#the designs for some of them may change when I actually start making them though

[genericpuff]

Hi there! 😄 Tysfm for compiling the LO brushes, being able to use them (non-commercially of course lol) makes me so friggin happy. 🙇‍♀️ I have a few questions to ask about them though:

Which brush did RS use for laying down color before shading/effects? In the Rekindled tutorial, you use the Lineart Brush for laying down flats, but I'm not sure if what I said in the previous sentence is the same thing as flats (I've been drawing my whole life, but I didn't start taking digital seriously until very recently lol 🤦‍♀️).

When the Splatter Versa brush was used in S1, there are varying oval shapes as well as several other non-ovular shapes that I don't see when I use the brush. Were there other similar brushes used with different shapes? Or am I just doing something wrong with the brush settings? The other shapes look more wilted than the other petal shapes.

Which brush was used for the usual thick, varying lineart? (It's most noticeable with the lines in hair in mid-S1 esp.) This brush isn't really textured, so I'm a bit confused which one in particular it is.

Sorry for being annoying, I'm just not tech-savvy and very intimidated by all the technical aspects of digital drawing lol ("Wtf are 'blending modes'?" /hj). 🙇‍♀️

Hey there, no problem!! I'm glad people are getting use out of them!

Though I'm not entirely sure as it clearly changed often throughout the course of the first season, the Gouache a Go Go brush and Hard Pastel both have those "crunchier" textures that you can see in some panels. There are also watercolor brushes that she used to blend the edges in some bigger panels.

Could you send me an example of a panel? Just so then I can actually see it and mess around with some things and give you a better answer haha That said, if I had to take a guess, either she messed with the brush control / tilt settings in Photoshop, or she may have used the Warp / Liquify tools to warp them intentionally to achieve that "petal" look. But again, send me a pic of the panels in question if you can and I can take a closer look :>

As mentioned previously, an example would help a lot here, but I do know what you're saying that some panels had very thick, varied lineart. Rachel has gone on record on two separate occasions that she used the Gouache Wet Pencil / Wet Round brush from the Kyle Webster Pack. Though the Hard Square Pastel brush can also achieve similar effects. Note that the Wet Round brush is a dual-sizing brush - if you adjust the brush size, you have to also adjust the particle size in tandem, otherwise you'll get a bigger brush size with more scattered/diluted particles. Though this effect IS very helpful for shading!

As mentioned, Rachel has mentioned some of the brushes she's used, and though it's not necessarily relevant to what you're looking for specifically, she's also mentioned these brushes in old FAQ's, specifically the Wet Round brush for lineart.

Here are some examples I whipped up real quick based on some of the panels that specifically depict thick lineart and textured coloring:

Mind you, these are all my best guesses, based on what Rachel has provided and what I've both dug up and been provided by other contributors who have pointed me in the right direction.

Unfortunately, while LO's art style is unique, it also makes it very difficult to reverse-engineer because throughout the comic (esp in S1 when she was still experimenting) while she did clearly have some "favorites" out of the bunch, she also just kind of went off "vibes" a lot of the time, treating every panel as an individual painting. And while that did lend to some of LO's most beautiful panels throughout S1, it also created a lot of whiplash between stylization because after doing one panel with thick lineart and bold texturing, she'd do another with watercolors and softer edges.

That's also not taking into account the software she was using - many of these brushes were designed exclusively with the Photoshop brush engine in mind, not Clip Studio, so they may not work entirely as intended if you use them in Clip Studio or some other non-Photoshop software. We also have to consider other factors like canvas resolution, texture effects added afterwards (such as that canvas overlay), and other adjustable settings within the brushes themselves that Rachel may have tweaked, including the pressure sensitivity, particle size/density, thickness, etc. All of which we can't really truly know, so we can only settle for our closest guess.

This is half the challenge - and fun - of trying to emulate her art style, because even she clearly didn't follow any strict rules 😅 Unfortunately it leaned more towards worse as time went on as it was clear the assistants themselves were given very little guidance or consistency (or at least, didn't have the time to settle on a happy medium) resulting in panels that are even more distinctly out of place as they were being swapped between different artists with different backgrounds and styles.

All that aside, I hope that helps! I do admittedly have to update that brush pack again, I feel like there are a handful of brushes I've found since then that could also be added, but I'd also like to update the included instructions to better reflect what I've learned since then regarding each brush and how they could be used. Ultimately though, they're yours to experiment with! Mess around, adjust the sizes and density and pressure settings, all of these things can contribute to the overall look.

Good luck! <3

[afanofmanyhats]

Before I start publishing my fanfic, I thought I'd share my notes and headcanons on the Toa Mangai with y'all to help get us situated. I don't have any MOCs built yet, but I'm planning on playing around in Stud.io soon. Eventually I'll be making everyone with real pieces in the far, far future.

Sidenote: in order to figure out how to make eleven characters all feel distinct from each other (especially four Toa of Ice), I decided to base them off of the D&D 5e classes, with the exception of Sorcerer and Warlock, as those wouldn't fit as well into the power system of BIONICLE.

Lhikan, Toa of Fire: Fighter, Hau and Fire Greatswords

Design: Metru red, black, and old gold. Average height and build.

Background: Lhikan lived in a Ta-Matoran within the Northern Continent, working as a Crafter. He specialized in Kanoka disks, hoping to give his fellow Matoran a means of defending themselves. He and his fellow workers ended up being targeted by some unscrupulous Vortixx that tried to make them produce only for them, and when Lhikan made a stand, the Vortixx tried to make an example of him by attempting to throw him into a vat of molten protodermis. Toa Dume was able to rescue him and drive off the Vortixx, and made a note of the Ta-Matoran’s bravery. Millennia later, when Dume retired to become the Turaga of Metru Nui, he returned to Lhikan and gave him a Toa Stone before sending him off to an Order of Toa for training. Lhikan’s time with the Order of Toa was all too brief, as only a few years into his training, their fortress in the Axal Mountains was attacked by Frostelus. Lhikan was ordered to leave with the Makoki Stone against his will by the fortress’ commander, but when he couldn’t locate the object, Lhikan had to flee alone. He wandered alone, half-hoping to perish in the harsh landscape of the Axals before Fau found him nearly frozen. She rescued him from his sorry state, and the two began traveling together, assisting Matoran and eventually being joined by other Toa, forming the Toa Aki.

Personality: Lhikan is, in a word, driven. Driven by his sense of duty to the Matoran and his fellow Toa, driven by his guilt over leaving his Order behind, driven by a need to be the best Toa he can be. His dry sense of humor, tactical mind, and valorous attitude make him a popular leader with his fellow Toa.

Nidhiki, Toa of Air: Rogue, Volitak and Air Scythe

Design: Metru green, dark grey, and silver. Average height with light build.

Background: Nidhiki was a Scout as a Matoran in the Tren Krom Peninsula. He was an expert at moving through its dense jungles and rocky canyons, which kept him alive through many close calls. He became a Toa when his village’s previous protector, a Bo-Toa named Lanekh, was wounded beyond full recovery. Nidhiki had helped Lanekh in his final confrontation with a fully-organic monster of Tren Krom's creation, so Nidhiki was Lanekh’s top pick for his successor. With the aid of his Volitak, Nidhiki became a master of stealth, but took up the habit of spending long spans of time away from his village to scout out potential threats. This came back to bite him when he left for a week to follow a beast only to find a relatively safe route out from his village's isolated position. He returned to find his village ravaged from a monster attack, with only a couple of survivors remaining. Distraught, Nidhiki took the survivors to safety through the discovered path and settled in a port, where he encountered Lhikan, Fau, and Tuyet. With nothing left to tie him down to the Tren Krom Peninsula, Nidhiki leapt at the chance to join a group and leave his homeland behind.

Personality: Nidhiki has an impulsive temperament countered by his need to survive. The traumatic environment of his homeland has made him wary of most people, and he keeps his fellow Toa at arm’s length. Nevertheless, he still wants to be seen as a hero, and to protect the Matoran.

Tuyet, Toa of Water: Barbarian, Hamaki (Mask of Intangibility) and Barbed Broadsword

Design: Trans dark blue, Metru blue, and gunmetal grey. Tall with bulky build.

Background: Tuyet comes from Galiki, a small island several miles to the north-west of the Northern Continent. As a Matoran she worked as a Fisher, and took great pride in her work. She worked alongside her friend Mara under the leadership of Turaga Zes, who unbeknownst to her community had been exiled from the Southern Continent for killing an enemy. When a pod of Takea sharks attacked while the Matoran were at sea, Mara was killed rescuing Tuyet. Tuyet avenged her friend by killing every shark with a net and a harpoon, but was heavily injured herself. Zes gave Tuyet a Toa Stone to keep her from dying, and took the novice under her wing. She trained Tuyet to use her powers lethally, eventually divulging the existence of the Nui Stone in the hope that one day Tuyet would return to the land Zes came from and take vengeance on her enemies. Tuyet, however, was forming her own plans. When she felt she had received enough training from Zes, she slipped away from Galiki with the Nui Stone one night, heading for the Northern Continent. There, she met Lhikan and Fau, and ended up joining them in an attempt to get away from her past.

Personality: Tuyet is zealous in her devotion to guarding Matoran, to the point where she frequently has to be held back from seriously injuring enemies that threaten them. While she is fully capable of nuanced thought, she tends to prefer straightforward solutions, like hitting the problem really hard with her sword.

Fau, Toa of Ice: Ranger, Kaukau and Frost Tridents, Energy Hound

Design: Trans dark blue, white, and silver. Average height with light build.

Background: Fau came from the Axal Mountains, a massive mountain range that divides the Northern Continent in half. The treacherous slopes and dangerous Rahi makes travel difficult, but there are a few safe passages that Scouts can guide caravans through. Fau worked as a Scout for much of her life, guarding travelers through rocky canyons, avalanches, floods, and Rahi attacks. Her heroism and sense of duty gained the attention of Vilti, an old Toa of Lightning, who traveled with Fau for a bit before giving her a Toa Stone and turning into a Turaga. Vilti trained Fau, eventually settling down as a village elder and gifting Fau her old Energy Hound companion named Sparky. Fau struck out on her own to be an even better Scout than before. She ended up crossing paths with Lhikan shortly after his brush with the Frostelus, and helped him survive in the harsh landscape until he felt called to explore more of the Northern Continent. He invited Fau to accompany him, and she decided to join him, becoming the first members of the Toa Aki with him.

Personality: Fau is serious and stoic, her survival instincts honed to a razor’s edge by her years of experience. She feels most comfortable out in nature, away from major centers of civilization.

Mafa, Toa of Ice: Wizard, Olfor (Mask of Conjuring) and Ice Staff with Rhotuka Launcher

Design: White, sand blue, light trans blue, and gold. Tall with average build.

Background: Mafa was one of the best Scholars of Ankha Nui, the largest city within the Northern Continent and a close trade partner to Metru Nui. He’s researched virtually every topic, written hundreds of treatises and papers, but he is mainly known for his work on the various types of protodermis and their effect on elemental abilities. Mafa has been to Metru Nui in the past for research, but he still prefers Ankha Nui over the Knowledge Towers of Ko-Metru. Just a few centuries ago, Mafa was approached by Toa Tiro, who told him that it was his destiny to become a Toa, one who would protect the Great Spirit from an ancient threat. Mafa was initially dismissive of Tiro, but her persistence wore down his resistance, and feeling that he had studied all that he could, he agreed to become a Toa.

His Rhotuka launcher teleports the target to a desired location within line of sight.

Personality: Mafa is intelligent, analytical, and self-impressed. He has a high opinion of himself, and frequently acts like he is the smartest person in the room, typically because he is. Tiro has worked hard to help him embrace humility, and he has been taking lessons now that he is out of his element as a Toa.

Motara, Toa of Stone: Artificer, Kiril with scope and Cordak Rifle, Nynrah Ghost Blaster, and Precision Hammer

Design: Grey, tan, yellow, and gunmetal grey. Average height and build.

Background: Motara was one of the original inhabitants of Odina. He worked as an Engineer, crafting tools and weapons for his fellow Matoran to defend themselves against the wild Rahi that stalked the island’s northern area. When the Dark Hunters came to make their base on Odina, many of the Matoran were captured as slaves or killed; Motara was one of the only refugees to escape. He made his way to Nynrah, where he managed to convince the Nynrah Ghosts to take him on as an apprentice. He trained with them for years, honing his skills as a crafter and coming up with plans to liberate his home. Eventually he moved to Xia with a small group of other Nynrah Ghosts to sell weapons, but Motara focused on selling his arms to other Matoran in order to help them defend themselves. His work eventually caught the attention of Toa Dume, who commissioned a new weapon from him. The process of making the weapon put Motara and Dume in close contact with each other, and Dume eventually coaxed the Matoran’s motivations from him. Dume offered to make Motara a Toa to give him a better way of defending other Matoran, and after much deliberation, Motara agreed. With the completion of his staff, Dume helped Motara become a Toa, and taught him what he knew. Eventually, Motara struck out on his own, setting up shop near the Tren Krom Peninsula to defend the Matoran on the edges of one of the wildest places in the universe.

Personality: Motara has an analytical, dissective mind, and enjoys taking things apart and putting them back together to understand how they work. He has a rough, dry sense of humor and is guarded about his past to most people.

Hura, Toa of Ice: Paladin, Rode and Avalanche Axe with Shield

Design: White, light blue, and silver. Tall with bulky build.

Background: As a Matoran, Hura lived in Ankha Nui, working in the city guard as one of its premier Investigators. His dedication to uprooting crime and corruption made him a target of a Skakdi gang, but he teamed up with Ankha Nui’s Toa, a Psionics Toa named Whul, to take down the threat. As a reward for his years of service, when Whul retired, he was granted a Toa Stone, and became one of the new defenders of Ankha Nui. With the aid of his Rode, Hura became even more of a menace to the criminals of the city, and quickly became one of the most popular Toa. His reputation spread all across the Northern Continent, to the point that Lhikan and Fau sought him out for assistance in dealing with a tribe of Zyglak threatening a trade route. He worked so well with them that he decided to join their group, and quickly became Lhikan's lieutenant thanks.

Personality: Hura is a dedicated, focused man who religiously believes in the Three Virtues. He also upholds the Toa Code more vigorously than most, doing his best to be honest and admirable to the Matoran he guards.

Naho, Toa of Water: Bard, Huna and Harpoon Bow

Design: Metru blue, Mata blue, trans purple, and silver. Average height and build.

Background: Naho was a Student in Ga-Metru, known for taking classes in as many topics as she could. She was a veritable sponge for knowledge, but never graduated to a Teacher, as many expected, as she was perfectly content to only learn. Besides studying, though, she was one of the finest singers in Ga-Metru, and had experience boating. Over time, Naho’s curiosity to explore other lands became a driving force in her life, but she was reluctant to leave without a friend, and no one she knew was willing to leave Metru Nui. That changed when she met Marn in one of her language classes, and the two quickly bonded. Upon learning about Marn’s own desire to experience other islands, they purchased a boat together, finished up their work in Metru Nui, and sailed off for the Northern Continent. After years of traveling together, the two became Toa after saving a village of Le-Matoran from a Nui Rama swarm. They trained with a Le-Turaga mentor named Exival, but eventually left the village in the care of a Le-Toa in order to continue exploring. They eventually met Kanae, and she joined their band. The three have them have sailed around the Northern and Southern Continents, Stelt, Zakaz, and Xia, protecting Matoran wherever they could.

Personality: Naho is studious, curious, and quick-witted. She enjoys discussion and music, frequently bantering with her siblings when she isn't learning new songs from other lands.

Marn, Toa of Earth: Cleric, Kakama and Quake Hammer with Shield

Design: Black, sand green, and gold. Short with bulky build.

Background: A former Archivist from Onu-Metru, Marn specialized in stories and artifacts from foreign lands. Years of cataloging and recording legends from far away inspired Marn to travel to these places firsthand, but he could never get the funding for it approved by the Chief Archivist, Mamoru. On a whim, Marn decided to enroll in a class on a language from the Northern Continent he had come across in his work, and met Naho as a fellow student. The two hit it off, and after learning of their mutual desire to travel, bought a boat and sailed for the Northern Continent. Marn kept a journal of their adventures, planning on eventually returning it to Metru Nui and adding it to the Archives, but his transformation into a Toa changed his plans. Now, his focus is on protecting the Matoran and preserving their different ways of life.

Personality: Marn is curious, quiet, and self-assured, confident in his abilities and mindful of his limitations. He believes strongly in preserving the past and understanding others, which frequently makes him a mediator in his team.

Kanae, Toa of Plantlife: Druid, Amana (Mask of Healing) and Thorn Sickle

Design: Dark blue, lime green, Mata green, and gold. Small with light build.

Background: Kanae was a Healer from a heavily forested area in the Northern Continent. As a Matoran, she was exemplary for her patience, compassion, and expertise in her craft. When a parasite created by Mutran made its way to her village, Kanae was the first to identify what was diseasing her people and concocted a cure. It worked marvelously, preventing any deaths from a wasting infection, and she was soon able to spread the cure to the rest of the Northern Continent. To honor her achievements, Kanae’s Turaga offered her a Toa Stone, which she accepted. Kanae mainly used her powers over plantlife to ensure prosperity for her people, but as the years passed without a major threat, she began to wonder if her duty required her elsewhere. When Naho and Marn stopped by her village in their travels, she begged to join them, and left with her village’s blessing to help those more in need.

Personality: Kanae is a dedicated, compassionate healer, always seeking to help. She is also fairly quiet, preferring to stay out of the limelight.

Tiro, Toa of Ice: Monk, Calix and Adamant Staff with Rhotuka Launcher

Design: Dark grey, white, and gunmetal grey. Tall with average build.

Background: Tiro comes from the slopes of Mt. Vikhtol within the Southern Continent, which holds the Temple of Destiny. The Temple is one of the holiest places within the SC, containing prophecies and visions of many different Seers. Tiro was a Seer, as well as the Temple’s guardian Toa. She stayed there for millennia, defending the temple from Rahi, as well as Dark Hunters and other brigands who wished to steal the secrets contained within. She has honed her body and her mind almost to perfection, and her Kanohi Calix gives her the edge she needs against any opponent. Her time with the temple ended when she received a vision to seek out the Scholar Mafa in Ankha Nui to help him achieve his destiny. She prepared for her departure by training a successor, and set out to find the Matoran her visions spoke of. Since finding Mafa and helping him become a Toa, she has done her best to train him in wisdom, not just intelligence.

Her Rhotuka has a calming effect on those it hits, sometimes to the point of knocking them out.

Personality: Tiro possesses vast wisdom, which she likes to convey in parables and the occasional riddle. She tends to be quiet, preferring to observe before she acts in any situation, but her devotion to the Great Spirit and the Toa Code are unshakeable.

Kodan, Po-Matoran: Chronicler, Erodo (Mask of Psychometry) and Chronicler’s Staff with Kanoka Disk Launcher

Design: Brown, black, and grey. Metrutoran.

Background: Kodan was a Merchant that traveled between the different Metrus, with a knack for Kanoka disks that led to him- at least he claims- inventing Akilini. His route around Metru Nui brought him in contact with many different walks of life, but one of his favorite places was Onu-Metru, as he found the stories stored within the Archives fascinating. At one point Marn tried to get him to become a junior Archivist, but Kodan decided against it, as he liked the freedom his current job gave him.

Personality: Kodan is friendly and personable, good at putting people at ease to share things with him. He also has a mean competitive streak, as while his invention of Akilini is up for debate, his skill with it is unquestionably high.

[kingghoost]

Posting this Cybertronian Ratchet design because all the drawings I have ready forward use/reference it ^^

I made it awhile ago and it may not be super creative, but I actually didn't wanna change his design too much to portray how he himself doesn't change as a person (not in a bad way, he holds firmly to his beliefs and has a strong character💞)

I wrote a little backstory, too!! ⬇️⬇️⬇️

" Long before the war, Ratchet was one of the many medics stationed in Kaon with the task of nursing fallen gladiators back to health. Though he was considered the best, many feared his temperamental attitude, especially his own patients. Despite the coincidence, Megatronus and Ratchet had never actually interacted face to face, although they were aware of each other's existence. That is, until they had both been introduced through their mutual friend, Orion Pax.

With the little free time he had, Ratchet was one to frequently travel to Iacon to visit the Hall of Records, whether to spend his time reading or doing research on personal projects. Then, he met Orion at his workplace, and the two quickly formed a strong bond. When they weren't hanging out in person, they would keep contact via comms (sorta like online friends.) One fateful day, Orion had taken some time off of work to visit Ratchet in Kaon, coincidentally at the same time Megatronus had started to make a name for himself and his cause. This resulted in him witnessing one of Megatronus' speeches live, thus allowing them to meet and form a partnership as well.

In a way, Orion Pax changed Ratchet. Being surrounded by corruption and oppression from the caste system where it was at its worst, Ratchet had given up any hopes of a better Cybertron. However, Orion's altruistic nature inspired him, guided him to prove his mettle in the Great War, and binded him to Orion's—now Optimus'—side for millennia, and many more to come. "

Corny? I'm not sure. The writing's not all that good because of its age, but getting the point across is all that matters..

I really love the idea of a Kaonian Ratchet 💞💞

Ratchet being an indirect cause to Orion and Megatronus meeting is super interesting to me as well... do you think after all that happened, he feels at fault? In the episode where Ratchet was telling everyone about Optimus' backstory, he seemed to have nothing but bad things to say about Megatron, so they probably never got along since the beginning...

[creatingblackcharacters]

“The bulging eyes and the twisted mouth” - Violence, Violent Imagery & Black Horror

TRIGGER WARNING: mentions of death, violence, blood, hate crimes, antiblackness, police violence, rape

Note! I am going to be speaking from a Black American point of view, as my identity informs my experience. That said, antiblackness itself is international. The idea of my Blackness as a threat, as a source of fear and violence to repress and to destroy, is something every Black person in the world that has ever dealt with white supremacy has experienced.

There are two things, I think, that are important to note as we start this conversation.

One: there is a long history of violence towards Black bodies that is due to our dehumanization. People do not care for the killing of a mouse in the way they care about a human. But if you think the people you are dealing with are not people, but animals- more particularly, pests, something distasteful- then you will be able to rationalize treating them as such.

Two: even though we live in a time period where that overt belief of Blackness as inhuman is less likely, we must recognize that there are centuries of belief behind this concept; centuries of arguments and actions that cement in our minds that a certain amount of violence towards Blackness is normal. That subconscious belief you may hold is steeped in centuries of effort to convince you of it without even questioning it. And because of this very real re-enforcement of desensitization, naturally another place this will manifest itself is in how we tell and comprehend stories.

There are also three points I'm about to make first- not the only three that can ever be made, but the ones that stand out the most to me when we talk about violence with Black characters:

One: Your Black readers may experience that scene you wrote differently than you meant anyone to, just because our history may change our perspective on what’s happening.

Two: The idea that Black characters and people deserve the pain they are experiencing.

Three: The disbelief or dismissal of the pain of Black characters and people.

You Better Start Believing In Ghost Stories- You’re In One

I don’t need to tell Black viewers scary fairytales of sadists, body snatchers and noncoincidental disappearances, cannibals, monsters appearing in the night, and dystopian, unjust systems that bury people alive- real life suffices! We recognize the symbolism because we’ve seen real demons.

Some real examples of familiar, terrifying stories that feel like drama, but are real experiences:

12 Years a Slave: “This is no fiction, no exaggeration. If I have failed in anything, it has been in presenting to the reader too prominently the bright side of the picture. I doubt not hundreds have been as unfortunate as myself; that hundreds of free citizens have been kidnapped and sold into slavery, and are at this moment wearing out their lives on plantations in Texas and Louisiana.” – Solomon Northup

When They See Us: I can’t get myself to watch When They See Us, because I learned about the actual trial of the Central Park Five- now the Exonerated Five- in my undergrad program. Five teen Black and brown boys, subjected to racist and cruel policing and vilification in the media- from Donald Trump calling for their deaths in the newspaper, to being imprisoned under what the Clintons deemed a generation of “superpredators” during a “tough on crime” administration. And as audacious as it is to say, as Solomon Northup explained, they were fortunate. The average Black person funneled into the prison system doesn’t get the opportunity to make it back out redeemed or exonerated, because the system is designed to capture and keep them there regardless of their innocence or guilt. Their lives are irreparably changed; they are forever trapped.

Jasper, Texas: Learning about the vicious, gruesome murder of James Byrd Jr, was horrific- and that was just the movie. No matter how “community comes together” everyone tells that story, the reality is that there are people who will beat you, drag you chained down a gravel road for three miles as your body shreds away until you are decapitated, and leave your mangled body in front of a Black church to send a message… Because you’re Black and they hate you. To date I am scared when I’m walking and I see trucks passing me, and don’t let them have the American or the Confederate flag on them. Even Ahmaud Arbery, all he was doing was jogging in his hometown, and white men from out of town decided he should be murdered for that.

Do you want to know what all of these men and boys, from 1841 to 2020, had in common? What they did to warrant what happened to them? Being outside while Black. Some might call it “wrong place wrong time”, but the reality is that there is no “right place”. Sonya Massey, Breonna Taylor- murdered inside their home. Where else can you be, if the danger has every right to barge inside? There is no “safe”.

It is already Frightening to live while Black- not because being Black is inherently frightening, but because our society has made it horrific to do so. But that leads into my next point:

“They Shouldn’t Have Resisted”

Think of all the videos of assaulted and murdered Black people from police violence. If you can stomach going into the comments- which I don’t, anymore- you’ll see this classic comment of hate in the thousands, twisting your stomach into knots:

“if they obeyed the officer, if they didn’t resist, this wouldn’t have happened”

Another way our punitive society normalizes itself is via the idea of respectability politics; the idea that “if you are Good, if you do what you are Supposed to do, you will not be hurt- I will not have to hurt you”. Therefore, if my people are always suffering violence, it must be because we are Bad. And in a society that is already less gracious to Black people, that is more likely to think we are less human, that we are innately bad and must earn the right to be exceptional… the use of excessive violence towards me must be the natural outcome. “If your people weren’t more likely to be criminals, there wouldn’t be the need to be suspicious of you”- that is the way our society has taught us to frame these interactions, placing the blame for our own victimization on us.

Sidebar: I would highly suggest reading The New Jim Crow, written in 2010 by Michelle Alexander, to see how this mentality helps tie into large scale criminalization and mass incarceration, and how the cycle is purposely perpetuated.

You have to constantly be aware of how you look, walk and talk- and even then, that won’t be enough to save you if the time comes. The turning point for me, personally, was the murder of Sandra Bland. If she could be educated, beautiful, a beacon of her community, be everything a “Good” Black person is supposed to be… and still be murdered via police violence, they can kill any of us. And that’s a very terrifying thought- that anything at any point can be the reason for your death, and it will be validated because someone thinks you shouldn’t have “been that way”. And that way has far less to do with what you did, than it does who you are. Being “that way” is Black.

My point is, if this belief is so normalized in real life about violence on Black bodies- that somehow, we must have done something to deserve this- what makes you think that this belief does not affect how you comprehend Black people suffering in stories?

Hippocratic Oath

Human experimentation? Vivisection? Organ stealing? Begging for medicine? Dramatically bleeding out? Not trusting just anyone to see that you are hurt, because they might take advantage? All very real fears. The idea that pain is normal for Black people is especially rampant in the healthcare field, where ideas like our melanin making our skin thick enough to feel less pain (no), an overblown fear of ‘drug misuse’, and believing we are overexaggerating our pain makes many Black people being unwilling to trust the healthcare system. And it comes down to this thought:

If you think that I feel less pain, you will allow me to suffer long before you believe that I am in pain.

I was psychologically spiraling I was in so much pain after my wisdom teeth removal, and my surgeon was more concerned about “addiction to the medication”. Only because Hot Chocolate’s mom is a nurse, did I get an effective medicine schedule. My mother ended up with jaw rot because her surgeon outright claimed that she didn’t believe that she was in more than the ‘healing’ pain after her wisdom teeth were removed. She also has a gigantic, macabre (and awesome fr) scar on her stomach from a c-section she received after four days of labor attempting to have me… all because she was too poor and too Black to afford better doctors who wouldn’t have dismissed her struggles to push.

As a major example of dismissed Black pain: let’s discuss the mortality rate of Black women during childbirth, as well as the likelihood of our children to die. When we say “they will let you bleed to death”, we mean it.

“Black women have the highest maternal mortality rate in the United States — 69.9 per 100,000 live births for 2021, almost three times the rate for white women, according to the Centers for Disease Control and Prevention. Black babies are more likely to die, and also far more likely to be born prematurely, setting the stage for health issues that could follow them through their lives.”

Even gynecology roots in dismissal (and taking brutal advantage of) Black women's pain:

“The history of this particular medical branch … it begins on a slave farm in Alabama,” Owens said. “The advancement of obstetrics and gynecology had such an intimate relationship with slavery, and was literally built on the wounds of Black women.” Reproductive surgeries that were experimental at the time, like cesarean sections, were commonly performed on enslaved Black women. Physicians like the once-heralded J. Marion Sims, an Alabama doctor many call the “father of gynecology,” performed torturous surgical experiments on enslaved Black women in the 1840s without anesthesia. And well after the abolition of slavery, hospitals performed unnecessary hysterectomies on Black women, and eugenics programs sterilized them.”

If you think Black characters are not in pain, or that they’re overexaggerating, you’re more likely to be okay with them suffering more in comparison to those whose pain you take more seriously- to those you believe.

What’s My Point?

My point is that whatever terrifying scene you think you’re writing, whatever violent whump scenario you think you’re about to put your Black characters through, there’s a chance it has probably happened and was treated as nonimportant (damn shame, right?) And when those terrifying scenes are both written and read, the way their suffering will be felt depends on how much you as a reader care, how much you believe they are suffering.

There’s a joke amongst readers of color that many dystopian tales are tales of “what happened if white people experienced things that the rest of us have already been put through?” Think concepts like alien invasion and mass eradication of the existing population- you may think of that as an action flick, meanwhile peoples globally have suffered colonization for centuries. The Handmaid’s Tale- forced birthing and raising of “someone else’s” children, always subject to sexual harassment by the Master while subject to hate from the Mistress- that’s just being a Mammy.

There’s nothing wrong with having Black characters be violent or deal with violence, especially in a story where every character is going through shit. That is not the problem! What I am trying to tell you, though, is to be aware that certain violent imagery is going to evoke familiarity in Black viewers. And if I as a Black viewer see my very real traumas treated as entertainment fodder- or worse, dismissed- by the narrative and other viewers, I will probably not want to consume that piece of media anymore. I will also question the intentions and the beliefs of the people who treat said traumas so callously. Now, if that’s not something you care about, that’s on you! But for people who do care, it is something we need to make sure we are catching before we do it.

“So I just can’t write anything?!”

Stop that. There are plenty of examples of stories containing horror and violence with Black characters. There’s an entire genre of us telling our own stories, using the same violence as symbolism. I’m not telling you “no” (least not always). I’m telling you to take some consideration when you write the things that you do. There’s nothing wrong about writing your Black characters being violent or experiencing violence. But there is a difference between making it narratively relevant, and thoughtlessly using them as a “spook”, a stereotypical scary Black person, or a punching bag, especially in a way that may invoke certain trauma.

The Black Guy Dies First

The joke is that we never survive these horror movies because we either wouldn’t be there to begin with, or because we would make better decisions and the narrative can’t have that. But the reality is just that a lot of writers find Black characters- Black people- expendable in comparison to their white counterparts, and it shows. More of a “here, damn” sort of character, not worth investment and easy to shrug off. The book itself I haven’t read, just because it’s pretty new, but I’m looking forward to doing so. But from the summaries, it goes into horror media history and how Black characters have fared in these stories, as well as how that connects to the society those characters were written in. I.e., a thorough version of this lesson.

Instead, I wrote an entire list of questions you could possibly ask yourself involving violence or villainy involving a Black character. Feel free to print it and put it on your wall where you write if you have to! I cannot stress enough that asking yourself questions like these are good both for your creation and just… being less antiblack in general when you consume media.

Black Horror/Black Thriller

We, too, have turned our violent experiences into stories. I continue to highly suggest watching our films and reading our stories to see how we convey our fear, our terror, our violence and our pain. There are plenty of stories that work- Get Out, The Angry Black Girl and her Monster, Candyman, Lovecraft Country (the show) and Nanny are some examples. There’s even a blog by the co-writer of The Black Guy Dies First who runs BlackHorrorMovies where he reviews horror movies from throughout the decades.

Desiree Evans has a great essay, We Need Black Horror More Than Ever, that gets into why this genre is so creative and effective, that I think says what I have to say better than I could.

“Even before Peele, Black horror had a rich literary lineage going back to the folklore of Africa and its Diaspora. Stories of haints, witches, curses, and magic of all kinds can be found in the folktales collected by author and anthropologist Zora Neale Hurston and in the folktales retold by acclaimed children’s book author Virginia Hamilton. One of my earliest childhood literary memories is being entranced by Hamilton’s The House of Dies Drear and Patricia McKissack’s children’s book classic The Dark-Thirty: Southern Tales of the Supernatural, both examples of the ways Black authors have tapped into Black history along with our rich ghostlore.” “Black horror can be clever and subversive, allowing Black writers to move against racist tropes, to reconfigure who stands at the center of a story, and to shift the focus from the dominant narrative to that which is hidden, submerged. To ask: what happens when the group that was Othered, gets to tell their side of the story?”

For on the nose simplicity, I’m going to use hood classic Tales From The Hood (1994) as an example of how violence can be integrated into Black horror tales. Tales From The Hood is like… The Twilight Zone by Black people. Messages discussing issues in our community, done through a mystical twist. Free on Tubi! If you want to stop here before some spoilers, it’s an hour and a half. A great time!

In the first story, a Black political activist is murdered by the cops. The scene is reflective of the real-world efforts to discredit and even murder activists speaking out against police violence, as well as the types of things done to criminalize Black citizens for capture. The song Strange Fruit plays in the background, to drive the point home that this is a lynching.

The second story deals with a Black little boy experiencing abuse in the home, drawing a green monster to show his teacher why he’s covered in wounds and is lashing out at school.

The fourth story is about a gangbanger who undergoes “behavioral modification” to be released from prison early. Think of the classic scene from A Clockwork Orange. He must watch as imagery of the Klan and of happy whites lynching Black bodies (real-life pictures and video, mind you!) play into his mind alongside gang violence.

Isn’t Violence Stereotypical or antiblack?

That last story from Tales From The Hood leads into a good point. It can be! But it does not have to be! Violence is a human experience. By suggesting we don’t experience it or commit it, you would be denying everything I’ve just spoken about. We don’t have to be racist to write our Black characters in violent situations. We also don’t have to comprehend those situations through a racist lens.

Even experiences that seem “stereotypical” do not have to be comprehended that way. I get a LOT of questions about if something is stereotypical, and my response is always that it depends on the writing!!! You could give me a harmless prompt and it becomes the most racist story ever once you leave my inbox. But you could give me a “stereotypical” prompt and it be genuine writing.

Let’s take the movie Juice for example. Juice in my honest to God opinion becomes a thriller about halfway in. On its surface, Juice looks like bad Black boys shooting and cursing and doing things they aren’t supposed to be doing! Incredibly stereotypical- violent young thugs. You might think, “you shouldn’t write something like this- you’re telling everyone this is what your community is like”. First- there’s that respectability politics again! Just because something is not a “respectable” story does not mean it doesn’t need to be told!

But if we’re actually paying attention, what we’re looking at is four young boys dealing with their environment in different ways. All four of them originally stick together to feel power amongst their brotherhood as they all act tough and discover their own identities. They are not perfect, but they are still kids. In this environment, to be tough, to be strong, you do the things that they are doing. You run from cops, you steal from stores, you mess with all the girls and talk shit and wave weapons. That’s what makes you “big”. That’s what gives you the “juice”- and the “juice” can make you untouchable.

I want to focus particularly on Bishop, yes, played by Tupac. Bishop, the antagonist of Juice, is particularly powerless, angry, and scared of the world around him. He puts on a big front of bravado, yelling, cursing, and talking big because he’s tired of being afraid, and he doesn’t know how to deal with it otherwise. So when he gets access to a gun- to power- he quickly spirals out of control. His response to his fear is to wave around a tool that makes him feel stronger, that stops the things that scare him from scaring him.

Now, that is not a unique tale! That is a tale that any race could write about, particularly young white men with gun violence! If you ever cared for Fairuza Balk’s character in The Craft, it is a similar fall from grace. But because it is on a young, Black man in the hood, audiences are less likely to empathize with Bishop. And granted, Bishop is unhinged! But many a white character has been, and is not shoved into a stereotype that white people cannot escape from!

Now would I be comfortable if a nonblack person attempted to write a narrative like Juice? Yes, because I’d worry about the tendency to lose the messaging and just fall into stereotype outright. But it can be done! The story can be told!

“But if Black violence bad, why rap?”

The short answer:

“In order for me to write poetry that isn’t political, I must listen to the birds, and in order to hear the birds, the warplanes must be silent.”

Marwhan Makhoul, Palestinian Poet

First, rap is not “only violence and misogyny”. Step your understanding of the genre up; there are plenty of options outside of the mainstream that don’t discuss those things. Second, every genre of music has mainstream popular songs about vice and sin. The idea that Black rappers have to be held to a higher standard is yet another example of how we are seen as inherently bad and must prove ourselves good. We could speak about nothing but drugs and alcohol and 1) there would still be white artists who do the very same and 2) we would still deserve to be treated like humans.

That said, many- not all- rappers rap about violence for the same reason Billy Joel wrote We Didn’t Start the Fire, the same reason Homer first spoke The Iliad- because they have something to say about it! They stand in a long tradition of people using poetry and rhythm to tell stories. Rap is an art of storytelling!

Rap is often used as an expression of frustration and righteous anger against a system built to keep us trapped within it. I’m not allowed to be angry? Why wouldn’t I be angry? Anger is a protective emotion, often when one feels helpless. Young Black people also began to reclaim and glorify the violence they lived in within their music, to take pride in their survival and in their success in a world that otherwise wanted them to fail. If I think the world fights against me no matter what I do, I’d rather live in pride than in shame with a bent head. Is it right? Maybe, maybe not. But if you don’t want them to rap about violence, why not alleviate the things leading to the violence in their environment?

Whether you choose to listen to their words, because the delivery scares you- and trust, angry Black men scared the music industry and society- doesn’t make the story any less valid!

Conclusion

I am going to drop a classic by Slick Rick called Children’s Story. I think listening to it- and I mean genuinely listening- summarizes what I’ve said here about how Black creators can tell stories, even violent ones, and how even the delivery through Blackness can change how you perceive them. Please take the time to listen before continuing.

I’ve been alive for 28 years and have known this song my whole life, and it just hit me tonight: not once is the kid in this story identified as Black! My perception of this story was completely altered by my own experiences, who told the story, and how it was told.

That’s what I’m trying to tell you. You can tell stories of violence that involve Black characters. I love and adore a good hurt/comfort myself! But you need to be cognizant of your audience and how they’ll perceive the story you’re telling, and that includes the types of imagery you include. It’s not effective catharsis via hurt/comfort for the audience if your Black readers are being completely left out of the comfort. “I wrote this for myself” that’s cool, but… if you wrote racism for yourself, and you’re willing to admit that to yourself, that’s on you. I’d like to think that’s not your intention! You can write these stories of woe and pain without mistreating your Black characters- but that requires knowing and acknowledging when and how you’re doing that!

@afropiscesism makes a solid point in this post: our horror stories are not just fairytales full of amorphous boogiemen meant to teach lessons. Racial violence is very real, very alive, and we cannot act like the things we write can be dismissed outright as “oh well it’s not real”. Sure, those characters aren’t real. But the way you feel about Black bodies and violence is, and often it can slip into your writing as a pattern without you even realizing it. Be willing to get uncomfortable and check yourself on this as you write, as well as noticing it in other works!

If you’re constantly thinking “I would never do this”, you’ll never stop yourself when you inevitably do! If you know what violent imagery can be evoked, you can utilize it or avoid it altogether- but only if you’re willing to get honest about it. You might not intend to do any of this, but it doesn’t matter if you don’t change the pattern, because as always, it’s the thought that counts, but the action that delivers!

[mellosdrawings]

The Princes

Ten years later. When marrying a Prince turns a Queen and a Servant into actual Royalties.

Because Vil deserves a real crown and Jamil deserves to be treated better.

NOW I'M GONNA RANT ABOUT MY CHARA DESIGNS CHOICES AND ALL THE DISCOVERIES I MADE WHILE LOOKING FOR REFS! If you only care about art and funny doodles, you can scroll down for a handful of slices of life.

(Don't worry if you can't read my notes, I'm repeating myself better right under this)

Leona

-Lion: As you may know, one of my grievances with Leona is how his hair doesn't look like an actual mane despite being a lion. While I don't want to stray too far from the canon design with the usual drawings, that's the occasion for me to have some fun with a future version. Give that lion a beard and voluminous hair!

-Hair: First, get those bangs out of his face. Despite Leona being very confident, he still has bangs covering his scarred eye. I wanted him to finally own the aspects of him that may be scary to others (his UM, his scar, etc). I actually went with bangs framing his face similar to the ones he had during his Overblot. I wasn't sure whether to give him dreadlocks or curly hair, but I ended up choosing the free curls decorated with some atebas and braids so that Vil could have more fun styling them.

-Eye: Thanks @aria-faye for the idea, I decided to have his eye gradually lose its capacities with time. From a headcanon that, while the eye wasn't directly touched by whatever attack scarred him, the process of healing still had an impact on it and he gradually lost sight in his left eye years after years.

-Body: Not giving him a dad bod (yet, maybe in another ten years), but definitely giving him more voluminous yet casual muscles. Practical muscles with a healthy dose of fat and tissues. Also giving him two full sleeves of tattoos because I decided he should have much more than just his lion tattoo.

-Clothes: Went full Maasai dressing and Kenyan fabrics and beadworks. If you're not familiar with it, please go check it out, it's GORGEOUS!! Crown is beadwork too. He also has one Arabic styled foot jewellery.

Jamil

-Hair: My first order was to remove his double-faced hairstyle and also remove his bangs from his eye. Make him confident enough to show his whole face. Unlike Leona and Vil, he doesn't really want a crown though (he still feels weird about becoming royalty) so instead he uses a braid as crown. Also gave him a little goatee because I like facial hair and Jafar has a beard too.

-Body: He grew up! While he didn't quite catch up with Leona and Vil, he is now closer to their sizes than before, sitting at around 180cm. He kept his breakdancer/martial artist lean muscles but developed a bit of shoulders.

-Clothes: Went full Arabic dressing and fabrics (once more, go check the fabrics, they are pieces of arts). I gave him floral motifs instead of his usual fire/snake motifs (though he does have a snake earring and a fangs necklace) to symbolise his rebirth/blooming. Like Leona, he has one piece of jewellery that is beadwork.

Vil

-Hair: Here it was a bit tricky. Considering Vil's work, he likely changes hairstyles a lot, going from long to short for his roles instead of his wants. So I leaned into the little things he could add to his hair despite their constant changes, mostly jewelleries, beadworks and wool decorations he stole from his husbands. He also cares a bit less about them looking perfect and is allowing himself to be more natural. He doesn't have any facial hair (yet), keeping a youthful appearance for as long as he can. In another ten years though, he might start looking more and more like his father, beard included.

-Clothes: For Leona and Jamil's mental states, the three of them most likely started living in Sunset Savanna so they wouldn't freeze to death. Vil is well traveled so he can handle most temperatures without trouble, and he is used to dressing up in the local get ups. Here I decided to give him both African dress and Arabic fabric, and likewise both beadwork and golden jewellery. I gave him crown and heart motifs so he can keep being himself despite borrowing a lot from his husbands.

There, I'm done rambling. Here's some doodles, followed by some random headcanons.

-Vil does his husbands hair every morning and keeps giving them more and more intricate hairstyles. He developed a whole haircare and beard-care products set for them.

-When Vil is away for a movie, Jamil keeps his hair mostly down save for a few accessories.

-Jamil and Falena get along surprisingly well (to Leona's despair). Vil gets along very well with Falena's wife.

-Jamil acts as a Scalding Sands ambassador and still is the one to care for Kalim when he comes to visit, though this time he's doing it because he wants to and not because he has to.

-Vil got used to his new title immediately but Jamil struggles with it a lot. He still has a hard time wrapping his head around the fact that he is no longer a servant.

-The servants at the palace love Jamil because he always makes their job easier.

-Leona finally decided to put his wits to good use and became Falena's advisor. He still fights a lot with Kifaji about the direction to take with the country, but he managed to make some of his ideas heard to help with the staggering inequalities in the country.

That's all for now!

[waywardstation]

PLA PORTAL AU

I’ve had this AU in my head for a long, long time, but I didn’t start to develop it until around November, when some really cool people were willing to discuss it with me and help me figure out some concepts with their great ideas! Thank you @ingo-ingoing-ingone , @blueisquitetired , @the-digital-pen , and @fraymotiif !

In this AU, an Aperture-like facility was attempting to construct a new legendary Pokémon (think Mewtwo, or Type Null/Silvally). So the facility developed the RKS (Reactionary Knowledge System) pseudo-living program. This program’s job was to put participants — both people and Pokemon — through tests, monitoring them to make sure they solve it, and download their thought process data through chip implants. RKS would use that data to create algorithms, and configure thought processes and behaviors for the bio-engineered legendary.

However much like Portal lore, RKS destroys the facility and everyone as the data it’s trying to filter constructs unstable behaviors. The damaged and abandoned facility is left to rot, and the lower levels are subjected to deterioration and plant overgrowth. All participants from different controlled testing groups are put to sleep — two of which are Ingo and Emmet from the co-op testing group.

However as time passes, RKS wakes Ingo up as a sole participant to test and gather data from. And for a period of months/years, Ingo is forced to participate in this indefinite testing, the sole test subject collecting data for a project that will never be finished.

However, that changes when Ingo is put into a testing chamber that requires two people to complete it. He is finally given a partner — despite hoping it would be Emmet, RKS purposely gives him a random test subject instead; Akari.

—————

INGO, AKARI, AND EMMET

INGO

He’s grown rather pessimistic and jaded due to indefinitely enduring RKS’ constant apathy and belittlement towards him. Akari’s kinder company softens him again.

He remembers who Emmet is to him, and wants to escape the testing chambers and get down to the lowest levels to find him and wake him up. Does not remember most of the finer details of his brother.

Has worn the same clothes and used the same equipment since his first day testing. Blech.

AKARI

Unlike Ingo, RKS’ antagonistic behaviors don’t wear on her; she’s rather optimistic, and the system’s insults harmlessly slide right off her. This attitude builds Ingo’s own resilience.

She is still getting used to being awake after being in cryosleep for so long. She doesn’t remember much about anything other than her own name at this point. She needs lots of help to get up to speed, but she is a very quick learner.

Unfortunately, she cannot swim well. It makes her terrified to do any water-based tests. Ingo tries to make sure she never lets RKS learn that. It may only be a matter of time, though, seeing as it will eventually collect her thought processing data.

EMMET

After RKS Akari’s constant sassing towards them has begun to embolden Ingo as well, the system decides to get back at them both by taking Emmet and putting his consciousness into a busted core. The test subject wants his brother back so badly? He can have him like this, and it’s Akari’s fault.

Emmet’s core unit is badly damaged, and when RKS leaves him for Ingo and Akari to find, he cannot say or do much. Ingo is very careful with him — he’s scared of what further damage can do to Emmet.

Ingo and Akari, once breaking out of the chambers and crawling through the lower levels, look for core repair stations to gradually replace and fix Emmet’s parts. They’re able to entirely fix him eventually, but they still need to get Emmet back into his actual body, which is still asleep.

Emmet is almost certainly the train facts core. He can tell you so much about trains. Did the damaged core unit have all this info loaded into it already, or did Emmet already know this on his own? Ingo can’t remember enough about him to know.

RKS (not final design)

Built to look like Arceus — that is where the similarities end.

It has participants test with portal guns and jump boots to help gather data more applicable to the legendary’s own powers and abilities.

The damage to the facility and the bio-engineered legendary’s unit that RKS is connected to has destroyed the program’s ability to recognize the project’s end point, leading it to fall into a cycle of endless testing. It will never be satisfied with the amount of data it has.

The facility was not as careful with monitoring its participants’ temperaments and mentalities as it should have been. Filtering data from so many varying (and somewhat dangerous) personalities and behaviors and thoughts overrode the program’s pseudo-living deep learning processes. It all clashed as the algorithms it was creating was more connected to its system than it should have been, and the unfinished thought processes drove it insane before it could perfect and unify it.

Over time this behavior had smoothed itself out and developed into a generally apathetic and uncaring personality, who is quick to be hurtful if it feels it will mold others’ behaviors to do what it needs. When Ingo was first woken up, he had to deal with the scarier, less developed and unpredictable personality.

—————

I am excited to do more with this AU! It’s been fun to develop ^^

[sizzleissues]

Its May.

Okay so this is in the same AU I had last year its just changed and evolved while also being the exact same. Except now I have 15,000 words of it written, like 7,000 words of planning and lore and hours upon hours of research that I will be pointedly ignoring. Will be posting more stuff this month about the AU and my hopes and dreams for it

Also slight art improvement check? I’ll put their original mermaid designs below the cut.

It’s Marinette as a mermaid and … its not Adrien or Chat Noir but a third worse thing (Catwalker but in the purest manifestation of it being a curse and not who he wants to be) I will be making designs for mer!Ladybug, and mer!Adrien as its own thing later on.

Okay if you want to indulge me look below the cut

Old mermaid designs first. I am going to be talking about my design thoughts, thoughts and ramblings about this AU and what I’ve been up to. You have been warned

As you can see, some things have changed but neither design I hated, I just wanted to go further with it.

My brain is quite specific about mermaids and how I want them to generally look. I wanted to distinguish biological merfolk from transformed humans by having them being anatomically different. So Adrien has a vertical tail instead which is also way faster underwater. His transformation is quite distressing for him and very chaotic. Of course when he accepts it he’s not so raggedy.

Marinette similarly avoids her life as a mermaid by becoming human and I wanted her mermaid design to hint toward her fascination with humans. She wears a top she fashioned from human fabric she found in a sunken merchant vessel. In general all other merfolk either forgo clothes or wear things fashioned from materials available to them. There’s deep fear of humans and human things so even though human clothes are available to them (off dead bodies but…. Whatever) they choose to difference themselves as much as possible. The same taboos don’t exist for them and their bodies are already adapted from the temperature of their environment. Adrien has stray bits of netting and seaweed on him because he’s not exactly the best at controlling his speed and often crash’s through fishing nets and patches of seaweed resulting in stuff being caught on him.

A lot of their designs are still being worked but I’ve definitely pushed them the right direction!

On to the AU. You might have seem me cryptically talk about something I’m writing the past few weeks. This is because it’s been in my brain since last May and been on and off writing it since then. I decided I’d talk about it once May came back around but and then when I finished writing it, start posting sneak peaks and more spoilery art until it was fully edited and I felt confident in it to post with an aim for it to finish posting once May rolled around again. Oh god.

It’s set in the late 1700s in a fictional version of France that’s actually fragmented over a bunch of islands. I have done more fashion research than I ever thought I’d do and in the end we will still be taking creative license but know I do know what they actually wore! I ALSO did a butt tonne of research about sailing ships and turns out they are super complicated and now I know too much and yet too little still about them. It should be super fun and action packed if I can manage. Have some really good scenes already in my head I know you’ll love. We’re already three ships battle deep and I’ve only written four chapters. (It chills out for a bit after that)

This is entirely self-indulgent by the way. I’m writing this for me, you guys are just a bonus. I literally don’t care as long as it satiates my rabid need for the fic that only lives in my brain at the moment. Saying that, I do want to put my best foot forward.

The next thing I will be posting for this is their human forms and more blabblerings about that. For I am insane and all.

[evolutionsvoid]

Anything can be an ecosystem, it is just a matter of nutrients and consistency. So often we think that habitats are things that only exist outside our walls, where civilization hasn't fully taken hold. Some folk think we sapient species live completely separate from the natural world, that our lands are omitted from everything else. To them, there is a clear line between what is "nature" and what is "civilization" and once you cross those boundaries, the other ceases to be. But in truth, it is all connected, and our homes are a part of the system like everything else. A city may seem vastly different from any other habitat on the planet, but it is still an ecosystem nonetheless. We are but the fauna running about within, and one of the species that thrives in it. And to the shock of some, there are other creatures that do incredibly well in these man-made habitats, finding living within them just as comfortable as we do.

Sewers and dumps don't seem like much but areas of pure filth, but there is still nutrients to be found. Just because we don't eat the stuff doesn't mean it is useless. Look at the dung beetle, an insect that lives off of fecal matter. While a sewer would be a vile land for us, it would be a paradise to such a coprophage. Things in the wild feed off of waste, it is a natural thing. So when we make areas that are nothing but filth, then some species flock to it, seeing an endless buffet. The Otyugh is one such creature.

When one first sees an Otyugh (probably in illustration over real life), it may be hard to wrap your head around what it actually is. The anatomy seems all over, with arms, legs and heads starting to blur together. Some would claim they are a three-legged species with two tendril arms and a large eye stalk, which is an understandable mistake. The Otyugh is hard to decipher as it moves and feeds, and its anatomy changes depending on the situation. In truth, it is actually a large echinoderm, one that possesses six limbs. Two of these arms are sensory, while the other four are designed for feeding, manipulation and moving. All six have sensory organs for smelling and tasting the world around them, but only two have prominent eyes. These organs are much stronger on these limbs, versus the crude eyes on the others that can only tell between light and dark. All arms work together to help the creature move and feed, though hunting for food isn't exactly a challenge for an Otyugh.

As I made clear, this species is one that feeds entirely on waste, finding poop and filth quite delicious. It isn't just feces, it is anything rotting, foul and discarded that they eat. Their central mouth is a complex arrangement of grinding plates, shredding teeth and potent acid, all designed to consume absolutely everything that gets shoveled in. They are the cleanup crew of the world, like all scavengers, and will erase any detritus or corpse that has been left behind. They are practically immune to poison and disease, devouring plague ridden carcasses without worry. They are essential creatures to areas rife with rot, which is why they have found their way to humanity's sewers.

Otyugh are a species that originally relied on dragons and other megafauna to survive. Their vast amounts of waste gave the Otyugh sustenance, and thus they were commonly found near dragon lairs. Small creatures don't offer enough for such large beasts, but that changed when some species started stockpiling their filth. When the Otyugh caught wind of humans creating places specifically for waste and trash, they were quick to move in. Here was another consistent source of food, in a place that seemed tailor made to them. At first, people were repulsed, but then they realized if they didn't want the Otyugh there, then they would have to go down there and drive them out themselves. Suddenly, no one was complaining anymore.

While most folk don't bother with these creatures, times do come where people do confront them. I know in some big fancy cities, they don't like the image of a giant poop eating seastar dwelling below, so they got the bright idea of getting rid of them. In other cases, their population gets out of control and they start looking for extra sustenance in face of all this competition. Whichever the reason, trying to drive one out or fight it will quickly make you regret your life choices. Otyugh may be sewage suckers, but they can be extremely dangerous. Their tendrils are dexterous and thorny, capable of whipping them with deadly force. Their limbs are many, allowing them to attack from many angles and continue the battle should they lose one or two. The maw in the center of it all is an "everything-grinder," which can reduce an armored warrior to juice if they get too close. On top of all that is the fact that they are dripping with filth and vileness, which can lead to nasty infections or sickness should one be exposed. Sometimes slayers will succeed in killing an Otyugh, only to succumb to a horrible rotting disease weeks later from a mere scratch they had received. In most cases, fighting them is straight up not worth it. It should only be a last resort, for when the Otyugh start spilling out from their sewer homes and begin eating "fresher" things.

To go back to that earlier mistaken description, of a beast with "three legs, two arms and one eye stalk," there is a reason that was a common belief. When Otyugh are feeding, they are laying down in the ocean of filth, positioned like any seastar you would see on the coast. Mouth down, arms out, just enjoying life. When buried in this waste, you can't really see them. Their bodies are colored and designed to fit in with piles of manure and disgust around them (as if anything would want to eat them), and thus folk miss them most of the time. However, when threatened, the Otyugh will rear up to look much larger and expose its pulverizing maw. This is done by using three tendrils for support, like legs. Two feeding limbs are flailed about in a threatening manner, while a sensory tentacle is held high for it to see its attacker. Now that it has made itself obvious and known, people start paying attention. This is why that description became commonplace, as these postures were how folk even got to see them most of the time!

A funny thing to note is that humans are probably way more familiar with the Otyugh than dryads. Honestly, it was a while before I even got to see one myself! This is because dryads collect and compost their waste at home, making sewer systems rare in our towns and cities. Due to large efforts to recycle and reuse, we don't have large areas of the stuff for an Otyugh to settle in. This isn't meant to be a dig at humanity, more just a neat observation. I will say that some dryads made a business of utilizing an Otyugh to rapidly breakdown substances and objects a normal household couldn't properly handle. It is like a rapid transformation of waste into fertilizer, for those who don't want to wait. Bring your junk to these places, let the Otyugh eat it and get its fertile expulsions in return. An odd business, but it seems to be working pretty well! Of course, there are also rumors that some of these establishments earn the real coin from folks who want certain "somethings" to "disappear..."

Chlora Myron

Dryad Natural Historian

-----------------------------------------

"Otyugh"

While this entry is written by Chlora, it is one that I would say is not canon. Mainly because I know the DnD company is incredibly litigious and not fans of their stuff being used anywhere else. I mainly drew this thing up because I thought it would be fun and the entry was me exploring the "what if" scenario.

But hey! An Otyugh that is an echinoderm! Hmm. Like a big ol seastar! Hmmm! Perhaps like a starfish! HMMMMMM!

[floorbe]

hihi!! i was wondering about something in BG3.

i have tattoos. two on my wrists (one's a moth and the other a pretty mushroom), and a thirteen inch tattoo along my back of the phases of the moon.

how would Astarion react to seeing his lover's tattoos? the scared part of my mind feels like he'd be offended, but i'd also like to think that tattoos are a way for me to take control of my own self and feel in control of my own body again, and he'd see that.

so... what's your verdict??

great question anon!! also ur tatts sound so sick omg... ive been wanting to get one lmfao

-When he first meets you he may insult them out of his own frustration. Why do you get to fuck up your body however you want when he can't even stand in the sunlight he longs for? It's unfair.

-Unfair that you get to do what you want. Unfair that you got to choose what was carved into your skin when he-- ah. There's the root.

-The insults die down the longer you travel together and the closer you two become. As he starts to realize that he can take himself back (and when he realizes that you respect him-- when was the last time he'd felt that?) he sees your tattoos as less of a slight against him and more of a... possibility?

-After a while, you'll instead catch him studying your tattoos when he thinks you aren't looking. This is when the change between insulting your tattoos to complimenting them begins.

-Once past his own frustrations, Astarion would be very supportive! We've seen him when you get Loviatar's blessing- this guy is all for pain and reward (though mostly the pain)!

-He will 100% force you to take him with you to your next tattoo session just to watch and cheer. Wince for him, would you? It's terribly boring watching someone get drawn on, throw him a bone!

-(Nevermind the fact that he was the one who insisted on coming along, but who is Astarion if not dramatic?)

-As much as he supports your decision and regularly tells you how utterly delectable your inked skin looks ("Gods, your skin practically glows in the moonlight, dear... Might I have a nibble? Just to see if it tastes as delicious as you look, of course."), a part of him still feels... bitter.

-He'll feel a bit bittersweet about it if it's a sentimental tattoo you've gotten, but even moreso if it was an impulse or fun decision.

-A part of him will always long to decorate his own body to his own wants- to finally get what he likes on himself. He wants the choice to fuck up his own body if he wants to.

-...He isn't ready for that quite yet, though. Tattoos remind him too much of the runes already on his back- particularly the pain aspect. He's heard you describe the sensation and isn't keen to try it out just yet.

-Don't be fooled, this doesn't mean he won't let you draw up some designs for him. In fact-- he'll demand you to draw a picture of some ideas for him- he must see what you've thought up for him! What do you think would decor him well?! Make him even more beautiful? Oh, you must show him!

-If you offer to actually tattoo him he'll wave you off playfully with a comment on "my skin is flawless already-- why tarnish it?" or a "darling, you wound me... here I thought you loved me for me"

-Not yet, it seems. But one day, you're both sure, he'll take you up on it.

-He already lives out his dreams of living in the sunlight through you- and his dreams of being a hero, being publicly adored, powerful... why shouldn't he live out this part of himself through you, too?

-At least until he's ready for his own tattoo. Which, based on how he's been eying your ink for the past week and rubbing his own wrist, seems sooner than you think.

[magua-vida]

SLAY THE QUEEN THORN

I was inspired by Abby's sketch of a hypothetical Queen version of the Princess, so I tried my hand at it with a few vessels, including this one. I... ended up drawing something akin to a fashion design concept art rather than a practical design that won't be tiring to draw over and over after a handful of sprites later. I also had to use a bit more artistic license growing unnatural poppies on the dress and the thick twirly prickly noodles.

some explanations behind the process

For the "mended" Thorn, I pretty much just removed the foreground thorns and added the dirt.

rambling/fangirling/screenshots below:

The Thorn is one of my favorites. If I had to choose only five vessels to offer to Shifty and there's no replayable feature, she'll definitely be one of them. I'm one of those suckers who's into Hurt/Comfort stories. Almost like a masochist for those fics, you could say. If the climax to an Action-heavy story is the defeat of one party, then the catharsis of Hurt/Comfort is when the two characters... well, comfort each other- either due to hurt from each other or someone else. In The Thorn's case, she started off rather innocently, Damsel-like, but not quite. She still had caution. It was until she was literally stabbed in the back that she learned that it was a mistake. And when Long Quiet offered sincere regret and admission of fault, she stabbed him... but she didn't feel the relief she thought she'd get from it. I think many relate to having been betrayed and/or betraying someone they trusted, and the scratches are felt by many players.

The thorns curve inward, as if it's more painful to leave her than it is to approach her.

Poppies grow around along the bramble. Many mistook them for roses because they're red and there are brambles (tbh, I actually dunno if they're brambles or briars, I looked them up and I got confused, forgive me, plant enthusiasts ;.;) that grow around the patches of those poppies. Death and romance~

This brings back to Chapter 1 where Hero was kinda-sorta-maybe-definitely crushing on the Princess and wants to give her the benefit of the doubt, not only because of feelings, but for a reasonable cause of wanting to rescue someone who possibly may actually be a victim of circumstance.

Look, I have reasons why Thorn route is one of my favorites and it definitely doesn't have anything to do with both characters having massive trust issues and the capability to change themselves for better or worse and the emotional moments hitting me like a lovely diamond-dusted dagger. Both of them are rather cat-like with pointy ears too.

I appreciate that you're still given the options to leave or stab Thorn, as if the situation isn't pitiable enough. Even her tiara looks like a crown of thorns. It's as if she views the thorns as both a form of penance and a defence mechanism to protect herself from being hurt again, even though she's hurt by her own making this time.

I chose for the Long Quiet to save her and leave the cabin together.

This part stabbed me the most. Even when shown genuine help, she shrinks back.

This part burns a bit of the jadedness away. Trust is a scary thing, so is love. How can you be so sure that you won't be hurt by the one you love again? But just like what The Prisoner says, it's about trust- blind trust. Thorn looks more human than her previous self- less animalistic, softer. A part of The Damsel returns, even in the music.

I recall weighing on whether I prefer the version with the Voice of the Cheated or Voice of the Smitten. I vaguely remember wondering if there was an option to ask her if it's okay to kiss her. I guess the ideal would be is to have that choice, but I suppose the climactic moment calls for it and she doesn't mind it, at least. It's like the option to hug Astarion from BG3, but you're not sure whether he'd be comfy with it after being hurt so much. He gave approval for it too~

As much as Thorn is one of my favorites, I'm not attracted to her and any of the vessels. Instead, I ship her with the Long Quiet- the character himself. I don't really see myself AS the Long Quiet, more like choosing what actions on what he does and I separate myself from him a lot for many reasons. It's a bit like the Harry situation from Disco Elysium in terms of seemingly blank-slate protagonists.

Instead, I kinda put myself into her situation to feel how she felt in this route. The poppies not only felt symbolic of her nature as part of the Shifting Mound, but also specifically the end of the mutual treachery you've inflicted on each other, potentially beginning anew on a path of healing.

==============ramble-bramble over===================

[brucewaynehater101]

Emperor Obi Wan Tim Kenobi has a different crown from each planet that is under his control, there are historians and fashion designers trying to figure out a singular imperial crown for Tim to wear everywhere in the empire instead of changing his shiny hat all the time in an attempt to be considerate and also because before Tim they were all trying to kill one another for the glory of their respective tyrants and a single crown for the united empire seems like a nice peace symbol. Prior to the C4 interfering, there was definitely a near genocide and all the planets are coexisting peacefully but that's mostly because they're all a little scared of one another and still healing from all the harm they inflicted on one another.

The problem with the singular imperial crown is that more planets keep joining and bring their own shiny hat for the emperor which makes the historians and fashion designers start all over again since it wouldn't be fair for the peace symbol/imperial crown to not include the newbies.

Any time one of the planets has rumblings of a rebellion wanting to overthrow the emperor because he's "soft" and making noise about returning to the bloodshed of the "good old days" they get very quietly nipped in the bud before their emperor gets any idea they existed. Tim has become a good luck charm and symbol of peace in the empire and they don't want to scare him off.

The lack of rebellions and general acceptance of his rule is, however, actually making Tim more paranoid rather than more comfortable. After all, he's used to Earth.

Earth is fucked, so I don't blame Tim at all. I wonder if Tim is scared that these planets are trying to hide their horrible history (as some powerful nations on Earth try to do with their actions).

Imma call Tim's hero name as Patron for this AU (feel free to hc a different one). Anyways, Patron is trying to find out what shit his newly acquired planets have done in the past, what sort of shit they may or may not be hiding, why absolutely no one is against his rule, and why there's been no rebellion. It's practically unheard of (especially on a human standard where some people disagree seemingly on principle) that there would be no dissent.

Is Tim helping them? Yes. Was he given the power instead of him taking it? Yes. Yet, there's also the fact that he's human. He (at the beginning) has no information on the culture, values, morals, traditions, etc. He doesn't know what's important to them. How can he thus lead them?

(Slight debate on the "lead" portion since he seems to be guiding them to self-sustainability rather than control them)

But you are absolutely correct that the zero dissent would freak Tim out. It should.

The idea about the crowns is adorable, though. I've got a somewhat simple idea for them, though. What if he had an elegant and simple design of some type of metal twisted on his head? Then, as decorations, little spheres of each planet is added. Whatever the planet looks like, it's added to the crown when Tim gains it. Just miniature planets that can easily be added or taken away based on how his empire changes over time.

It sadly doesn't have as strong of a tie as incorporating the essence of the planet into his crown, but it does allow each planet to be proudly displayed.

[fallout-lou-begas]

Not sure if you’ve been asked this before, but what are your favorite/essential mods for new vegas? I’ve only ever played it unmodded so I’m curious

Good question! I definitely have answered this before, but that was so many years ago. It's only now that I've taken the opportunity to overhaul and modernize my own mod set-up that I've been figuring out the answer to this question myself. But I can definitely talk you through the most important parts of my new load order.

First, however, every single person modding this game in this day and age absolutely needs to start with the Viva New Vegas modding guide, and follow every step to the letter. The recommendations are air-tight and the instructions are written and presented as if you, the reader, have never even seen so much as a computer before. It's amazing. The "Base" of VNV contains nothing but bugfixes, lightweight unofficial patches, performance optimizations, and other under-the-hood stuff designed to remedy FNV's infamous stability issues while maintaining a completely "vanilla" feel. This makes it absolutely necessary, in my opinion, even for people who don't actually want to play with any (other) mods. Especially crucial to this guide is its mandate to use Mod Organizer 2; if you're using Nexus Mod Manager, Vortex, or Fallout Mod Manager any time since Biden got elected, you are shooting yourself in the foot plain and simple. The best endorsement that I can give of Mod Organizer 2 is that it mods you game completely virtually, meaning that if you fuck your mods up beyond repair, you can just go to your actual FNV launcher in your root folder and boot up the vanilla game like nothing ever happened.

And the "Extended" section of Viva New Vegas consists of more modding tools, quality of life tweaks, content restorations, and a curated list of strongly recommended gameplay modifications that nevertheless all come down to your personal preference (though deviating from their provided list may make you use your brain a little bit when choosing the right compatibility patches, and so on).

This isn't going to cover every single thing that I play with, but here's everything that I would think to suggest to anybody who asked. With that said, here's Fallout "Lou" Begas's Mod Recommendations, 2024 Edition:

Viva New Vegas Extended: Lou's Preferences

VNV Extended recommends several gameplay modifications that come down to personal preference. I installed just about all of them, with a few exceptions (I don't care at all for B42 Optics, for example). Here's some specific details:

Just Assorted Mods has a hell of a lot of features but I actually enable are breath-holding, the vanilla sprint, and the loot menu (though I flip-flop often on using JAM's Bullet Time in place of V.A.T.S.). If you install VNV and boot up the game and wonder "what is all this fucking shit on my HUD," it's probably some of Just Assorted Mods's components. Just disable the ones you don't want in the in-game Mod Configuration Menu, which you will also have available if you followed the instructions for VNV Base.

Vigor is a modernized fork of JSawyer, the mod that was originally created by FNV's own director after the game's release that tweaked a lot of under-the-hood game settings and statistical balance to his personal preferences. JSawyer Ultimate Edition a more faithful modernization of the original JSawyer whereas Vigor is "a more lightweight alternative" that dials back some of the more drastic features of JSUE. Your choice of these, or none of them, is purely personal preference, and my preference is for Vigor. Any form of JSawyer is strongly recommended if you play in Hardcore Mode.

Simple Vigor Config is used in conjuncton with Vigor and is an intuitive and easy way to overwrite Vigor's gamesetting changes with your own preference. I use the config to adjust carry weight to a much more punishing (25 + 5*STR) formula that incentivizes the use of backpacks, mindful inventory management, and companion inventory space; and to increase the starvation, thirst, and sleep Hardcore Mode rates to 10, 5, and 14 respectively.

Desert Natural Weathers is the weather mod to end all weather mods, in my view, and it includes configuration for customizing the darkness and visibility of nighttime. This effectively obsoletes former dinosaurs like Darker Nights Ultimate Edition. Refer to the post that I made on DNUE's Nexus page here for a copy of my settings to darken those dang nights with DNW.

In AIStewie's Tweaks's nvse_stewie_tweaks.ini file, I set bCustomSpecialPoints = 1 and iNumPointsToAllocate = 35. This slightly reduced starting stat spread forces you to make tradeoffs in your character creation, because it starts with a perfect middle 5 in every stat. Every addition above average will require a subtraction below average. The "Essentials" INI included with VNV Base is all that most players will ever need, so this is my one specific personal tweak that'll keep you from scrolling through every single option in the whole damn thing (though I also recommend enabling the tweaks that hide all of your skill check tags in dialogue for more immersive and less gamified roleplaying in conversation: set bNoSkillTags, bRemoveFailedSuccessText, bRemoveRedOutline, and iRemoveTags to all = 1. )

Lou's Personally Valuable or Sentimental Tweaks and Fixes

Better Pause Menu Screen (Simple Blur). I play with an ultrawide resolution and the vanilla pause menu filter doesn't actually extend past 1920x1080. So this is really vital, lol.

Vanilla Animations Weapon Scale Fix. This mod will fix a common issue with custom weapons and animation mods where your weapon will become invisible because its scale has gotten stuck at 0.

Companion Carry Weight Fix. All companions in the game have an invisible attribute called "companion suite" that, among other things, halves their carrying capacity based on their actual stats. If you play with a super low carry weight formula like I do, you can see how this is a problem. Here's the solution.

Miscellaneous Tweaks Collection includes a few files that I get great use out of: No DLC Recipes Early (great unless you integrate DLC crafting ingredients into your base game somehow) and Vendors Have Throwables (why the fuck are throwing weapons so hard to find in vanilla!). There are others that I use as well but I recommend these two the most generally.

Lucky 38 Suite Upgrade Terminal Tweak is a very cute little mod that removes the ugly wall-mounted terminal and makes you purchase your suite upgrades from the actual computer on the desk in the master bedroom instead.

I Fought the Law - Simple NCR Start finally gives you a good reason to check out NCRCF if you're not siding with the Powder Gangers.

Hire Cass Early was my "dream mod" for the longest time, and thanks to some help, it's finally a reality. Simply pick up the letter that this mod adds to the Mojave Express office in Primm and you can recruit Cass right away (through the usual persuasive requirements) without ever stepping off the road from Goodsprings to the Mojave Outpost. Part of my ongoing "make @ikroah real" project.

Harder Strip Access. Getting into Vegas to finally confront Benny should feel like a tremendous accomplishment. This mod makes it so. Better pony up the caps or call in one hell of a favor, kid! With any kind of tougher economy mods, especially, this mod makes it wonderfully Herculean to just buy your way onto the Strip.

Balance Tweaks

Pseudo-Realistic Carry Weight - No Weightless Item Overhaul and Realistic Bottle Cap Weight. The former is actually an optional file; the main file just implements the the carry weight formula that I was coincidentally already using. The latter just forces you to think strategically about how much money you're walking around with. Can you tell that I love inventory management? Note that if you give bottlecaps weight, you should definitely let yourself drop them when necessary by editing Stewie's Tweaks (bShowCurrencyInContainers = 1).

Carry Weight Affects Speed, Med-Tek Trauma Kit (Lou's Version), and More Conditions to Fast Travel. The first appearance of my own mods on this list! These three mods in conjunction tie your encumbrance and your overall health to your mobility far more strictly. I love the balancing act of packing enough supplies for an excursion while leaving enough room for loot that I can still fast travel with, and the choice to get greedy with more loot than I can comfortably carry and just hope to not run into danger on my slow walk back toward a merchant. My tweaks to the classic Med-Tek Trauma Kit mod apply this level of emergent gameplay and resource management to your limb health, though it makes the game much more difficult unless your character specializes in Medicine. I haven't tried it myself, but Simple Healing System is fully configurable, modern mod that I've had my eyes on and that might be better for most general playstyles, and it might even be compatible in conjunction with my Med-Tek mod for extra intensity!

Better Charisma (Charisma Affects Dialogue Skill Checks) and/or Charisma Affects Reputation. I've always been very frustrated with how much of a meaningless dump stat Charisma is, and the phenomenon of the 1 CHA 100 Speech player character in general. These two mods, which you can use just one of or both together, give Charisma much more meaningful and palpable functionality.

Terrifying Presence (Lou's Version), speaking of Charisma, changes the requirement for this perk from Level 6 and 70 Speech to Level 2 and 6 CHA, making it much more accessible to more types of intimidating characters. This same mod includes alternate options to take it as a trait instead, with the drawback(s) of either tanking your Speech and Barter and/or increasing your addiction chance. See also: Less Snarky Terrifying Presence.

New Vegas Karma Rebalance is a great under-the-hood mod that makes FNV's nearly vestigial karma system less nonsensical without removing it or its effects on the player entirely. Thanks to this and Mass Ownership Tweaks, which is already included in VNV Extended's recommendation of Essential Vanilla Enhancements Merged, Cass won't hate your guts just for stealing a few things from Caesar's Legion at Cottonwood Cove, especially not after you've already killed them all.

Damage Multiplier solves the sluggish damage sponge problem that plagues Bethesda engine combat by simply multiplying all damage dealt globally, both by and to the player, by a factor of your choosing. I use 2.5x, which is usually enough to kill any level-appropriate human being with a single shot to the head. 2x should be the minimum. Combine with Combat Enhancer NVSE and NPCs Use Ammo for overall faster but much more ferocious and intense combat engagements.

Visuals and Animations

Third Person Camera Overhaul. Though I'm still getting used to its extremely specific configuration settings, this is vital for a third-person enjoyer like myself. It obsoletes any and all "dynamic camera" or "shoulder swap" mods of the past. Once you figure out how it works and what you like, you're set for life.

Realistic Movement and Dramatic Inertia. Although a little goofy, it has never felt better for me to physically move around in the game than it has before. I like the weight and get-up-and-go that this mod has for me as a player, but it's especially significant in firefights and other combat situations where, now, your targets can't dodge bullets by shifting direction instantly or stopping and turning on perfect dimes. For a single, less heavyweight alternative, try 360 Movement and Diagonal Movement together instead. Each pair of these mods is incompatible with the other pair, however.

B42 Loot, B42 Interact, and B42 Inject. I recommend a lot of the B42 family of animation overhauls in general (except B42 Optics, lol) because I just love seeing my character actually do the things they're doing. For B42 Loot, I use the included config file to disable the "force pull" effect, and for B42 Interact, there exists compatibility patches between it and its more third-person oriented counterpart Animated Ingestibles, but I'd only look into that if you know what you're doing (though, I do).

Character Kit Remake is a mod that I was turned onto recently. For a long time I have scoffed at character appearance overhauls out of nostalgia for those classic gamebryo engine potato-faces and what I thought was, to be blunt, the tasteless ineptitude of the actual overhauling. But I do really like this one, even if the showcase of screenshots do a really bad job of selling it. It looks a lot better in motion and in game, I promise. i think that these people are just not good digital photographers.

Height Randomizer. It's funny how much you can get attached to a minor character when they are, for whatever reason, especially tall or short. This lightweight mod just adds some height variance to all NPCs in the game that don't already have a non-normal 1.00 height setting in vanilla.

The Strip Groove. Dance on command. Endorsed.

Items, Economy, Crafting, Survival, Repair, Etc.

Gloves Galore (Lou's Version), Power Armor Gloves, Combat Armor Gloves, and White Glove Society Wear Gloves. Anyone who has followed me long enough on here should know that I have strong, totally normal feelings about gloves.

Armed to the Teeth Redux and literally any backpack mod. I've used this duffel bag forever, for example. I love these ones because I personally love when you can physically, literally see the things that a character is supposed to be carrying.

Flashlight NVSE. Another piece of Agnes Sands's arsenal, this is the one "old" mod that I can't quit. Even if it is a little janky, I've yet to find a better directional flashlight mod. Only install this is you think you can handle wrestling with it a little, and make sure your "Exterior" flashlight settings are all on the lowest quality regardless of computer specs (or else it causes flickering). It's a must-have for darker nights, too.

Famine is the last "loot scarcity" mod you'll ever need. Combine it with Harder, Barter, Faster, Stronger from the VNV Extended recommendations list for a really tough time affording even basic necessities without tailoring your build for mercantile success... which is just how I like it.

Cheaper Repair Costs. The vanilla formula for determining the cost of weapon and armor repairs at merchants is, in a word, fucked, where it literally costs twice the weapon's base value to repair it from broken. This mod lets you adjust that proportion so that you won't be better off literally selling and buying another gun in every single case. I play with a rate of 67% (which means that paying a merchant to repair a completely broken weapon from 0% health to 100% health will cost 67% of the weapon's base value).

Alternative Repairing does too much cool, practical shit to the base repairing system to even get into here. To keep it short, it intuitively incentivizes actually scrounging for all kinds of formerly useless junk that you can now scrap for spare parts. Check it out.

Water Overhaul. Ever play with a Universal Water Bottling mod and find things suddenly far too easy? Water Overhaul combines all the convenience and sense-making of bottling water anywhere with the much-needed tradeoff of truly purified water being much rarer. All that convenient H2O is now just radioactive enough to keep Goodsprings Source from singlehandedly breaking the survival economy of the game (not to mention the literal economy).

Cowboy Coffee and Coffee Grounds, my own mod that adds brewable coffee to the wasteland. While mostly just created because it's cute, it's really nice to have a reliable and palpable source of sleep deprivation relief when playing in Hardcore Mode.

Gun Oil From Animal Fat, another mod of mine that provides a cheaper, craftable, and less demanding but less effective repair option to complement Weapon Repair Kits. I patched this one recently to fix some old issues, and it's great for incentivizing emergent gameplay (since you need to hunt for meat, and cook the meat for fat, and combine the fat with loot to make the gun oil).

Sound

Less Constant Music and Passive Combat Music Tweaked do exactly what they say on the tin and are perfect for people who like to get immersed in the natural sound of their environment, especially if you're a chronically stealthy player like me and you've trained yourself to constantly listen for enemy footsteps. I do recommend keeping Less Constant Music disabled when you first start a game, though, because until I can figure out how to add an exception to it myself, it will remove the background music from character creation at Doc Mitchell's house more often than not, and I really like that music.

SPEAKING of Doc Mitchell's music, Try Not To Get Killed Anymore is one of the first mods I ever made and it has never left my load order. It simply replaces the musical sting that plays when you die with an emphatic, tolling bell and the refrain from Doc Mitchell's theme, plus an optional version that includes his ghostly voice telling you to try not to get killed anymore. Two of my other personal sound replacers are the Mysterious Stranger Level-up Theme, Simple Snap Sound Effects for Quest Updates, and Mechanical Camera VATS.

[talenlee]

What Is Truth (in game worldbuilding)

The question to start with: How do you present information as truthful in your world?

Okay, there’s a lot going on here, and it involves defining in order to get some specificity. The principles might be universalisable but I sure ain’t gunna pull it off here. This is primarily considering world-building for a game, and not the world-building for a conventional narrative explanation like a story or web serial or whatnot. Those are worlds where you can, amongst other things, go back in time and change the setup you have for the story you want.

And you should.

That’s what editing is.

But in the making of a world for a game, you have to make a way for people to interact with a playful space that gives them boundaries and things to interact with (that are cool and fun or ‘engaging’ if you want to be technical) and that means you need to confer the reality to these players in ways that you, the person building the world, may struggle with depicting.

The task of depicting truth is different in storytelling for a conventional narrative and for a game. Particularly, games have an interface layer that typically speaking, players have to have some reason to believe they can trust, and the job of the interface is to serve as a window between the reality of the game (ie, you are a player interacting with a playful device) and the fiction of the game (there are fuckin DRAGONS man).

See, one of the easiest ways to convey ‘true’ things to your players is to describe ideas in an entirely objective sense. This is this, this is that, and then you use objective measurements as much as you can, in the objective voice of a narrator. This is fine, this works out just okay, and I don’t want you to feel bad in any way about doing this this way, but when you present information like that, you have presented that information as reliable. That creates a sense of trust which you then can just poop down your leg when you have to explain that something you told them isn’t true.

Obviously you can be okay with this, I mean it doesn’t matter if a Metroidvania videogame has to indicate that an early message log was a lie. It needs to be done with a bit of care though because say, if a game opens by telling you that you’re using a stun gun to knock people out through the whole game, and then reveals, shock horror, that actually it’s a murder gun that has been knocking people into death with kill bullets, then the result isn’t going to be a player feeling an emotional distress at the realisation that they were doing something wrong because they trusted the wrong person, you’re going to have a player rejecting the experience, falling out of the fiction and going: this is bullshit.

(Because it is bullshit.)

I think on this because I think about how I present information from Cobrin’Seil. Cobrin’Seil is a D&D setting. It’s meant to be made for people to play in in a setting that is primarily mechanically oriented, where the world can be represented by reasonably reliably systems. Wizards in the top of the world and the bottom of the world can both cast spells that are similar and those spells may work differently under the hood, within the fiction, but are still reasonably coherently reliable things. The same is true that the followers of a death god can heal people with spells that may look entirely different to the spells of a god of the harvest but in the end, the people experiencing the outcome still wind up healed.

I think that the world of Cobrin’Seil is more interesting and more rewarding to write about if there is a strict delineation between the concrete and reliable — rules information — and the social and communicated — things people talk about in the world. That is to say, if you need to roll a few d6 or d8s for a thing, that’s rules information, segregated, and, thanks to 4th edition’s excellent trade dress (the way the books are designed to look) we have a good standardised way to express that. But if you want to know about the world, the things in the world and the way they relate to one another, then that’s where you talk to people and people have biases, and all the information presented in the world is presented as if it is being told to you by a person.

When I’m discussing the world of Cobrin’Seil, then, I know that it’s easy to state questions from a near-objective narrative position, but to deliver answers it should always have an attribution, a source. That source then gets to be someone potentially wrong, and to bring in their own biases and their own opinions.

I know that in Cobrin’Seil, I am biased towards presenting wizards who study things and write things down as a useful source of studyable information. I also know I don’t necessarily verify that information or make it widespread. Sometimes I like that because there are some things I want to be objectively true. For example: Wizards can prove that racism is based on nothing meaningfully true. On the other hand, that doesn’t mean people don’t believe in racism or engage in it, but that there is some objective authority in the universe that can say ‘look, this is a social system that sucks, and ‘detect racism’ spells won’t work.’

Otherwise, though? Things like how magic works? What gods can do? How fairies can manipulate reality? That stuff is all competing theories, maybes, possibilities, and I try to make sure it’s always at least three competing theories.

That bias remains, though, right? And it stands to reason, I, a person working in academia who is working on higher education, would likely see the advantages to and potential authority of a system like that. But that also demonstrates something of my biases towards, you know, things being written down. I could have it so that there are shamanic songs and lyrical poetry that carry important narratives of truth… except I’m not good at writing those, so I don’t.

This is what you need to be mindful of. There are ways to represent what’s ‘true’ in your worldbuilding, in the information you present to people, but you need to also be mindful of your biases. You need to maintain a sense of truth that players can engage with and you need to be mindful of where it’s okay to lie to them.

Check it out on PRESS.exe to see it with images and links!

[wilted3sunflowers]

Pink Pearl: SOLD

Always thought of as a simple minded pearl who honestly to many outsiders never thought she was that great at being a quiet and follow you from behind type. Yet never seemed to be reprimanded much from Zebra Agate whom she was entrusted to. Currently she's thriving in this new Era 3 and on earth in Empire City. She was the one among this group to actually start the whole animal pattern print...kind of. Though technically it could be argued the pattern started with Zebra Agate but Pink Pearl conciously chose leopard print from seeing them on models in store window advertismenet and could not be more interested. On Homeworld theres very little patterns, only really lattice work or stripes of any kind or diamond checkerboard. No one really thought out- no one thought to look to organic beasts for fashion. Humans are so fascinating. Maybe thats what that Rose Quartz truly saw in them. How creative and vibrant they are. Comes with a past form too on toyhouse

Design Notes on Grey and Pink Pearl: Inspired first by Pink pearl's interest in 'animal pattern' which Grey is a pearl who excelled at being 'a pearl' sure she was never the most emotive, sing song-y type of pearl for entertainment yet what Zebra Agate needed was a pearl more of a secretary of keeping things on schedule and taking calls and what not. I also decided for this story a conscious effort that Pearls don't wear patterns. They're not of importance they are here to be simple, more softer colors typically and just to show they're a pearl. not some combination of gem type wearing another gems pattern. Also decided the same of course for Pink pearl for them being simple, run of the mill pearls even if Grey has a bit more to her past design it was only for the more authoritative feel that a pearl might have being under an *Agate* that terrifies Design notes on Pink lace: Due to corruption she is a lot more faded- not just from corruption but because her gem was more like that of the sand gem. Embedded in an object and only ever facing the sun. bleaching her gem of colors with too much exposure. She's a lot more polished in her currently look- i had a design ready for her just out of corruption look but then that would leave Zebra agate without a past form and decided to let the two non pearls without past forms. She of course used to be much more vibrant.

Design Notes on Zebra Agate: purposefully the inverse of typical zebra pattern on her clothes. with white stripes on black you can see that her hair itself is a regular part of black stripes on white like a typical zebra. also her design on her bodysuit is specifically to mimic a ribcage with zebra stripes

Zebra Agate: [Sold] "An Agate Terrifies" That's what Agates do. That's who Agates are. Subjugate those out of line and whip them into shape. They're here to make everyone stay in their proper places and follow rules. However I took her to completely go into the other direction of dealing with rules. The Punk movement appealing to her- if this is Era 3 and there is no need for her job role. Why should she keep trying to force a terrifying agate lifestyle? She may not be the kindest or most sweet Zebra Agate is however sentimental and more thoughtful than many- even pink lace considered her much more cold and rigid to expectations of what used to be common of gem society. While shes not an anarchist she has been delving into punk fashion but also the subculture to help her adjust to her new world and its views. She had always needed to follow rules blind and enforce them but due to the new order change. How else was she to find something that even acknlowedges no structure is perfect and many are flawed- even so her diamonds were flawed. Nothings perfect and nothing is without work to adjust.

Grey Pearl: SOLD A muted personality. What do you do when you used to know everything you were supposed to do? Living not in just a new era but an entire new world where you're allowed a lot more freedom that you never actually craved before. She's known Pink Pearl for thousands upon thousands of years and while there are some feelings of envy she would consider Pink Pearl to be her only friend. It's a complex mix of emotions like anyone would have especially towards Zebra Agate and the peculiar softness she seems to have for Pink Pearl that she has with no one else. Whilst never treated harshless it always was more of a cold wall from Zebra Agate that Grey Pearl felt. That this was strictly business relationship. Agate never even asked her to sing or dance- two components that make a pearl a pearl in many's eyes. Yet she's asked Pink Pearl to sing for her, and never stopped her from dancing without being asked. Grey Pearl may not have much of a relationship with Faded Pink Lace however she almost projects a sense of kinship of feelings left behind with her. In fact it was after Pink Lace Agate came back with those curated corruption spots that she decided to have some own markings herself. Humans have tattoos and while she can't get a traditional tattoo from humans she herself worked to get those marks on herself. She was the last one in the group to reform to this new Human lifestyle. Comes with a past form too on toyhouse

(Faded) Pink Lace: SOLD During the gem war she of course fought for homeworld and even was was part of the last charge. Of course, while she is more of the carefree type even she could see the dangers. Zebra was part of the task to pull out more of the aristocrats and Pink Lace part of the ground troops. Anything could happen so just as a precaution she sent her pearl away to Zebra Agate. Honestly, she expected that terrifying Agate to reset Pink Pearl for herself. It was a peculiar feeling for Pink Lace recognizing her pearl- even if it took only a moment before her Pearl recognized her. All so unevenly spotted and with sharp spiked growths coming out of her. She was a mess...Just how Zebra Agate used to scold her about. Her pearl still so lively and a bit oblivious to others feelings but even now so creative- such unique spots on her dress...theyre not even diamond shaped. Pink Lace at least knows to go with the flow of things but a good deal perceptive.

[hells-wasabii]

Hi!

So I just finish watching the 7th episode of Hazbin Hotel and I just couldn't help myself! I was wondering if I could request (separately) romantic headcanons for Rosie and Carmilla with a male imp reader? Ngl, Helluva Boss still has a hold on me and I just find the relationship between lower class demons and royalty demons really charming! :) And I would die for Rosie and Carmilla

A/N: I’ll be honest, I struggled a lot with this one which is why its on the shorter side. I just didn’t know how to approach it. While I did my best, I’ll admit i’m worried i might not have done this request justice. It has a lot of potential, but i’m not sure i was able to tap into that. I’ll let you guys decide that though.

Characters: Rosie, Carmilla (separate)

Type: Headcanons (x imp m!reader, General)

Rosie

In terms of actual romance I don’t think much would change. She may be a little less tempted to take a bite out of you so to speak compared to if you were a sinner demon, but that’s pretty much it.

Rosie might be an overlord, and a sinner demon to boot, but she knows, to a degree, how it feels to be treated as lesser than. Cannibals are often outcasted by other sinners in hell, other demons were weary around them. It was to the point that they’re designated their own district, Cannibal Town.

That being said, she would never let you feel that way. With her, she would make sure that you were treated as an equal, no matter the company. She herself has friends in high places, and if it were something you wanted,

Cannibal town is a strong community, proud to follow Rosie’s lead, so you wouldn’t really get any slack for being an imp, or for being in a relationship with Rosie. From them at least. Other sinners were a different matter. Most looked down on imps.

Rosie however, despite being one of the weaker overlords, still held sway. While she couldn’t do much about her fellow overlords, she could at least silence lower sinners.

Carmilla

Just like with Rosie, the actual romance wouldn’t differ much, though she would worry about you more. You’re an imp, they’re less durable than sinners and she can’t bear to see those she loves hurt. That worry is only increased when you travel to other rings where she can’t go along with you to make sure you’re alright.

Carmilla has had dealings with imps for a long time now, they were one of her biggest sources of clientele after all. In fact, that was how she initially met you.

At the time you had been working with some up and coming mob boss on the greed ring, but to be able to keep up with other already established gangs, you needed weapons. And a lot of them. That’s where you came in. The boss had approached you, one of the newbies, to go up to the pride ring and start a supply contract with Carmilla. Why he picked you of all the other members was beyond you.

Meeting the overlord was quite the experience to say the least. She thought it was cute how nervous you were. It was obvious you were new to dealing with well, deals. You stuttered, avoided eye contact, She specifically requested for you to be the main contact and things went from there.

When it comes to your relationship with Carmilla, a lot of imps simply thought you were trying to get in good with one of the biggest arms dealers in hell. Others thought you had entered into some sort of deal with the overlord. Not many would openly speak out about it however. No one wanted to get their weapon supply cut off. She’d done it before, the arms dealer would do it again in a heart beat.

[knightmareaceblue]

A redraw of the group photo from the Nether hopping arc! I wanted to get in more practice drawing the characters in this specific style, and also see if I can fix some issues with their designs that were bugging me. I... mostly succeeded on that 2nd part?

Some notes regarding these CG designs (plus some headcannons):

-Red's outfit frustrates me, because I like it a lot without colour, but once I start trying to add colour it always ends up looking off. The current colour scheme is fine, I guess, but I'm a little torn on whether or not the colours suit Red, and not making him too close to the other colour schemes present (which I like a lot more).

-Red's outfits will often have animal motifs designed into them. Usually cat, rabbit, or pig, but they have all sorts of animal clothes.

-Though it can't usually be seen due to not drawing them with their hood up often, Red's hoodie has cat ears. The reason I don't usually draw the hood up is because I like drawing his hair too much.

-Red will alternate between gloves, bracelets, and, post AVM season 3, a yellow headband and armbands.

-Under the hoodie Red will usually wear a tank top or crop top. Though it can't be seen in this photo, the arm holes for the hoodie are incredibly large, so Red's top can sometimes be seen when lifting her arms or looking at them from the side.

-In general, I do like Yellow's outfit. It suits her personality well and has some good colours. My primary concern is that it may be too... plain? Stereotypical? Basically, that it's too stereotypically 'nerd' to be interesting. But I can't come up with anything better, so this'll be her default outfit for now.

-What I do like on Yellow, however, is the hair. I think the short hair with a singular braid is really cool. A nice mix of neat and practical and stylish, especially mixed with the glasses.

-One issue I do have is with the boots. All the shoes in general, actually. They all look so samey, especially Blue and Yellow's boots. This is a pretty simplistic style I'm drawing in though, and I don't want to make anything too complicated. Why do shoes have to be so stupid?

-I used to have the same problem with Second's outfit as with Red's - particularly, with their shirt. However, that's when I realized that Second is an artist, and can change their shirt design at the drop of a hat. So, now the shirt has a different drawing on it regularly. Second will try to use all their friends colours in their designs. If they leave a person off, it usually means their either consciously or subconsciously upset with that stick. If they don't draw on their shirt at all and leave it blank, it usually means something's up with them.

-I also added leggings from the previous design. It felt right.

-Both Second and Chosen dislike shoes. I will not elaborate, but Second's tolerance is better than Chosen. He can handle it for short periods of time, but is usually grumpy and will kick them off first chance he gets.

-I like to imagine Second using her large, poofy hair to put things in, the same way she'd put things in their inventory. I also like to imagine Green is low-key horrified by this, while Red, Blue, and Yellow will also use her fluff to store things. Sometimes without Second even noticing.

-Second carries the belt with them in their hair in their inventory and will put it on before fighting/platforming so their oversized shirt doesn't get in their way. Otherwise they prefer to have their clothing loose and flowing.

-Everyone has a multicoloured accessory. Second was the one who started it with his bracelet, then the others wanted some too so Second drew up more for the gang. An anklet for Red, an armband for Yellow, a belt for Green, and a neckerchief for Blue.

-Green may just have the best outfit of everyone here. It's sleek, it's cool, it suits them, and it's easy to fight in (with an easily striped jacket if need be). I also added a lil choker.

-I don't think I expressed this before, but I didn't like Green's previous hairstyle. Something about it irked me, but I couldn't place what at the time. Now I know it'd needed more on top, haha.

-Blue's outfits tend to be more on the practical side, since they do a lot of manual labour, but with bits of fun and whimsy added in. After AvM Season 3, she trades her funny socks for long funny socks and fun stockings.

-The original intent was for everyone to have a different type of hair, but Blue's and Yellow's ended up a lot more similar than I'd hope. The idea was for Blue to have really thick hair, but it's hard to tell. Might think of something else later.

-Anyone who wants something different can go to Second and ask. They all have their own things they like, but they're all willing to try almost anything, with very little exception.

Feel free to let me know your thoughts. I think I really like these character designs I came up with. :)

Original pic used for reference: