#sorry it’s very long lol

[rttnpnkpmpkn]

how do you fight art block? do you like doodles or sketch? :)

Hello Anon! 👋 Thanks for asking ^^🌸

1) It really depends on your drive! Most of what I draw is to fulfill my own needs for a specific kind of content and to emulate the style for the lolz. The challenge stimulates the brain juice 🧠 🧃

For some, if I have the idea but not the motivation, it’s gotta be jotted down lest I forget. Don’t worry if it sucks now, that’s the purpose of rough drafts and preliminary sketches! Some of the finished works you see, they had been planned for weeks or even months.

Human Peter, who is my best example to come to mind, took around 6 months(?) in my noggin before I can fully flesh him out. My Ynsona’s current design is give-or-take 3 weeks at most, because I didn’t account for actually being into self-shipping. My style that is specifically developed for YBF is a whole year-and-counting process.

So after you sketched out your ideas to the side, this would be the best time to do some homework on the kind of style you wish to aim for. Like what parts did you liked from the referenced style, and what parts you think could have more oomf to apply to your own? For my example, I took on multiple styles to this approach. E.g. Classic Disney, W.I.T.C.H., Gorillaz… to add to the “YB” style. Anything that resembles that it came from the 2YK (best year for aesthetics fr 😩✨).

My explanation on how I fight art block can be nonlinear and convoluted. My apologies, Anon! 🙏💦

Best to summarize, I want to create something to eventually be worth leaving behind, so it’s a long term goal to work towards that. Drawing fanart and derivative works serves as a test rat to figure out my own approach.

As long you know what you want during burnout, allow yourself some rest and resume building when you do get into the mood. Don’t beat yourself up for having a drained battery 💪✨

Be like “It gets there when it gets there!”

2) Hmm! Both! Both is good 😤 and it depends on the mood! Doodles are fun and not serious, so it takes the pressure off to be perfect. It makes a good “scratch paper” in trying out new brushes or coloring techniques. You can use the breakthrough from that in your next project! :0

Sketches are fun as well, and it helps build the foundation of what could be the next finished work when the mood comes around. It helps me apply my developing knowledge of anatomy, composition, and posing. The sketches can both be a standalone or you can choose to finish it. The choose is yours~

[hotdogmchiggin]

Company Mandated Fancy Fits on the Tulpar 😏

Also had to include the REAL star of the show (and a bonus)

Based off of this and this. Thank you very much joetastic for being inspirational 👍

The REAL reason this is late

[wanderer-clarisse]

early morning sunlight at Bag End

[glitchedcosmos]

Sonic and Shadow never really wanted to admit that they liked each other, especially to their crush's face, but that went flying out the window when Sonic took one of Shadow's threats during their sparring sessions as flirting, and he went for it.

Sonic got gut punched immediately after.

[rupeenotruby]

That was long. Keeping this short. Not sure about this one. Thank you to @/runecatwrites for this [Click] analysis post as it was pretty helpful for the Wild and Wars dialogue (though I think the analysis is better).

[starspilli]

may i ask if you could draw cassie sandsmark? your art style is so gorgeous!!!!

yes of course!! ty 4 the request sorry it took me so long to get to

[potato-lord-but-not]

You said Oscar is John's second favorite person is cuddle on the couch with. Who's the first??

Arthur ofc <33 John’s the only one who truly appreciates his skinny ass

[falmerbrook]

Falmer appearance and attire headcanons

(click on drawings for more details and notes!)

Hair

In Skyrim, we pretty much only see two hair styles to go off of: completely bald and the hair the "shaman" have (which are also the only females we see (a post for another day)).

In concept art, particularly Adam Adamowicz's, we see more potential hairstyles. He draws it as wispy and messy, as well as containing braids and the ties we see in the shaman in the game. This art is largely what defines my own interpretation of their hair.

I picture the typical Falmer hair as wavy, thin, wispy, and looking frizzy. Given the high number of hairless Falmer we see, I imagine baldness is common, particularly among males, and sometimes among females. Their hair can be commonly styled into braids or knots to keep it under control.

The ability to grow long, thick hair is less common, but those who can tend to style it in other unique ways. Especially among females, long hair is commonly styled into large dense locs (akin to a Polish plait) and held into shapes using ropes or leather ties.

(While I think the intention with the way their hair is drawn and modelled in the game models and concept art was that it was braided and held up with those ties, before looking at it closely I always sorta interpreted it as too stiff to just be braided. As a result, I developed the locs headcanon and have become kinda attached to it even though I have 0 in game or lore support for it)

Materials

The material used in their clothing is obviously dependent on what is accessible to them, and given their unique situation that makes the materials they use and value unique as well. In Skyrim, we see that almost all of their armor (which is mostly what we see them wearing) and homes are made of chaurus chitin (and potentially shellbug chitin), so this is likely the most common resource available to them for non-combative coverings as well. Other materials from their arthropods companions could include their cocoons, unhatched eggs, etc.

Bones from other creatures (draugr, skeevers, trolls, adventurers, bandits, etc.) underground or from aboveground raids could also be used fairly often. These could also provide a source of leather or fur, albeit not a lot of it.

Falmer groups and subcultures inside or in close proximity to Dwemer ruins probably make regular use of the materials present in those ruins as well. With all the metal and machinery present in Dwemer ruins, metal probably makes regular appearances in their clothing (and general decorations) even if they can't manipulate it themselves. Falmer more separated from Dwemer ruins would make much lesser use of these materials, however. Additionally, We see implications of Falmer preparing, cooking, and potentially cultivating fungus in-game, but see nothing indicating they have any plants in their diet, and therefore it is unlikely they regularly make or use textiles or fabrics in their clothing, and if they do they likely come form Dwemer ruins or raided adventurers/bandits/settlements from the surface.

On that note, we know that there have supposedly been incidents of Falmer coming to the surface to attack its inhabitants and travelers, as well as instances of them killing bandits, adventurers, and researchers who venture below, so it's not far fetched to believe that they have access to some materials from the surface. This could give them some access to furs from surface animals, beads, glass, jewelry, textiles, metal objects, etc. they might not otherwise have access to. The rarity of these material among the Falmer would depend on the amount of access any given group of Falmer have to the surface, but among many of them these materials could be seen as more valuable for their rarity and the difficulty to gain them.

While gemstones and ore might be accessible from both natural deposits and underground ruins, unless they had some kind of auditory function or unique texture, they might not have much value to Falmer.

General Attire/Accessories

I like to imagine that the Snow Elves, and by extension the Falmer, have an innate cold resistance in the same way Nords do, and therefore don't require clothes for the purpose of warmth even in the chilly caves of Skyrim. Additionally, their blindness likely means that wouldn't dress for visual aesthetic either. My thoughts are that they are then left with the sense of sound and touch to communicate with each other, and their clothing and accessories could reflect that.

Falmer clothing, decoration, and society in general is very heavily based on touch and texture and little on appearances. They touch each other very often for both communication, movement, and just general day-to-day interactions, and their clothes isn’t very modest, but the tactile patterns and materials used can communicate certain things such as position in society, “wealth”/power, whether they are taken, single, pregnant, with a child, etc., their roles, their age, notable achievements/skills, who is who, etc. on both their clothes and buildings. The more noise one makes, the more attention they draw and the more they drown out other noises, and the more noise making things they can “afford” to have, so the amount of noise one makes in a Falmer settlement is a status symbol. Certain types of noises or noise makers are more coveted than others (chitin beads are common, while furs are less common, and materials only gained from raiding the surface are rare and coveted).

Some noise making accessories could include:

Dangling metal, bones, beads, chitin, etc. that hangs off of their clothing or ears and jingle/clank against each other (in my drawing I show them as pretty uniform in shape and size, but they would probably be much more irregular than I depicted them)

Bells (metal or other materials) that are affixed to or dangle off of their clothing or as earrings.

Hollow bracelets, anklets, necklaces, or other accessories that are filled with rocks or beads.

Rattles tied to the body (made of chitin, dried hollow chaurus eggs, dried chaurus cocoons, beads, etc.) with leather or rope.

Flute or whistle like tubes made of metal, chitin, or dried and treated tube-like fungus that makes a woodwind-esque noise when air passes through it in a certain way. They have been designed to make noise easily from even the slightest movements.

Dried grasses (more temporary) tied to the body that make a swishy noise. More permanently, a similar thing can be achieved with hair. The hair can be sourced from Falmer (either through just cutting hair or through taking it from fallen enemies) or killed humans/mer/draugr. That sort of thing can also act as a kind of trophy.

Necklaces with various materials dangling close together that jingle against each other.

Various materials can be tied into braids or the leather ties in their hair as well.

Some textural accessories could include:

Beads. Since they wouldn't have the ability to tell the color of the beads, the patterning of beadwork would be based on the roughness, material, size, or shape of the beads. (I'm sorry I suck as drawing beads)

Furs. This wouldn't be as common since the Falmer likely don't have too much interaction with furry mammals, but some they may have access to that are big enough to make clothing/accessories out of include skeevers or trolls (and potentially rarely animals from the surface). A potential meaning of wearing furs could be as hunting trophies, but it could have other meanings as well.

Chaurus chitin would like be the most common material in Falmer attire, and depending on the part of the chaurus body, the size of the chaurus, or the life stage of the chaurus it was sourced from it could have different textures. Some chitin parts could include large spikes and deep groves, while other parts could be smoother and less rough. The use of this chitin in clothing could take advantage of this contrast in textures. Additionally, chitin or shells from shell bugs might be a different texture from the chaurus chitin. (it's unclear to me whether shell bugs are exclusive to the caves around the Forgotten Vale or if we should consider them distributed throughout Skyrim's underground)

The placement of textured components on the body could have their own meaning to it alongside what accessories or textures are being used.

Specific Falmer Subcultures

While most Falmer settlements we see in Skyrim are just a small-ish collection of huts and chaurus corrals, there are two distinctive settlements that are larger, seemingly more organized, and I like to think have their own distinct subcultures worth mentioning: Blackreach and the Forgotten Vale. The unique scope and environment of these Falmer cities (as I like to think of them) could lend to unique clothing cultures as well.

The Falmer of Blackreach have access to a vast Dwemer settlement and have has the space to spread out throughout it more fully since it seems to be more in tact than other Dwemer ruins we see. These guys would likely have a clothing culture much more heavily based on what the can access from these Dwemer ruins (metal scraps, leftover fabrics, etc.)

The Falmer of the Forgotten Vale would also have access to unique resources, such as Vale deer, Vale sabre cats, and frost giants for fur and leather. Additionally, materials accessed from the Chantry of Auri-El such as textiles from clothing, bedding, tapestries, etc. could give them a greater access to fabrics than other Falmer groups. We don't see many close Dwemer settlements to the Vale, so they would have less Dwemeri influence in their clothing than other Falmer groups.

I like to think that the Falmer's evolution exclusively underground has made them poorly equipped to handle the outdoors during the day and has made them particularly susceptible to sunburn, necessitating the need for covering for those in the Forgotten Vale who have significant settlements outdoors. With greater access to textiles and leather, they could use them as coverings when outdoors.

Armor

I actually have very few notes on armor, for two reasons. 1) I hate designing and drawing armor. It is the bane of my existence. 2) I really like the armor they have in game! I think they look awesome aesthetically, and I like how clearly they are made from chaurus chitin. Per usual, Adam Adamowicz's designs seem to have been the major inspiration for the Falmer armor, and he did a great jobs (even if it isn't the most functional looking armor ever).

(off topic but I also just want to add that he draws them with little hairs and tufts on their ears and I love it. ok that is all)

I do have a few thoughts about armor though.

Even attire made of textiles make noise when someone moves in them, and I can imagine moving around in armor, especially armor made of hard, insect shells would make a lot of noise when someone moves around in it. When you're relying on sound to navigate your environment and pinpoint potential threats or targets, wearing something making a lot of noise would not be ideal. On the other hand, getting into a fight unarmored would be a problem.

So here's my solution: heavy armor (see below) would only be worm within the camps/settlements where noise was already high and space is more cramped (and therefore more risky in a fight) as a sort of guard in case they were attacked. Those guarding the settlements along the outside might still wear armor as well, but less of it. Those going out to scout or hunt (if they do hunt) would wear as little armor as possible, and try to wear it strategically so that it wouldn't rub against itself and make noise. This is why most Falmer we encounter in the game are wearing little except for loin cloths and kneepads.

One more idea I have for armor is a specific armor piece. On the note of guarding or protecting a camp or settlement, I imagine the noises of it all (especially with the noise based headcanons I've laid out here) would make it hard to actually catch any potential threats when you can't see. A large slightly concave piece of armor worn behind the head could block out noises from behind the wearer, as well as a help focus sounds ahead of them.

That is all! Thank you for reading! A lot of these concepts around the culture of sound I think could also be applied to their buildings and even a culture of music, but those are posts for another time.

All of the concept art I used was taken from here and all of the Skyrim screenshots are from UESP.

[teaboot]

if ur a murderbot nerd now do u have any fun opinions abt it yet?

Oh my goddd you have no idea

I really, really, really like Murderbot because it comes at life with this perspective we don't often see that is very real among people who have already been through traumatic experiences, who developed skills and abilities to suvive that were once useful but no longer have context- that search that traumatized people go through to recalibrate and reorient ourselves in a world where we no longer really need those things to survive.

A bit personal here, but my own issues personally involved a lot of psychological abuse that made it difficult to trust my own perceptions of reality, and as a result I found I was very easy to lie to and manipulate.

To handle this, I became obsessive over writing things down, cataloging details and making notes of things as they happened- I'd carry recording devices and make audio recordings and stay up late at night to transcribe what they'd picked up, read those over and over again to reassure myself of things I wasn't certain about.

While doing this, there were others close to me that I felt responsible for, who I had to protect from others and protect myself from at the same time. Life was about two things: Evidence, and defusing threats

Over time, I learned to trust myself as my memories matched what had been recorded where their narrative didn't, but I never really kicked the habit. Like Murderbot, I had added something to my own programming that reassured me I was safe, that I was in control of myself, that I couldn't be mistaken or crazy or broken or used.

I'm only on book two, but already I see myself in Murderbot again. No spoilers here, but when I left home- left that dangerous context- I didn't need to repeat these patterns to survive anymore, but I still did, because I didn't know anything else anymore. It felt safe, comfortable, knowing knowing that the past couldn't repeat itself, because I'd written that flaw- blind trust in myself-  out of my programming and replaced it with something else.

Still, though, I'd become something specially suited to thrive in a very specific environment. Nothing else felt right like followinghigh-risk situations, like witnessing and watching and recording and knowing I had proof of the truth where others might not.

People took notice. I wound up in security by accident, but's an environment that I thrive in due to the same patterns and behaviours I originally developed when I had no other choice. I climbed the ladder pretty quickly, once supervisors caught on that my reports were the most accurate, most objective, most factual, detail-oriented and timely. I keep others and myself safe and prioritize public safety above all else, and I perform well under pressure

Now I'm in a position where I often wonder, do I enjoy this job, or is it just what I'm good at? I have a set of skills now, but do I have the option of choosing not to use them? What would I be, if not this? Could I be anything else? Can Murderbot be anything else?

It has a set of skills that set it apart, make it different, special. It does what it knows best. But is it free? Does it want to be? What does it want? Does it have to do what it was built to do? What if it didn't?

I know what I'm good for. The idea of deliberately leaving what I'm good for for something uncertain, that I might hate, that I might be useless at- the choice to give up what was so important to me for so long and become deliberately obsolete?

Let go of my entire purpose? The only thing I know, that I fit so well into but don't actually know if I enjoy? Now that I can choose? Now that enjoyment is a luxury I can afford to consider?

Yeah, that resonates.

I like the Murderbot series so far because it feels the way I feel: Like the most significant and formative part of my story, the part where I became what I am, has already happened

And now I have to just. Keep going

Into... what?

It feels absurd. Like a microwave giving up on reheating food and deciding to start a life around abstract dance.

So, uh. Yeah. It's really very wild to see this same philosophical-ish dilemma I've been digging over in the back of my mind and in therapy for the last forever laid out so plainly in a genuinely exciting and enjoyable story like this. I feel much less alone, and I... kind of really need to see how it resolves, I think.

So, uh. Yeah. Read Murderbot, I guess

[caluski]

would you sample her....

[kaiju-krew]

finally made a weird lizard of my own......

[kidovna]

I still can’t believe I got about 50% of his outfit colour-blocking right over a year ago

[astral-herald]

Uncritically Enjoying Mage Viktor

sometimes when i turn off my angry (logical) brain, i achieve some very sentimental mage viktor clarity that i would like to share <3

this is a lot different from my other Thoughtful "Analysis" Posts. my plan is as follows: address my understanding, slim though it may be, of mage viktor; bullet-point all the less than critical/theory driven reasons why he makes me happy; make a somewhat melodramatic point about reading/viewing for fulfillment over critique. mage-tor enjoyers, unite!

What is Mage Viktor's Purpose?

Try as I might to turn off my thoughtfulness, I am typically critical of the media I enjoy, so I'll be among the first to admit that Mage Viktor was certainly a retcon. That seems to be the fandom consensus, so I won't reiterate too much on that point. It makes shots like this especially funny, though, because that is simply not the Viktor we know, interdimensional or otherwise:

But something I would like to push back on is a pervasive "favorable" read on Mage Viktor as we come to know him in season 2. I fully disagree with the idea that Mage Viktor sought Jayce out in every timeline because he loved Jayce, rather than as a means of saving the countless innocents Viktor in other timelines would inevitably kill thanks to Hextech, the Glorious Evolution, etc. Hear me out for a second!

Bestie @arowyn-m pointed out to me that Necrit confirmed that Hextech is THE canonical event, the linchpin, so to speak, that ignites the chain of events we see culminate in season 2. These are the same events that Mage Viktor seeks to prevent. It takes however many lifetimes and iterations of mass destruction for Mage Viktor to gather two vital facts about the universe: Hextech is the inciting, inevitable incident, and Jayce is the complementary indelible constant. Hextech is inevitable, but only Jayce can show Viktor how to stop it.

Viktor's love for Jayce is not what motivates Mage Viktor to seek him out - it is the inevitable result of their being "inextricably bound." Reducing Mage Viktor's manipulation of time/space/what have you to his desperate need to protect Jayce in every timeline morphs him into a very out-of-character Genocidal Eldritch Being when he's supposed to be the antithesis of OUR Machine Herald Viktor. By taking up Mage Viktor's quest to kill Machine Herald Viktor under these very specific circumstances - acceleration rune in hand - Jayce can end the cycle. He trumps the inciting incident. His love for Viktor reigns supreme.

The fact that this is so awkward to explain speaks to the severity of the retcon. I guess what I'm getting at is that Mage Viktor was not acting out of selfish, obsessive love (as romantic as that may seem to some); he was searching for a way to right his wrongs and found it in Jayce, his inseparable other half.

"Only you could show me this."

MORE TO THIS POINT: even Mage Viktor, for all his implied wisdom, having seen countless lifetimes wherein they failed to stop Hextech, still does not anticipate the depth of Jayce's love for him. He (presumably, because don't see this exchange, because Riot made egregious cuts) tells Jayce that the Viktor of this world must die. Jayce "can't fail." As far as I can tell, he never tells Jayce that he has to die along with him. Jayce rejected Viktor's bid to be partners again, after all...

Mage Viktor, like the true Viktor that lurks within the Machine Herald, still believes that Hextech is fully his fault. He still believes in his own weakness and his shortcomings and is so reliant, obsessed with independence that he refuses to share this responsibility. When Mage Viktor reveals himself to Machine Herald Viktor, and he's confronted with the depths of his own feelings, he shoves Jayce away in a last-ditch attempt to preserve his isolation.

Jayce does not allow this.

The love that keeps Viktor "inextricably bound" to Jayce is not one-sided. Viktor, in all iterations and timelines, does not bear the responsibility for Hextech alone. In his dying moments, when he finally understands that LOVE is what has kept he and Jayce together all this time, his humanity returns to him. They save the world - literally. Love literally conquered all. No Viktor, not even Mage Viktor, anticipated this. All Jayce really had to do was kill this Viktor, but he couldn't bear to part ways.

TLDR: Mage Viktor found a way to save the world, but Jayce found a way to reignite Viktor's humanity. Neither of things could coexist without the other.

Smaller, Less Important Reasons Why I Like Mage Viktor

I'll never forget the breathless whiplash I felt upon Mage Viktor's reveal. I feel pretty alone in that experience - oh well! I'll be the pariah! - but here are the reasons why he's made such an impression on me.

Seeing an aged Viktor hit me like a bus. I know he's still stricken with the arcane, but there's so much wisdom and kindness and life experience in his expression. I never thought we'd see that. I doubt he did, either.

BEARD VIKTOR TRUTHER.

It gives Viktor some agency back. I wrote in an earlier post that Mage Viktor being the one to liberate Viktor from his own tragic narrative is pretty awesome, and I stand by that.

Mage Viktor's vulnerability. I feel like Mage Viktor, finally realizing that this Jayce is the right one, that this moment is the pivotal one, says a lot of what Viktor in all timelines longs to say to Jayce.

The question of lifetimes - how many times did Viktor search for Jayce? How many times did he watch a timeline go by without him? How much loneliness did he endure (for the greater good?). What was it like seeing that in-universe Viktor had killed Jayce?

Reading Uncritically (I Swear This is Relevant)

Rita Felski, a very cool literary critic who we all should read, said the following about reading critically (the way that lots of us engage with Arcane on tumblr): "It is a mode of interpretation that adopts a distrustful attitude toward texts...that remain inaccessible to their authors as well as to ordinary readers" ("Suspicious Minds" 216). Even though she's writing about academia/literary criticism, I think her point still stands. We engage with media with the intent to expose, unearth, and problematize. We eagerly search for moments where the text fails us at the expense of the "superficial" that would otherwise uplift us. We are practicing the "hermeneutic of suspicion," which can be exceptionally draining.

It's pretty melodramatic of me to apply this kind of theoretical work to Arcane, of all things, but this story means a great deal to me. It is deeply flawed - the Mage Viktor retcon is kind of appalling if you stare down the barrel of suspicion. But, in looking through a reparative lens (Eve Sedgwick's word, not mine), I see Mage Viktor as a agency-ridden Viktor, an aged Viktor, a vision of the future Jayce and Viktor together make possible. I'm enriched by that.

Felski asks us: "How else might we venture to read, if we were not ordained to read suspiciously?" (232). What can we derive from Arcane by putting the pieces together with the goal of harmony and fulfillment? In the smallest sense, we may feel a bit better about the ways in which season 2 seriously let us down. In a larger, more hopeful sense, moments like Viktor confessing an ultimate love and attachment to Jayce, and Jayce returning it in kind, may fill us with an even deeper appreciation for unconditional love as the culmination of human connection, a world-ending and world-renewing thing that stares down the BBEG of Arcane and wins.

You could probably read all of this as my apology for enjoying what so much of the fandom has condemned. That's alright. There are so many pieces of Mage Viktor that fragment under the critical microscope, but I can't shake the emotional impact of his reveal, so I'll live in that space for the time being. Had Arcane allotted for any explanatory conversations, flashbacks, and/or given up their soft world build to account for Mage Viktor, we'd be in a better place plot-wise. Alas, here we are instead. Everyone can point and laugh at me if they did all this just to bring back God/Made/Eldritch Being/Whatever The Fuck Viktor in future projects. That'll be my penance!

And, finally, if you really didn't like Mage Viktor, I fully respect that, but this is my self-indulgent post and I'm not overly interested in debating...there's little anyone could say that I wouldn't agree with. I'm just avoiding the suspicion of it all :)

[failyaoi]

big big BIG fan of jealous Kenshi

[alien-bluez]

errrrmmm cheesed to meet you?

[marybatson]

the only reason I hc billy as an emancipated minor is literally just so that mary can still live with the bromfields and freddy can be fostered by the vasquez family. so rosa and nora have no actual relation to each other or have the rights to tell billy what to do but theyll pick him up for school and have extra bedding and a toothbrush saved for sleepovers and knuckle down his head (rosa) and fix his collar (nora) and. will pick up a household object and swing harder than any mlb player could trying to protect him faster than he can blink