four new chapters of HFBE

- three chapters of IWLYB

- a five chapter, 25k+ word fic titled Rain Check

- another fic titled Entropy Syndrome

None of these are out yet because Entropy Syndrome’s narrative covers a concept that spans across all of these other fics and chapters, and it’s adjusted a lot of content that’s making me rewrite things several times over to ensure it’s properly written in and connected ^^;

And lastly, sadly a lot of it is just irrational anxiety. I stopped posting for a while for university, and anxiety makes me irrationally scared to start again because it always makes it hard to start back at something once I’ve stopped ^^; (I’m hoping dumping all these fics will alleviate this when I’m done with them though! Fic posting is what diminished my anxiety enough to start this blog in the first place!!)

BELIEVE ME I miss how this blog used to be as well, but my mentality is still sort of recovering from what I did to it for four years straight, and I can’t really force it to keep going more right now. It’s certainly a process, but I’m recovering!

Lots of stuff is coming soon! I have a few minutes drabbles on hand, I will attempt to start posting those while I keep working on these fics.

Thank you for the ask anon!! It means a lot that you liked this blog so much. I still love it, and I’m taking care of myself as best I can so that I can get back to running this blog at full efficiency!!

Thank you again Anon!!! ^^

[gamebunny-advance]

1010 Malt Shop - Green Plushie

It's done. It's finally done. 1 week of blood, sweat, and tears (mostly blood), and he's done.

But I don't have a good enough camera nor photography skills to really capture his true charm ;w;

(Boring self reflection + more pics under the cut)

Anyway, this is the project I've been working on lately. No particular thing really prompted this. Like most things I do, it was started on a whim and finished with will power. I don't really have much experience with plush making or sewing, so despite his obvious faults, I still think he turned out pretty nicely for an amateur.

As per usual, I didn't have enough foresight to document the process, but I can nonetheless talk about the experience and point out some details of it.

Firstly, he's a pretty large lad. Here he is compared to the official DJSS plush and one of the test prints I did of "Melon Float."

Counting his straw, he's about 16 inches tall. I wasn't counting on him being so big, so I don't really know what I'm gonna do with him now...

I say this took a week, but I probably could have quartered that time if I had a working sewing machine, but since I didn't, the majority of the time was spent just sewing the thing together. (Btw, pattern over here.) The only fabric details that weren't hand-sewn are the circle/stripe details on his pants and shoes, and the bow/buttons on his shirt, which were all glued on.

The base pattern didn't come with any clothes, so I just adapted the body patterns into clothes. Structurally, he's basically wearing a second skin~ I did think about making the gloves for the sake of accuracy, but at that point, the only skin he'd be showing is his face, and I wanted to keep some soft parts out since his clothes are so stiff. They're so stiff, they can stand on their own and be stacked on top of each other without falling over.

(The plush has a harder time standing than his clothes do...)

Speaking of the clothes, let me say right now that it bothers me more than anyone else that the paint details don't color-match his pants. I was so high on the euphoria of starting this project that when I was out getting supplies, I saw some glow-in-the-dark paint and thought it'd be a great idea since he's a robot and all. The color on the bottle looked close enough at the time, and the original plan was that only the face would be painted with the other details being felt, but on top of me forgetting that effects paint takes a long time to build up layers, the green also dried differently than I thought it would, so it threw everything off, but I didn't have the patience to suck it up and repaint everything with a better color match. I did try to add a light gradient with my pastels like in the original art work, but it turned out so light that it's barely perceivable and totally not worth the clamminess I get when I touch chalk.

I think the most time-consuming part was his hair. While sewing the body together took 2 days, the clothes 2 days, and painting 1 day, the hair took about 3 as I had to figure out essentially how to do it myself on the fly. The first day was mostly trial and error. I did find a couple of online tutorials about how to get this loopy yarn hair, but the ones that I found both required tools that I didn't have. Eventually, I figured out a way to make it work, but I feel like it was less than efficient:

Basically, his hair is made with chunks of yarn that are tied together, and each chunk is individually sewn into place. I didn't count, but I think there are 13-14 hair chunks total to give him a full head. I do like how I made his bangs uneven to mimick how I draw his hair, but I couldn't quite pull off having his distinct hair-part and I couldn't figure out how to give the illusion of half his hair being straight without it looking weird. (I did try cutting the loops to let the strands be straight, but I didn't like the look of it, so I kept them all loopy).

This is a weird thing to say out of context, but I'm especially proud of the back of his head. Originally I was just going to paint on his undercut (which I'm glad I didn't because this paint REALLY hardens the cotton), so I got the bright idea to sew on individual strands of yarn for it. I think the effect is great, but I would not wish it upon my worst enemy, because to get the effect, I had to sew on each. strand. individually. The day I made the face poll, and said that was going to be a break day? I wound up doing this instead, and it took just as long to sew in those 20+ strands of yarn as it did the rest of his hair.

To segway into that poll, as you can see, I went with option 2 with some slight edits. Just the white/green eyes looked a little plain to me, so I added my usual dark pupil and added a green-star glitter to the center. I'm the one that has to live with this thing for the foreseeable future, so I made some executive decisions. Unfortunately, there were a few errors while painting, which you can clearly see in the above pictures OTL. I did try to seal off my painting areas with tape, but it still bled and stained in a few places. I don't really know if it's possible to clean the stains without ruing the rest of the face, but if you have any ideas, I'd love to hear them.

There are a few extra details that I guess are worth pointing out: he's actually wired. I put in some armature wire so he'd be able to move his limbs despite the stiff felt but... I didn't secure them that well, and the wire for his arms got displaced, so I currently can't bend them ;3;. I'd have to open him up again to replace it, and I REALLY don't want to undress him again to get to his back. The worst thing about this plush is that his clothes are so stiff that he's actually very hard to dress.

The wire in his legs is mostly still in place, so he can at least (kinda) sit.

I think the last thing worth talking about is the ice cream accessory. It was really simple to make (it's just air dry clay over foil + extra pieces), but it's cute, so I wanted to point it out~

It's a hair clip, so it can be taken on and off. Theoretically, it could be worn by a person, but it's a little heavy to be wearing it all day~ The camera/lighting really blew out the colors, but I think it turned out to be a nice creamy french vanilla color like I really wanted~

Other details like the glitter on his eyes/cheeks can't really be captured on my shitty ipod camera, but rest assured that he is pleasantly sparkling~

I think my biggest takeaway from this project has been materials: I thought that using felt would be a great alternative to having to buy an entire yard of fabric for a one time project, but besides the paint, it was the hardest material to work with. If I have to pick and choose, next time I think the body will be felt, and the clothes will be cotton, or maybe I'll actually invest in some fleece, so it can be soft all the way~ Since the clothes are removable, I could theoretically make him his default sailor suit and just replace the straw with his proper hair loop to convert this into a "canon" design plush, but we'll see what the future holds. I did get the felt colors to make my *other* babygirl, but given this experience, I may hold off on making him until a much later date.

[pennesloppy]

the magnus protocol is so good i cant

second episode's statement feels both like an expansion on the slaughter and its ties to music and arts / wild passion but it's also very focused on the flesh and the perfection of self and i'm not even at what I assume to be the big twist yet but this feels like mastery over your series' concepts. also martin and jon being the TTS is unspeakably cool but the fuckn Implications. like I'm pretty sure it's because they've opened the floodgates in MAG300 and they're like. a part of the eye now? maybe??? but I feel like it makes sense. I hope they show up in reports or something. and in person ofc

idk if sam trying to piece together the system hints to a gertrude equivalent of shtick being misfiled on purpose? colin definitely knows more about it though (hes got my name!!!!). lena definitely hits the elias vibe but feels very much less insidious. i feel like drawing parallels might be a reckless move but I can see so many of them. like, alice has the willingly skeptic vibe that jon had.

oh also I love the character focus. the original is definitely more of a slow burn in that regards which makes it very difficult for me to not gush about to the friends i'm introducing TMA to, but this is wonderful.

it feels significant that teddy is allowed to leave in the first episode. makes me think the OIAR isn't affiliated with the eye/ not as much as the archives, might be because of the lack of jonah magnus? also gwen wanting to take lena's place and stuff definitely foreshadows SOMETHING and I am scared as hell.

im still on the 'the archives failed their ritual due to the lightless flame' theory train but i'm very intrigued by the archives still fighting back against intruders.

canaries should stay above ground is very fucked, i love it, i think it's interesting the eye actually made someone STOP seeing for once though. also the dates of the posts built tension so efficiently I loved that so much. the different report formats and the heavy breach of privacy add so much flavor to the horror. also that box redcanary took is absolutely the web box thing right?

speaking of the web, the listening devices are so good. i doubt they're web-related this time, especially if the archives are not as important this time around, but the fact they're just following you is horrible.

i don't know to what extend the eye is 'stronger' because of the TMA ritual or if it's even canon to the TMP series but I feel like the eye is much more insidious and I don't know if it's because it's desperate due to the destruction of the archives or if it's a manifestation of it's dominance over the other fears? I do hope the TMP universe is one of the many made to be consumed after the fear in TMA world dried up completely though, that would be very cool and that is personally why I think martin and jon show up as text-to-speech.

i think I should do more unhinged rant posts tbh, i'm sorry it's disorganized to any hypothetical readers though, it's very much hastily typed thoughts I haven't exactly very much expanded upon. i've got doubts anyone is gonna actually see this but i do really wanna talk about it so if anything is confusing ask me about it or something. might clean this up later anyways

[juiche]

Hi there,

I hope you don't mind this ask, but I was wondering how long it takes you to do your art pieces?

My favourites of yours are anything Edward Elric, that gorgeous Bucky piece and all things BTS (the new Yoongi you posted was insane?).

They're all so detailed and vibrantly coloured and when I look at them sometimes, I can't comprehend them? I'm just like, woah.

Do you do them in one sitting, or do you come back to them if you're short for time some days? For some reason I've got it in my mind that all professional artists sit down and complete a piece of art in one day.

Thank you for your time c:

aw thank you so much, that's so sweet to hear 🥺🥺🥺

You'll be surprised :D

I have built up bad habits when it comes to drawing which cause me to take a week to a month for a single drawing :') in some bad cases it's several months. I'm trying to unlearn them, but I've been doing it that way for the last 10, 15 years so it's hard to use a different approach now :D I always admire artists who work efficiently and straight to the point!! When I draw I have more of the approach of a sculptor and I slowly chisel away at the piece. I am not a professional though, I don't do this for a living :>

Don't be discouraged if you're slow like me, but be conscious about how you draw and try and do it the right way from the beginning so it doesn't hinder and frustrate you later :)

That being said, every person has a different internal tempo and if no one is forcing you to output quickly and you're happy with the way things are, there's nothing wrong with working slowly 😊

[yeetus-feetus]

trying to get my previously very homophobic hardcore-christian baby brother to accept the lgbtqia+

Captains Log: First entry

So far he's become accumulated to the idea of two boys being able to have a healthy relationship through his obsession with one Damian Al Ghul Wayne.

Through giving him access to my Pinterest account for something I honestly can't remember- maybe a school thing, he discovered my DC pins and I introduced him to some really cute Damijon art. He was immediately consumed. I left him alone on my laptop and came back to more than three dozen new pins of purely Damijon fanarts.

Note: remind me to make him his own account Jfc!

From Damijon he then discovered Timkon and Superbat. It is an understatement to say he is a fan of bat×super pairings.

I exploited his new obsessions with these ships to make him angry because he's so terribly cute and hilarious when he's angry. How did I do this?

Well, I decided one day that I would break the unfortunate news to him that Jon Kent was in fact already in a relationship with one Jay Nakamura, and Tim as such with one Bernard Dowd. The following outburst from him was immeasurable!

You can imagine my surprise when he screamed at me, demanding I prove such a thing- then afterwards the amount of tears. He refused to speak to me for two while weeks, unless uping the anti on telling me how I was going to hell for being a fag. Hypocritical of him in all honesty considering he was saving pins of boys kissing quicker and more efficiently than I could complete my assignments.

Anywho, I took advantage of this. I like poking the bear, and he's a very cute bear, so I began mentioning Jay and Jon when I felt like seeing his little face get so red with anger it's possible steam might come from his ears. We quickly developed a loose script of back and forth; him getting angry and trying to explode me with his mind, me grinning at how wholeheartedly he defended his most favourite ship between two boys.

Until one day my little brother flipped that script and pulled the rug right out from underneath me and my little game. He proposed Polyamory. Of all thing, Polyamory. Not something you'd expect from the mouth of a Christian boy- especially about three boys.

How and where this primary school kid learnt about the idea of Polyamory escapes me. I have no idea, but the fact he was willing to accept it to disprove my point is almost even more hilarious than his face when he's angry.

I'm so glad, proud in honesty, that he has experienced this growth as a person, that he is accepting of Polyamory- even if it is because of something so silly. It's progress in getting him to stop condemning me and mine to hell. He is willing to accept such relationships now, and all because of my incessant teasing and taunting.

This acceptance extends to Timberkon especially, from what I can tell from the 12 pins he's added to his ever growing collection on my account. Which I am very pleased about, considering my own love for that particular ship. And also, he's realised he can ship Batman with more people than just Superman (though he still hates that I'm a Batlantern shipper).

His favourite Batman ship is now Batman, Superman and Lois Lane as a throuple. He is also open to the idea of Batman dating Talia Al Ghul and Cat Woman as well as Superman. (He is not letting go of the Superbat element, that's fine though).

And, surprisingly, it has also extended to a new show we've been watching together, with my second brother as well, called "Castlevania" on Netflix, in which he's now insisting the main three characters- Trevor Belmont, Sypha Belnades, and Adrian Teppesh aka Alucard- are polyamorus and all in love with each other.

Note: we are only in the second season as of now.

Which is all excellent growth in my books!

Now my lovely friend @froggyinfear has suggested I introduce him to lesbians next, to further his acceptance of queer relationships. I intend to update you all with the details of my progress in this endeavour with this new Captain's Log.

[lovebvni]

Heyy ! Sorry for the sudden ask , but I’d like to ask you if you could do a quick reading for me ? If not then that’s totally okay 💙

I took a nap affirming that I am ready to shift to my dr , and when I woke up I think I dreamt something regarding my dr , but now I can’t remember, but what I can remember is : feeling an urge to get on tumblr and ask you if you could do a reading for me , cause I feel that you’re trustworthy

My questions :

🔵 Should I stop trying to manifest other things besides shifting and go only for shifting ? Due to me planning on perma shifting ?

🔵 am I on the right track ? Cause it feels as if I am gonna shift soon , and I’d like to know if there’s anything where it may lacks

🔵 should I work on my prospective memory ? Or is it fine ?

( you can call me moonie , she/her and I’m 15 in my dr 🦋 , thank you a lot and I hope you have a wonderful week ! Also thank you for reading this )

hiii moonie!! i’m so sorry for getting to this late, life has been up and down, and i’ve wanted to do this reading since i first saw it (last month!)

i hope i can answer all your questions and the answers still apply! we’re going to do only shufflemancy bc i don’t have cards with me, lol!

“Should Moonie only manifest reality shifting, because she is trying to focus on perms shifting?”

without shufflemancy, i heard no, only because you “need to be used to the 3D and 4D working together to reflect your desires”.

the lines stand out are “Do you want this like it wants you?” and “I'm supplyin' my man/I'm in demand soon as a I land”

i feel like it’s the universe asking you, “do you think this right with your own intuition?” and “haven’t you asked something similar before?”

the supply and demand, when i saw those two words, i made a supply demand chart. the line for demand is curving into supply. the supply is always there, but it looks like there isn’t enough demand. like you need to get used to asking for what you want and actually getting it. some times the demand gets close but then the spike bounces back.

tw: terrible art skills LMAO

the demand would entail with u persisting instead of giving it up or sweeping it under the rug. the supply is almost there, the universe is always there. they are willing to give you whatever you want as long as you keep asking and working for it.

so, i’m getting a “no, not yet.” for your first answer.

2. is moonie on the right track?

“Living life like I'm in a dream I know I've got a big ego I really don't know why it's such a big deal, though

And I'm sad to the core, core, core (Yeah) Every day is a chore, chore, chore (Wow) When you give, I want more, more, more I wanna be adored”

yes, but you’re trying to work on everything at once. i feel like you may be a visual learner because im having many urges to draw during this.

the blue center spiral represents you. the web is everything you want to do. you go out each main branch then come to the middle and down finish the web connections.

can you complete everything by doing this? yes. but that doesn’t mean it’s the most efficient way to do things. the reason they say you are on the right track is because you have found what you want to do. you just aren’t going about doing it in the best way.

(shiny from moana also came on, and the crab that sings is also really distracted by knows what he wants)

3. should moon or work on their prospective memory?

i’m getting a no, but maybe later. “you have bigger fish to fry right now.” it can be on the back of your mind, but it shouldn’t be your main worry.

so, no. don’t worry about that right now. focus on getting used to manifesting.

thank you so much for your ask, moonie!! sorry for getting back to you so late!

sending you love <3