#there will come a day when i learn how to draw characters consistently. but it is not this day

[hey-scully-itsme]

the albatross is his therapist

[mrs-stans]

Sebastian Stan Tells All: Becoming Donald Trump, Gaining 15 Pounds and Starring in 2024’s Most Controversial Movie

By Daniel D'Addario

Sebastian Stan Variety Cover Story

It started with the most famous voice on the planet, the one that just won’t shut up.

Sebastian Stan, in real life, sounds very little like Donald Trump, whom he’s playing in the new film “The Apprentice.” Sure, they share a tristate accent — Stan has lived in the city for years and attended Rutgers University before launching his career — but he speaks with none of Trump’s emphasis on his own greatness. Trump dwells, Stan skitters. Trump attempts to draw topics together over lengthy stem-winders (what he recently called “the weave”), while Stan has a certain unwillingness to be pinned down, a desire to keep moving. It takes some coaxing to bring Stan, a man with the upright bearing and square jaw of a matinee idol, to speak about his own process — how hard he worked to conjure a sense Trump, and how he sought to bring out new insights about America’s most scrutinized politician.

“I think he’s a lot smarter than people want to say about him,” Stan says, “because he repeats things consistently, and he’s given you a brand.” Stan would know: He watched videos of Trump on a loop while preparing for “The Apprentice.” In the film, out on Oct. 11, Stan plays Trump as he moves from insecure, aspiring real estate developer to still insecure but established member of the New York celebrity firmament.

We’re sitting over coffee in Manhattan. Stan is dressed down in a black chore coat and black tee, yet he’s anything but a casual conversation partner. He rarely breaks eye contact, doing so only on the occasions when he has something he wants to show me on his iPhone (cracked screen, no case). In this instance, it’s folders of photos and videos labeled “DT” and “DT PHYSICALITY.”

“I had 130 videos on his physicality on my phone,” Stan says. “And 562 videos that I had pulled with pictures from different time periods — from the ’70s all the way to today — so I could pull out his speech patterns and try to improvise like him.” Stan, deep in character, would ad-lib entire scenes at director Ali Abbasi’s urging, drawing on the details he’d learned from watching Trump and reading interviews to understand precisely how to react in each moment.

“Ali could come in on the second take and say, ‘Why don’t you talk a little bit about the taxes and how you don’t want to pay?’ So I had to know what charities they were going to in 1983. Every night I would go home and try not only to prepare for the day that was coming, but also to prepare for where Ali was going to take this.”

Looking at Stan’s phone, among the endless pictures of Trump, I glimpse thumbnails of Stan’s own face perched in a Trumpian pout and videos of the actor’s preparation just aching to be clicked — or to be stored in the Trump Presidential Library when this is all over in a few months, or in 2029, or beyond.

“I started to realize that I needed to start speaking with my lips in a different way,” Stan says. “A lot of that came from the consonants. If I’m talking, I’m moving forward.” On film, Stan shapes his mouth like he can’t wait to get the plosives out, puckering without quite tipping into parody. “The consonants naturally forced your lips forward.”

“If he did 10% more of what he did, it would become ‘Saturday Night Live,’” Abbasi says. “If he did 10% less, then he’s not conjuring that person. But here’s the thing about Sebastian: He’s very inspired by reality, by research. And that’s also the way I work; if you want to go to strange places, you need to get your baseline reality covered very well.”

A little later, Stan passes me the phone again to show me a selfie of him posing shirtless and revealing two sagging pecs and a bit of a gut. He’s pouting into a mirror. If his expression looks exaggerated, consider that he was in Marvel-movie shape before stepping into the role of the former president; the body transformation happened rapidly and jarringly. Trump’s size is a part of the film’s plot — as Trump’s sense of self inflates, so does he. In a rush to meet the shooting deadline for “The Apprentice,” Abbasi asked Stan, “How much weight can you gain?”

“You’d be surprised,” Stan tells me. “You can gain a lot of weight in two months.” (Fifteen pounds, to be exact.)

Now he’s back in fighting form, but the character has stayed with him. After years of playing second-fiddle agents of chaos — goofball husbands to Margot Robbie’s and Lily James’ characters in “I, Tonya” and Hulu’s “Pam & Tommy,” surly frenemy to Chris Evans’ Captain America in the Marvel franchise — Stan plunged into the id of the man whose appetites have reshaped our world. He had to have a polished enough sense of Trump that he could improvise in character, and enough respect for him to play him as a human being, not a monster.

It’s one of two transformations this year for Stan — and one that might give a talented actor that most elusive thing: a brand of his own. He’s long been adjacent enough to star power that he could feel its glow, but he hasn’t been the marquee performer. While his co-stars have found themselves defined by the projects he’s been in — from “Captain America” and “I, Tonya” back to his start on “Gossip Girl” — he’s spent more than a decade in the public eye while evading being defined at all.

This fall promises to be the season that changes all that: Stan is pulling double duty with “The Apprentice” and “A Different Man” (in theaters Sept. 20), in which he plays a man afflicted with a disfiguring tumor disorder who — even when presented with a fantastical treatment that makes him look like, well, Sebastian Stan — can’t be cured of ailments of the soul. For “A Different Man,” Stan won the top acting prize at the Berlin Film Festival; for “The Apprentice,” the sky’s the limit, if it can manage to get seen. (More on that later.)

One reason Stan has largely evaded being defined is that he’s never the same twice, often willing to get loopy or go dark in pursuit of his characters’ truths. That’s all the more true this year: In “The Apprentice,” he’s under the carapace of Trumpiness; in “A Different Man,” his face is hidden behind extensive prosthetics.

“In my book, if you’re the good-looking, sensitive guy 20 movies in a row, that’s not a star for me,” says Abbasi, who compares Stan to Marlon Brando — an actor eager to play against his looks. “You’re just one of the many in the factory of the Ken dolls.”

This fall represents Stan’s chance to break out of the toy store once and for all. His Winter Soldier brought a jolt of evil into Captain America’s world, and his Jeff Gillooly was the devil sitting on Tonya Harding’s shoulder. Now Stan is at the center of the frame, playing one of the most divisive characters imaginable. So he’s showing us where he can go. The spotlight is his, and so is the risk that comes with it.

Why take such a risk?

The script for “The Apprentice,” which Stan first received in 2019, but which took years to come together, made him consider the American dream, the one that Trump achieved and is redefining.

Stan emigrated with his mother, a pianist, from communist Romania as a child. “I was raised always aware of the American dream: America being the land of opportunity, where dreams come true, where you can make something of yourself.” He pushes the wings of his hair back to frame his face, a gold signet ring glinting in the late-summer sunlight, and, briefly, I can hear a hint of Trump’s directness of approach. “You can become whoever you want, if you just have a good idea.” Stan’s good idea has been to play the lead in movies while dodging the formulaic identity of a leading man, and this year will prove just how far he can take it.

“The Apprentice” seemed like it would never come together before suddenly it did. This time last year, Stan was sure it was dead in the water, and he was OK with that. “If this movie is not happening, it’s because it’s not meant to happen,” he recalls thinking. “It will not be because I’m too scared and walk away.”

Called in on short notice and filming from November 2023 to January of this year (ahead of a May premiere in Cannes), Stan lent heft and attitude to a character arc that takes Trump from local real estate developer in the 1970s to national celebrity in the 1980s. He learns the rough-and-tumble game of power from the ruthless and hedonistic political fixer Roy Cohn (Jeremy Strong), eventually cutting the closeted Cohn loose as he dies of AIDS and alienating his wife Ivana (Maria Bakalova) in the process. (In a shocking scene, Donald sexually assaults Ivana in their Trump Tower apartment.) For all its edginess, the film is about Trump’s personality — and the way it calcified into a persona — rather than his present-day politics. (Despite its title, it’s set well before the 2004 launch of the reality show that finally made Trump the superstar he longed to be.)

And despite the fact that Trump has kept America rapt since he announced his run for president in 2015, Hollywood has been terrified of “The Apprentice.” The film didn’t sell for months after Cannes, an unusual result for a major English-language competition film, partly because Trump’s legal team sent a cease-and-desist letter attempting to block the film’s release in the U.S. while the fest was still ongoing. When it finally sold, it was to Briarcliff Entertainment, a distributor so small that the production has launched a Kickstarter campaign to raise money so that it will be able to stay in theaters.

Yes, Hollywood may vote blue, but it’s not the same town that released “Fahrenheit 9/11” or even “W.,” let alone a film that depicts the once (and possibly future) president raping his wife. (The filmmakers stand behind that story. “The script is 100% backed by my own interviews and historical research,” says Gabriel Sherman, the screenwriter and a journalist who covers Trump and the American conservative movement. “And it’s important to note that it is not a documentary. It’s a work of fiction that’s inspired by history.”) Entertainment corporations from Netflix to Disney would be severely inconvenienced if the next president came into office with a grudge against them.

“I am quite shocked, to be honest,” Abbasi says. “This is not a political piece. It’s not a hit piece; it’s not a hatchet job; it’s not propaganda. The fact that it’s been so challenging is shocking.” Abbasi, born in Iran, was condemned by his government over his last film, “Holy Spider,” and cannot safely return. He sees a parallel in the response to “The Apprentice.” “OK, that’s Iran — that is unfortunately expected. But I wasn’t expecting this.”

“Everything with this film has been one day at a time,” Stan says. The actor chalks up the film’s divisiveness to a siloed online environment. “There are a lot of people who love reading the [film’s] Wikipedia page and throwing out their opinions,” he says, an edge entering his voice. “But they don’t actually know what they’re talking about. That’s a popular sport now online, apparently.”

Unprompted, Stan brings up the idea that Trump is so widely known that some might think a biographical film about him serves no purpose. “When someone says, ‘Why do we need this movie? We know all this,’ I’ll say, ‘Maybe you do, but you haven’t experienced it. The experience of those two hours is visceral. It’s something you can hopefully feel — if you still have feelings.’”

After graduating from Rutgers in 2005, Stan found his first substantial role on “Gossip Girl,” playing troubled rich kid Carter Baizen. Like teen soaps since time immemorial, “Gossip Girl” was a star-making machine. “It was the first time I was in serious love with somebody,” he says. (He dated the series’ star, Leighton Meester, from 2008 to 2010.) He feels nostalgic for that moment: “Walking around the city, seeing these same buildings and streets — life seemed simpler.”

Stan followed his “Gossip Girl” gig with roles on the 2009 NBC drama “Kings,” playing a devious gay prince in an alternate-reality modern world governed by a monarchy, and the 2012 USA miniseries “Political Animals,” playing a black-sheep prince (and once again a gay man) of a different sort — the son of a philandering former president and an ambitious former first lady.

When I ask him what lane he envisioned himself in as a young actor, he shrugs off the question. “I grew up with a single mom, and I didn’t have a lot of male role models. I was always trying to figure out what I wanted to be. And at some point, I was like, I could just be a bunch of things.”

Which might seem challenging when one is booked to play the same character, Bucky Barnes, in Marvel movie after Marvel movie. Bucky’s adventures have been wide-ranging — he’s been brainwashed and turned evil and then brought back to the home team again, all since his debut in 2011’s “Captain America: The First Avenger.” Next year, he’ll anchor the summer movie “Thunderbolts,” as the leader of a squad of quirky heroes played by, among others, Julia Louis-Dreyfus and Florence Pugh. It’s easy to wonder if this has come to feel like a cage of sorts.

Not so, says Stan. His new Marvel film “was kind of like ‘One Flew Over the Cuckoo’s Nest’ — a guy coming into this group that was chaotic and degenerate, and somehow finding a way to unite them.”

Lately, knives have been out for Marvel movies as some have disappointed at the box office, and “Thunderbolts,” which endured strike delays and last-minute cast changes, has been under scrutiny.

“It’s become really convenient to pick on [Marvel films],” Stan says. “And that’s fine. Everyone’s got an opinion. But they’re a big part of what contributes to this business and allows us to have smaller movies as well. This is an artery traveling through the system of this entire machinery that’s Hollywood. It feeds in so many more ways than people acknowledge.” He adds, “Sometimes I get protective of it because the intention is really fucking good. It’s just fucking hard to make a good movie over and over again.”

Which may account for an eagerness to try something new. “In the last couple of years,” he says, “I’ve gotten much more aggressive about pursuing things that I want, and I’m constantly looking for different ways of challenging myself.”

The challenge continued throughout the shoot of “The Apprentice,” as Stan pushed the material. “One of the most creatively rewarding parts of the process was how open Sebastian was to giving notes on the script but also wanting to go beyond the script,” says Sherman, the screenwriter. “If he was interested in a certain aspect of a scene, he was like, Can you find me a quote?” he recalls.

Building a dynamic through improvised scenes, Stan and Strong stayed in character throughout the “Apprentice” shoot. “I was doing an Ibsen play on Broadway,” says Strong, who won a Tony in June for his performance in “An Enemy of the People,” “and he came backstage afterwards. And it was like �� I’d never really met Sebastian, and I don’t think he’d ever met me. So it was nice to meet him.”

Before the pair began acting together, they didn’t rehearse much — “I’m not a fan of rehearsals,” Strong says. “I think actors are best left in their cocoon, doing their work, and then trusted to walk on set and be ready.” The two didn’t touch the script together until cameras went up — though they spent a preproduction day, Strong says, playing games in character as Donald and Roy.

After filming, both have kept memories of the hold their characters had on them. They shared a flight back from Telluride — a famously bumpy trip out of the mountains. “He’s a nervous flyer, and I’m a nervous flyer,” Stan says. Both marveled at the fact that they’d contained their nerves on the first day of shooting “The Apprentice,” when their characters traveled together via helicopter. “We both go, ‘Yeah — but there was a camera.’”

Stan’s aggressive approach to research came in handy on “A Different Man,” which shot before “The Apprentice.” His character’s disorder, neurofibromatosis, is caused by a genetic mutation and presents as benign tumors growing in the nervous system. After being healed, he feels a growing envy for a fellow sufferer who seems unbothered by his disability.

Stan’s co-star, Adam Pearson, was diagnosed with neurofibromatosis in early childhood. Stan found the experience challenging to render faithfully. “I said many times, I can do all the research in the world, but am I ever going to come close to this?” Stan says. “How am I going to ever do this justice?”

Plus, he had precious little time to prepare: “He was fully on board, and the film was being made weeks later,” director Aaron Schimberg says. “Zero to 60 in a matter of weeks.”

The actor grappled for something to hold on to, and Pearson sug gested he refer to his own experience of fame. “Adam said to me, ‘You know what it’s like to be public property,’” Stan says.

Pearson recalls describing the experience to Stan this way: “While you don’t understand the invasiveness and the staring and the pointing that I’ve grown up with, you do know what it’s like to have the world think you owe them something.”

That sense of alienation becomes universal through the film’s storytelling: “A Different Man” takes its premise as the jumping-off point for a deep and often mordant investigation of who we all are underneath the skin.

The film was shot in 22 days in a New York City heat wave, and there was, Schimberg says, “no room for error. I would get four or five takes, however many I could squeeze out, but there’s no coverage.”

Through it all, Stan’s performance is utterly poised — Schimberg and Stan discussed Buster Keaton as a reference for his ability to be “completely stone-faced” amid chaos, the director says. And the days were particularly long because Oscar-nominated prosthetics artist Michael Marino was only able to apply Stan’s makeup in the early morning, before going to his job on the set of “The Marvelous Mrs. Maisel.”

“Even though I wasn’t shooting until 11 a.m., I would go at like 5 in the morning to his studio, or his apartment,” Stan recalls. The hidden advantage was that Stan had hours to kill while made up like his character, the kind of person the world looks past. “I wanted to walk around the city and see what happened,” Stan says. “On Broadway, one of the busiest streets in New York, no one’s looking at me. It’s as if I’m not even there.” The other reaction was worse: “Somebody would immediately stop and very blatantly hit their friend, point, take a picture.”

It was a study in empathy that flowed into the character. Stan had spoken to Pearson’s mother, who watched her son develop neurofibromatosis before growing into a disability advocate and, eventually, an actor. “She said to me, ‘All I ever wanted was for someone to walk in his shoes for a day,’” Stan recalls. “And I guess that was the closest I had ever come.”

“The Apprentice” forced Stan, and forces the viewer, to do the same with a figure that some 50% of the electorate would sooner forget entirely. And that lends the film its controversy. Those on the right, presupposing that the movie is an anti-Trump document, have railed against it. In a statement provided to Variety, a Trump campaign spokesman said, “This ‘film’ is pure malicious defamation, should never see the light of day and doesn’t even deserve a place in the straight-to-DVD section of a bargain bin at a soon-to-be-closed discount movie store, it belongs in a dumpster fire.” The campaign threatened a lawsuit, though none has materialized.

Asked about the assault scene, Stan notes that Ivana had made the claim in a deposition, but later walked it back. “Is it closer to the truth, what she had said directly in the deposition or something that she retracted?” he asks. “They went with the first part.”

The movie depicts, too, Ivana’s carrying on with her marriage after the violation, which may be still more devastating. “How do you overcome something like this?” asks Bakalova. “Do you have to put on a mask that everything is fine? In the next scene, she’s going to play the game and pretend that we’re the glamorous, perfect couple.” The Trumps, in “The Apprentice,” live in a world of paper-thin images, one that grows so encompassing that Donald no longer feels anything for the people to whom he was once loyal. They’re props in his stage show.

“The Apprentice” will drop in the midst of the most chaotic presidential election of our lifetime. “The way it lands in this extremely polarized situation, for me as an artist, is exciting. I won’t lie to you,” says Abbasi.

When asked if he was concerned about blowback from a Trump 47 presidency, Stan says, “You can’t do this movie and not be thinking about all those things, but I really have no idea. I’m still in shock from going from an assassination attempt to the next weekend having a president step down [from a reelection bid].”

Stan’s job, as he sees it, was to synthesize everything he’d absorbed — all those videos on his phone — into a person who made sense. This Trump had to be part of a coherent story, not just the flurry of news updates to which we’ve become accustomed.

“You can take a Bach or a Beethoven, and everyone’s going to play that differently on the piano, right?” Stan says. (His pianist mother named him for Johann Sebastian Bach.) “So this is my take on what I’ve learned. I have to strip myself of expectations of being applauded for this, if people are going to like it or people are going to hate it. People are going to say whatever they want. Hopefully they should think at least before they say it.”

It’s a reality that Stan is now used to — the work is the work, and the way people interpret him is none of his business. Perhaps that’s why he has run away from ever being the same thing twice. “I could sit with you today and tell you passionately what my truth is, but it doesn’t matter,” he says. “Because people are more interested in a version of you that they want to see, rather than who you are.”

“The Apprentice” has been the subject of extreme difference of opinion by many who have yet to see it. It’s been read — and will continue to be after its release — as anti-Trump agitprop. The truth is chewier and more complicated, and, perhaps, unsuited for these times.

“Are we going to live in a world where anyone knows what the truth is anymore? Or is it just a world that everyone wants to create for themselves?” Stan asks.

His voice — the one that shares a slight accent with Trump but that is, finally, Stan’s own — is calm and clear. “People create their own truth right now,” he says. “That’s the only thing that I’ve made peace with; I don’t need to twist your arm if that’s what you want to believe. But the way to deal with something is to actually confront it.”

[calicough]

maybe if – hazel callahan

— maybe if she did things differently.

angst. architecture student!hazel.

hazel's hands never left the paper laid on top of her drafting table while she took a sip of her coffee. the tip of her pencil gliding and making strokes across the surface, erasing and redrawing the lines that she wasn't satisfied with, keeping in mind her professor's criticisms on her concept design. her project was "too ambitious" according to her professor, but a "refreshing idea" nonetheless. hazel understood where her professor was coming from. designing a cafe that drew inspiration from japanese, baroque, and modern architecture was bound to look... messy. she settled with a modern japanese cafe, afraid to risk her grade with her modern baroque idea.

hazel callahan was not scared to take risks. that word was never a part of her vocabulary. i mean her high school life consisted of broken noses, sore ribs, dead football players, and tiny explosives that she loved creating. but that was until you left her tear-streaked face standing by the sidewalk. the streetlights illuminated your shaking figure, head down and arms wrapped around your body. you grew smaller and smaller until hazel can no longer see you.

feeling her neck starting to cramp, she placed her pencil down and cracked her fingers before stretching her neck and her entire body to release the tension that accumulated in her muscles. she picked up her notebook that was on her bed and flipped through its pages to look back at her drafts, gathering inspiration on how the cafe's interior should look like. after stopping on a certain page, she noticed a doodle drawn at the lower left-hand corner. it was a doodle of one of your favorite characters. they were the only thing that you could draw. hazel chuckled as she gently caressed the drawing, afraid that it will disappear.

she remembers a portion of that night, a month before graduation. "hazel..." your voice wavered as you sucked in a breath. "i think it's time that we end this."

"what?" was all that she could muster out after a long silence. hearing those words felt like her heart jumped off a tall building, shattering into million pieces as it hit the ground. the tears forming in her eyes was blurring her vision of you. what did you mean by that? this has to be some kind of a joke, right? "are you serious?" she looked straight into your eyes, searching that mischievous glint that would appear whenever you're pranking her. but it wasn't there. you were actually serious.

"i don't want to pull you down with me," you told her. hazel didn't understand it back then. she thought it would be a nice surprise to let you know that she'd be enrolling in the same university as you. she thought that you'd be delighted if you learned that she rejected the offer of one of the top architectural universities in the world just because she wanted to spend her time with you and be near you. but you weren't happy. and she understands that now. she would also be angry if you didn't grab the opportunities laid out in front of you, if you didn't follow your dreams. "i don't want you to risk everything that you ever hoped for and dreamed of just for me."

hazel closed her eyes as you walked away from her and prayed that it wasn't real. that in any second, you would wake her up from this nightmare. that when she opens her eyes, you are right in front of her with that golden smile that adorns your features. as she opened her eyes, she was greeted by the walls of her dorm room. of course you weren't there.

hazel did accept the offer two days after you broke up, hoping that it'll somehow magically fix your relationship. but the damage was done and she is now staring at your doodle in her notebook. smiling to herself, she placed her notebook down on the table and returned to drawing, hoping that you're doing well wherever you are. that you're happy.

if only she had done things differently back then. maybe if she didn't outright reject the offer from the university. maybe if she took her dreams a little more seriously. maybe one day, if by some chance fate decided to bring you back together, she'll show you how much she had changed. hopefully, she'd be able to hold you in her arms and never let you go again.

aahhh!! this was inspired by the kdrama our beloved summer and the song maybe if by bibi. i rlly like the idea of architect hazel hihi she'd look so cute carrying that big blueprint tube. anyways, i hope you guys enjoyed this one! and thank you for all the love on my first work, it rlly means a lot to me :] <3

[beemers-hell]

Hi Beemer! I wanted to ask for some on advice when it comes to making your OC refs/lineups? I’ve literally been trying to draw my characters for years now and still can’t seem to get it “right”

the tough answer for this is that, at least in my eyes, your ocs ref sheets arent gonna look perfect because youll always be changing how you draw in some way! They may look "right" one day but then the next suddenly it feels off, and that's because the way you draw your characters is always going to change the longer you continue to draw them. Like, I could pull up examples of all of Eb's old ref sheets that look wonky as HELLLL now, but I thought "I finally got it right!" when I finished them initially. I really did think these were peak eb back in the day!

Hell, even Eb's CURRENT ref sheet Im not satisfied with anymore because the way I draw her has changed since I finished the ref sheet! [I know they're wearing different clothes but Im using the Draculaura cosplay piece as a comparison for how I draw Eb's face/body in general]

So my best best piece of advice for you is: you gotta learn how to settle! Cause remaking the ref sheet every time you think it doesn't look right is gonna drive you NUTS, i speak from experience lol. Just as long as you think you've got every major detail you want in their design, you're good!

Also, if you're drawing a lineup of characters, draw each character's ref sprite on top of each other on separate layers in the same canvas, it really helps with keep their sizes consistent/height & scaling accurate!

[eggsandmasks]

Ok so...

Good day, again CC fandom.

I've been analyzing my blorbo(Diego)'s design for quite some time, and I've begun to notice something. This may be a bit of a stretch, but hear me out...

I've learned through a friend, some research, and experience that art has direction. This basically means the way the art directs your eyes to look at certain things. This can be done through stuff like composition, color, perspective, and more.

Turns out it can also be done with character design. It's a little different, since this is character and not an entire illustration, but it's still possible. The most common ways I've seen direction in character design are through color, and through special accessories, clothing, or parts of their body (a prosthetic arm, or a giant gem that sits in the center of their body for instance).

More specifically, I want to talk about how color is used to direct a viewer's eyes, and how Diego del Lobo utilizes it.

First of all, before I go into detail, I just love how his design can both blend into and stick out from the various environments that we find him in. It really adds to his mysteriousness and it serves a practical purpose too since it allows him to sneak around in he dark without getting spotted.

Now onto the topic at hand!

The moment you see him, the first thing you're probably gonna look at is his face. Now, I'd be lying if I said he looked like your everyday gentleman. In fact, he's way more than that, if the game he's from is anything go by.

But let's say you don't see his face right away. Maybe you look at his chest or the center of his sprite. You might just be looking in between his grey vest and white shirt but pretty soon, you'll see a little of his neck above his shirt and that immediately leads you to uncovering the rest of him. What if you're not looking at him directly, but rather to his side or above his hat?

This is where background colors come into play. I've already stated that his design can make him both blend in and stand out with what he's standing against, but I want to focus on the former idea. If you're looking at him in the dark, his black jacket and hat blend in pretty well with the surrounding darkness. Then, your eyes begin to draw onto his grey vest, as it stands out slightly more. Afterwards, you gravitate towards his white shirt, because it stands out the most in his attire, before finally landing on his face.

But what if he's standing against a bright background? Again, he immediately draws the viewer's attention because of how his attire has little to no color compared to the environment besides black and white.

You know what else is fascinating? How his design, particularly his face, appears to "trap" the viewer. To make things a little simpler, the fact that his face is the only part of his design that has color makes it stand out, but once you've seen it, it takes a while for you to leave it. I'll admit, while his attractiveness is a key part to this, I think it's also because of the colors around it.

He has tan skin, and shoulder-length brown hair that frames his face in an almost mesmerizing manner. When you zoom out and try to look at he rest of his design, you'll just be surrounded by borders of black, white and gray in the form of his clothes. This works especially well if you're looking at him on the home/loading screen.

Right away, he is made distinct from the rest of the cast. Other than his seductive look at he camera and his position on the far left, what makes him different from the others is his color palette, consisting of blacks, whites and grays everywhere but his skin and face. Because of this, it draws your attention to the areas with more color and saturation, and you'll soon come to find that you're slowly being moved towards his face, and you can't resist he pull. Once you're locked on his face, it takes a while to leave.

If you try to move anywhere else, like say, above his head, you'll still be able to see his eyes. The sides of his head? The slight contrast between his skin and hair creates border, so you go back. Below his chin? The white shirt will keep you from going further down.

In conclusion, Diego's design is based on getting the player to look at him immediately, especially his face. His tan skin contrasts with the black-and-white palette of his clothes, so once you see him, you gravitate towards his face. Additionally, his face is also surrounded by contrasting colors, so you're basically locked on him.

------

To all who have bravely continued reading until this point, thank you. This was just a thought/theory of mine I wanted to ramble about once I noticed it.

Or I might just be overanalyzing this a bit too much...

Anyways, what are your thoughts? Any comments and theories would be greatly appreciated!

[imminent-danger-came]

MK Breaking his 1x01 Seal (I am insane)

Soooooooooooooo *twirls my hair and kicks my legs*.

I made this post like, a day ago, about a theory where the seal Wukong places on MK in 1x01 was broken in 4x07. The more I've been thinking about it, the more I think it might actually be the case, so here's a more in-depth post on it!

Let's start off with looking at how powerful MK starts off in 1x00 "A Hero is Born".

He's zipping around, he's punching the Demon Bull King with incredible force, and his final blow to DBK shifts the planets and cracks the earth:

This use of power is clearly uncontrolled. MK pretty much levels a good portion of megapolis, and in the next episode 1x01 Bad Weather, he needs a seal to be placed on his powers in order to function.

Now, we don't ever see MK that powerful again, not until after this moment in 4x07:

Between this and Sun Wukong's 1x09 comment when MK uses the staff to further destroy the mural—"Look kid, using that much power, your body can't handle it."—I'm thinking MK's seal in 1x01 also sealed away his monkey form, and that in 4x07 he broke that seal.

Bonus kinda scary MK shot:

Now, there are also these scenes in 4x13 during MK's fight with Azure:

There are a number of outer-space/world shots in this show, typically used at climactic points to show how overwhelming the battle is. In both 1x00 and 4x13, these shots are prompted by MK alone. The exception to this is 3x14 (and 3x11, more on that later), where everyone working together makes one giant magic circle to stop the Lady Bone Demon, engulfing the whole universe in light.

Next, we have the seals.

Now, it's very intriguing to me that these two seals are the same in design. The Chinese characters on both of course mean "seal", but the rim around them is also the exact same. It's a very interesting design choice, and something that could have easily been avoided had the intention been to not draw a connection between the flower fruit mountain seal and MK's seal.

(It could be that they wanted to keep Monkey King's seals consistent, however this is what the waterfall seal looks like in 1x00 and 2x01: )

(These are different, meaning the LMK team explicitly chose the seals from 1x01, 4x01, and "The Emperors Wrath" special to look the same.)

Here's what especially get's me: this same seal is used to seal away both MK's powers, and to seal away the powers of the Jade Emperor.

Mei with the Samadhi fire and Azure Lion with the Jade Emperor's power had both characters acting as containers for their world ending power source (here's that pesky 3x11 outer-space shot I mentioned):

Mei: "You mean—if I lost my cool on any of the million training exercises we've been doing, there was a chance I could have exploded and destroyed the whole universe?" Red Son: "Yes, that could have happened, but it didn't. My guess is that somehow your dragon ancestry has protected you. And if your strong enough to contain the samadhi fire, your strong enough to use it."

(3x11 This Imperfect World) (Gonna be real I don't think it was Mei's dragon ancestry that protected her, I think it was MK, but that's a theory for another time lol)

-

However Azure, unlike Mei, fails as a container. He fails to control his power, almost destroying the whole universe and sacrificing his life to stitch the world back together.

You know who ALSO doesn't control his power at the cost of others?

MK, even if it is on a much smaller scale, loses control of his powers in 1x01:

And, he loses control of them so much so that he needs to put that same specific seal on his powers until he can learn to control them better.

And well, the moment that seal comes off? We get this:

MK grappling to control his powers and a shot of him in a crater. Interesting!

And so, now that MK's seal has broken (assuming any of this theory is correct lol), I think he's going to struggle to be a container for his own powers. He was already frighteningly explosive against Azure, causing irreparable damage to flower fruit mountain and literally splitting it in half:

He also happens to look like this before entering his monkey form:

If that doesn't look like "struggling to contain his own powers", I don't know what does!

[chronicbeans]

Hi! Since I saw the illustrator wally series I've been exited to request this, it was also sad to see how nobody has yet come with this idea or at least I haven't seen anyone else bring this up so here I come!

It will be interesting how It would work a relationship between Human wally and reader who has maladaptive daydreaming along with autism, I thought of how would it be to meet someone who has to experience something familiar with you. ( since maladaptive daydreaming can be described as a variant of schizophrenia with some small differences ) anyways, I'm a desperate for representation-

ET TU, BRUTE? Omg I maladaptive daydream too (if I am reading it right and you mean to say that you do IT-). My therapist says that I am like, addicted to it lol. My family counselor also likened my case more towards depersonalization/dissociation/a variant of DID due to me only daydreaming myself as other people. This is actually the first time I have heard of it being described as a variant of schizophrenia, but it actually makes a lot of sense, now that I think about it! I need more representation too, so let's do this! I'll try to make it as broad as possible, because everyone daydreams about different things!

Illustrator Wally with an Autistic Reader who Maladaptive Daydreams:

TW: Mentions of Hallucinations, Maladaptive Daydreaming

🖍️ He is a bit confused when he sees you pacing around your living room. He is visiting, and decided to try to surprise you by sneaking up behind you and giving you a gift! Now, though, he is a bit enamored by how you are prancing around, muttering little things to yourself as you seem so carefree and happy in your little world. This is the first time he has seen you like this.

🖍️ You finally end up turning around, in his direction, and your face grows a bit pale from shock and embarrassment. "Uh... Hello... I'm so glad you came to visit!" You try to play it off, but he is too intrigued. Maybe you are like him, and hallucinate, too?

🖍️ You explain what you were doing. You daydream... WAY more often than other people! Intense worldbuilding, character arcs, and more all take place in your head the majority of the day. You like to prance or pace, finding it helpful to feel more comfortable. You also tend to stim in other ways if you cannot pace or prance. The odd facial expressions and mutterings were just you getting in character and reacting to what was happening in your daydreams.

🖍️ Wally is intrigued. It is so... similar, but different, from him. Both you and him are autistic, yes. He's known that for a while, since you told him around the second or third meeting between you two. THIS, though, is so amazing to him. He wants to know more about the stories in your head!

🖍️What do they consist of? Are they horror? Romance? Action? Comedy? He wishes to know. Are you in them? Do you play someone else? Is it from a third person perspective, watching over your creations? If it is something child friendly, maybe you can write a book and he can illustrate it!

🖍️ Even if it is something more... dark, disturbing, overall NOT a kid friendly topic... he would still want to draw it! Maybe he can start to expand his illustrations into more adult books. He is shockingly good at drawing horror, you know. Some of his vent art is a really disturbing treat to view.

🖍️ You might get onto the topic of how both of your conditions are similar and different. You have a lot of characters floating around in your head. Different worlds, stories, everything! Wally does have, in a way, characters, too! The little voices in his head count, right? Sometimes the same one will pop up every now and again. Both of your conditions seem, in a way, uncontrolled. Due to Wally preferring to not use medications, he simply lives with the voices and hallucinations, going to therapy to help him cope and learn to live with it. You just go with the flow, in a way. As far as you've heard, the best and only way to help deal with it is therapy. No real medication or anything.

🖍️ You both are finally happy to find someone similar to yourselves. The best part is that it is similar enough to be familiar, but different enough to have such interesting conversations!

[syaolaurant]

Hello hello, I love your work and was wondering if you'd be open to making a little breakdown of your art style?

It's really interesting to me and I love taking bits of different artists art style elements and incorporating them into my doodles to get better

Totally okay if you don't want to! 💜💜💜

Take care and have an amazing life 🤗💜☺️

Hello!! Thanks for asking 🤗 I'm not making a little breakdown of my art style I already WROTE A WHOLE ESSAY ABOUT IT!!

Sorry I exaggerated it a bit🥲🥲...

I was very happy to receive this ask, but at the same time I felt worried. Honestly, I didn’t know how to give you a relevant answer because  I don’t even think I have a consistent art style 🥲. Except for my usual chibi style which I feel most comfortable with, I feel my style constantly changes. So after going back to review my old paintings, I think my style is a combination of children's book illustrations and Japanese anime style. Many times I have received comments about my paintings looking like they are from children's books, and I agree haha, maybe because I mostly draw small characters in big settings and I usually use bright colors. 

My favorite artists:

My drawing style is mostly influenced by my all time favorite artists Heikala and Koyamori, I stumbled across their Insta accounts during my 1st year in college (that was 10 years ago) and from then my drawing style gradually took shape. I also admire Paulina Cassidy, mostly because I like her whimsical nature sprites theme. Recently I’ve been investing in Stephanie Law’s artwork, her coloring technique is so god-like that I hope one day I can reach that level…

Ideas and Inspirations:

Japanese anime/manga culture has had a great impact on my childhood. It was a dream come true for me to be able to pursue my college study in Japan. I think this journey greatly affected my current style. I draw lots of things from small doodles to funny comics. I'd describe my drawings as “silly and cute” since I love to make people laugh and I also live for the fluffs (Sometimes I drew angst too but it still turned out cute haha..). Aside from that,  I prefer making “storytelling” illustrations with colorful backgrounds. My favorite things to draw are tiny characters in big scenery, I like to create peaceful static moments that when looking at them help warm my heart and calm my mind. 

When making game fanarts, I usually take screenshots as references for background and imagine how the character will act in that setting. I just do what I feel comfortable and use my own judgment for composition … which… sometimes results in weird perspectives (and you know what I’ve just discovered the rule of third recently 😅…). 

Characters:

When it comes to drawing characters, I honestly don't know how to explain my style. I think chibi is my most recognizable style, apart from that I usually draw characters in semi-chibi (is it the right way to call it??) or simple anime style. I don’t usually draw characters with dynamic poses or movements ( that’s why I still suck at anatomy and expression 😩😩). I think I’m shifting from anime to a more cartoon style since I kinda have same face problem and  I’m trying to practice face shapes.

I think my character drawing style is most influenced by Akihiko Yoshida (who is behind many FF/Nier/ bravely default concepts), as I always draw my characters with chubby round faces and dreamy eyes. I made an example of how I usually draw my characters below.

Technique: 

Watercolor technique is quite complex so I’ll explain how I always do my paintings in another sharing post. I’ve posted part 1 of my sharing here. Generally, I love using bright, saturated tones and black ink brush pen or color brush to paint line work. 

. I hope I could answer your question. I’m definitely no expert, all the things about art I've learn was self-taught but I'm happy to help anyway I can. 💕💕

And you 🫵🫵 yes you dear sweet anon! I wish you a happy life too!!!! 💕💕

[ut-poppy-askblog]

Okay, what is Poppy?

Throughout the Omega Timeline: Poppy's Story AU, I've realized that, beyond Poppy's origin, and her acquiring her SOUL, I've never truly delved into what Poppy is exactly. Though her """species""" is generously described as a "Ostensibly, Paper Human", that's not really true. Paper Frisk is unquestionably a paper human, so really, Poppy's true nature hasn't really been explained up until now. Though 4 years late, I've written up an entire post going over some things I've jotted down over the years of how she works.

Any addendums I may make will be listed at the bottom of the page.

What species is she?

I don't know

What is she, then?

(as seen in the Poppy's Origin comic)

Poppy was originally a drawing by a Chara, brought to life by Ink Frisk- whose magic specializes in bringing things to life through art. Though useful in a pinch, they would have never expected something like Poppy to come out of it. In this form, Poppy was essentially moving through the motions, doing as told. Though having some semblance of understanding of what was told to her, she lacked any means of communicating it.

Of course, this wasn't going to last forever, even if Core fed her magic food, the spell would eventually run its course. Thus, they resorted to one of the recently-rescued scientists: (a) W.D. Gaster. But everyone calls him Fling Ding.

(as seen in The Quality of You)

Through Fling Ding's efforts, Poppy was given an artificial SOUL, and was thus born anew. The SOUL inherited all of the body's thoughts and loose memories, and has thus become what Poppy is. This generally implies that Poppy IS the soul, that pilots a paper body. ... But, of course, it's a bit more complicated like that.

How is she 3D, if she's made out of paper?

(Core doesn't naturally have magic, they have to pull it out of a jar every time..)

This is achieved through an obscure spell that Core's learned of through their eternal omnipresence. This spell provides Poppy with all the perks of 3D. Though, of course, it also takes magic to uphold.

When young, Poppy would often be tired from attempting to uphold this spell. When she fell asleep, she would do so as 2D, then core would have to cast the spell at her in the morning. As years went by and her SOUL grew stronger however, she's rarely ever seen in 2D, even when sleeping.

Not to say she doesn't have days where she simply... Can't turn 3D at all. But they're few and far between. As long as she eats healthily, and has a good sleep schedule, it usually doesn't happen.

What does she eat?

Her diet consists of magic food, mostly. Given she does not have any digestive system, any physical food she may try to eat, sort of... Lounges in her mouth until she spits it out. She can taste it, but no one likes to chew on food for longer than needed. She also drinks regular water and whatnot.

Wait, but is she waterproof? Is water going to kill her? How can she drink?

I've pondered myself this many times. But, ultimately, I feel like Core wouldn't just... make her live a life where she is constantly afraid of the weather, or even washing dishes. So I believe she has some waterproof magic going on.

As for how drinking water or any non-magic liquid works for her, I'm not sure. Maybe her body just, naturally fizzles out the water with the magic.

Okay, how does she grow up?

Very good question! Poppy's bodies are drawings on paper after all. You would think that maybe, the body magically ages up. But, at least for this Poppy, it doesn't work like that.

Poppy's bodies are custom-drawn by the Chara who drew her originally (who doesn't really ask why core would need a life-size drawing of their character, they pay very good money) at every stage of her life. And it's not just one body per stage, no. Poppy is a slightly reckless person, so she's had her fair share of accidentally hurting herself.

So now to the gut of the question, how does she go from body to body? It's a fairly simple task, actually!

Whenever she jumps on a similar looking body, the process is quite seamless, but when she jumps onto a taller body— or, really, a body that's drastically different than her current one, it takes some readjusting.

"So that's not my left arm..."

However, after some time adjusting, she's up and ready to go again.

As for what happens with the previous bodies, however...

Core keeps them safely stored somewhere unknown.

Wait, hold on, could she possess any drawing? Even something baseless and meaningless like a scribble?

She could. But it's not exactly pleasant for her. It's like trying to steer a car that's a block of wood. But yes, besides those types of drawings, she could feasibly look like anyone or anything given enough time. Her voice would be a dead giveaway however.

How can she change clothes? Or cut her hair without damaging the paper? How can she speak without vocal cords? How can her body know what's under the clothes when it's drawn with clothes?

Magic. ... Honestly, magic. I just don't have a better explanation. But I would imagine that if, for example, you tried to cut her hair in 2D, that would lead to less-than-desirable results.

How much does she feel? Does she see the world differently?

Another excellent question, hypothetical reader. As I had written it originally in the askblog, I sort of liked the idea that Poppy had a very limited perception of the world. She couldn't feel anything touching or burning her, she could barely taste, she could barely smell. And she can hardly be aware of anything outside of her view (she doesn't have the gut feeling of feeling she has intimidating people next to her, for instance).

But with Core teaching her that everyone's not always as bad as they seem (especially with her found family choices), it's not like this last aspect has changed much.

But, as years went by, I had a very different idea. What I've said would remain true... through more or less the first few months or so of Poppy being in a new body. As her SOUL attuned to the body, she would slowly build more human-esque senses. And perhaps even more human characteristics as well such as sweating. These being rooted in Poppy's understanding of humans... so, mostly Dusted, Core, and Mon for a good while.

As for eyesight, I've had the idea she does see things different than you and I, but I'm just not sure how to convey it through drawing or writing, so it's generally remained shelved for the time being.

... And that's all she wrote! If anything needs adding, it will be done under this. For now, consider yourself a Poppy-ologist.

[northwindow]

love your blog so much! and im wondering how you archive/document your day-to-day life and the information that you take in — whatever form: books, lyrics, trees, etc etc — ? im struggling so much w forgettttttting

i love this question! i’ve always longed to have a beautiful and consistent journal, but it’s something i struggle with maintaining organically so i’ve tried some different structures over the past few years. long-winded answer under the cut 💗

back in 2021, i was making a monthly journal on google slides which i really liked because it's so natural to integrate images. i just made a month of it public here as an example of what it was like.

from 2022 - now, i've been doing a new concept where on the last day of every season i write long, list-y answers to these prompts:

art that has been resonating with me (includes music, books, movies, visual art, anything really). i'll usually write a few words about it... "Decision to Leave dir. Park Chan-Wook—the eye shot! the eye shot with the ants crawling on it" or "'Train Ride' by Ruth Stone: 'Release, release; / between cold death and a fever, / send what you will, I will listen. / All things come to an end. / No, they go on forever.'" or "Chunky misshapen pearls and other organic, shiny shapes"

my favorite memories from the season... examples from past lists include "Swimming hole with Zoë where I stuck a twig in my hair and we waded around on our hands like crocodiles" and "Walks in my snowsuit at night, one in particular where the Gemenids meteor shower was just starting"

a checkup on 5 of my current projects/goals. currently these are 1. learn to lift weights, 2. write 50 "identical" poems, 3. write a new syllabus, 4. practice mindful spending, 5. improve at woodworking.

a checkup on 5 of my core values. currently these are 1. adventure, 2. connection, 3. play, 4. sensuality, 5. sustainability.

reevaluating projects and values to focus on next

since you mentioned wanting to remember things-- when i'm putting this together i draw extensively from my tumblr archive/likes, calendar, photos app, recent playlists, and letterboxd and storygraph accounts. curating this kind of ephemeral data into a more permanent and thoughtful record is really satisfying to me. i privately call this method "wrapped" a la spotify... like i'll have a big entry for "fall 2022 wrapped" and then "winter 2023 wrapped" and so on. i do all this on the app notion and file the seasons on one big page so it's easy to click into one and remember what i was doing and thinking about. (i also converted my dream journal to a notion database. i've logged about 300 dreams in here and love that i can tag by character/feature.)

over the years i've also kept a more classic diary via text documents that's less structured, just spitting out whatever's on my mind with the date at the top. i tend to do this frequently for a while, then ebb off, then restart another doc, rinse and repeat. i also have a few physical notebooks (including these two) but the digital stuff is way more extensive as i prefer to write on the computer.

if i were going to recommend any of this, i would say the visual format of the slides journal was really compelling because i liked the aesthetic freedom but i also love the "wrapped" lists because they seem to cut to the core of an era's texture. in the future i'd like to try to integrate these aspects together! 📓

[a-halo-for-you]

Hard Magic Systems - A Chaotic Understanding

(DISCLAIMER: I do not intend to come across like I know anything but there are some things I’ve learnt and tried to make sense of so here you go… Also, I have read books that helped this abstract understanding of this thing, not sure if I should write them here but if you’re interested feel free to message me, I should reply within 1-3 business days.)

A Hard magic system is a system that follows rules. It has clearer definitions of what is and isn’t allowed and what is or isn’t possible and the consequences when something goes wrong. 

An example I have come up with is from Leigh Bardugo’s ‘Shadow and Bone’ series. In her stories, Grisha are capable of ‘Small Science’ and fear the act of ‘Merzost’ which in Ravkan means magic. For her magic system, their abilities rely on drawing upon the components of an element in order to wield it, abiding by the laws of physics. Any that use Merzost are often villainised for it - it is very very bad and not allowed hence most villains use it. 

Having these rules in place can aid a reader in understanding how the system works, it adds stakes to characters and narratives and can be a creative tool in problem solving without audiences or readers feeling cheated by a cop out display of magic. For example if someone just wishes all their problems away and suddenly the world wasn’t ending - the only time this could be effective would be if the journey the characters went on was crucial enough to feel like it's an accomplishment to get that far. Like in Percy Jackson and The Sea of Monsters, we’re not miffed that Annabeth is rescued by the Golden Fleece because 1# We know her enough to love her and 2# They worked so hard to get to it in the first place. 

When something is resolved without any stakes, rules, limits, journey and growth it feels like a cop out, the way we watch when some writers accidentally put themselves in a corner they can’t get out of so they make the entire journey a dream by the end? Or hey, let’s just fix it with time travel! It feels kinda pointless because there are no stakes and even a soft magic system will have stakes but I’ll get to that in another post. 

When magic is used as a tool it becomes a part of the characters journey from Luffy and the GumGum Fruit to Harry Potter and being a Wizard. It becomes a part of and aids their problem solving like any other skill. 

If we look at Avatar: The Last Airbender, it takes place in a world where the audience understands people can manipulate the elements, it makes sense when Katara has her bloodbending experience because early on in the show it is established that waterbenders can draw from not just oceans and rivers but trees, plants and human sweat. Their abilities are practised, trained and developed on through the show, I mean, even Aang has to progress in order to become the Avatar and when we see him master the elements we feel kinda proud to see him kick ass and when Toph progresses to bending Metal or Zuko with his lightning- I mean excuse me?!! 

We love the magic because it's a part of their journey but it doesn’t just fix things or make them worse - it’s how they use it that matters. 

Predictability is an important part of a Magic System because if you want to keep things in order you’ll want to make sure that your Hard Magic always has a consistency to it that follows the world and story narrative. Like in My Hero Academia, the predictability would be that each character has a quirk that they are learning to control and train in order to become heroes, however they each have limitations from their personalities, physiques, mentalities, ages etc that hinder them along the way. 

‘Limitations are more important than powers’ Brandon Sanderson. 

Babe. This is for real though. I don’t care how powerful a character is, it’s not interesting if they don’t have a weakness, the more powerful they are? The more painful the weakness. You want them to lose that power or feel the consequences of their power, hurt their weakness. For fun. Anyway- 

-Once you’ve sorted the rules of your system you can look at the particular limitations, weaknesses and costs. Oftentimes I’d say strength is different from power cause someone's power could be fire but their strength could be their friends and as we know, their strength can also reflect their weakness. 

You could have a shape-shifting character but the longer they stay in their animal form the more animalistic they become creating disastrous long term effects on the group or like Nico from the Percy Jackson series, he uses shadows to travel so much that it quite literally becomes a danger to him, ‘as the more you do it, the more you lose contact with the physical world’.

Anywho, this is the end of my Hard Magic System rant - I don’t actually know if this is helpful but it helps me so maybe it will help some stranger on the internet idk. 

Don't blame me coffee made me crazy~

Next time I’ll post about the Soft Magic System and it will likely be as messy and chaotic as this one but hey-ho, 50% knowing what I’m talking about to 50% aimless passion seems acceptable.

[catwalkvivi]

well hey, since hardly anyone's looking at this corner of the website anyway I might as well take the opportunity to vent (it's annoying to do it on twitter with the character cap)

Man, social media is hard.

I see so many people posting regular content consistently for years and years without even seemingly breaking a sweat, while it's always been so difficult for me... Calculating engagement, deciding the best times to post, or, hell, even just sharing what they think/feel/made/fucking ate that day just seems, like, so easy and second nature for pretty much everyone around me. It's genuinely incredible to me that somebody can share what they've learned about idk shitty impractical tanks made in WW1 on this website and make it such an interesting read that hundreds of people engage with it!

But I've tried keeping social media accounts for art and stuff so many times now, on here, on Instagram, on Artstation, on Xitter, and eventually it just- kinda- fades away, it just feels so exhausting to keep track of all the things necessary to Chase the Algorhythm™ if you wanna have any relevancy. Is it a charisma thing??? Where do I grind to get a stat boost on my Cha???

I'd love to say it doesn't matter to me, since I've been drawing shit for myself for years now, but unfortunately artists do need social media presence if they wanna get work. Not to mention, well, I wanna reach people with the stuff I do! I want people to react to what I made, to say what they liked about it, or how it made them feel, and then when I post something I worked on for hours only to get, like, almost zero visibility? idk, man, it just kinda hurts. It's probably selfish and immature for me to say it, I know that it takes time and effort to build an audience and all that, but damn I get happy when people show me that something I've made has affected them positively. I like the connection, I like the conversations, I like meeting people who enjoy the same nerdy trash that I do!

(I was very fortunate to have an art post of mine reach a lot of notes here years ago, which was amazing, but it's such a rare thing)

God, and, like, there's all these weird unspoken rules about interacting on social media too.

The other day a friend of mine came up to our friend group and was like "oh my god this girl liked my stories on instagram it means something does she like me" and I was SO confused and then they were like "well, when somebody not on your friends list likes your stories, it means they're interested in you"

Then some time later another friend was telling me that somebody stopped liking her posts and unfriended her and how that is a horrible offense and my fucking brain hurt, like- okay I get the unfriend part kinda but there could be a hundred reasons for it??? it's not like you have a deep personal connection to all 300 friends you have on your account???

Then I see so many people out there simply sharing something they think or did only to have some rando twist what they said and come at them like they're the shittiest person on the planet that deserves everything bad in life actually (except the ones that are willingly spouting/promoting hateful shit to begin with. Those can rot in hell and I shall not mourn their demise)

Like??? It might be the Power of Autism™ in me but it always feels like I'm one step away from either making a fool of myself or offending twenty different people or both. It's both the fear of having hundreds of thousands of eyes on me and the fear of having none at all. And that makes it really difficult to share anything on the internet for me. I already have to deal with my entire existence as a trans woman making some cunts around the world mad, it sucks that I have to risk it in places where I just wanna post dumb drawings and talk about dumb things that make me happy with others.

I dunno. Word vomit I guess. Social media is hard. Interacting with humans is hard. Sharing stuff is hard. I prefer Pokémon

[aliceinclockland]

Cardcaptor Magicians and their Ceremonial Clothings

Welcome to Episode one of my random Cardcaptor Blabberings (or blabblecaptor— it's a working tag title), a "series" where I talk about random Cardcaptor things without doing that much deep diving because I hate too much research.

Since I'm notorious for starting things and not being consistent to the point of not even continuing what I started, let's see how this one goes. 😆 I'm also bad at words so wish me luck.

I'd like to start this off by saying 2 things:

this all started because I saw Sakura's pointy hat and got reminded by Kaito's ceremonial robe... then got reminded of Eriol's robe right after.

this isn't a serious analyzation of their outfits, given the reason i wanted to blabber about this is their pointy hats. also I'm more of a Nadeshiko when it comes to fashion: so far from the word 💀

Lastly, take this as a silly post while I try to learn how Tumblr works. I don't want people to use this as a source (or anything similar) because at the end of the day, this is all just silly typings of someone who excels in associating the most random stuff with each other without being able to explain why.

With all of that out of the way, Let's get started!

lold what i said earlier, the moment i saw Sakura's color page in Chapter 74 my mind went straight into Kaito's robe, and when my brain went to remind me of Kaito's ceremonial robe colored page, it immediately went to Eriol, and then started to compare the three, asking myself about their similarities aside from the initial idea of this entire post, the pointy hats.

starting off with the robes, all 3 of them have their attires in the color black. idk why it's like that, but it makes the gold in their clothing shine more i guess 😆

the patterns the clothings have also are (mostly. just in case if there's a part where it's not) symmetrical, visibly seen within the designs on the torso parts (in this case, Eriol & Sakura's chest (?) part, and Yuna D. Kaito's back). I could say it's the magicians' insignia but just in case it's not I'll just say symmetrical symbols 😅

but, surely that's not the only similarities, right?

well, aside from the pointy hats™ and the color scheme & patterns their robes have, I also realized that they're also all powerful magicians~

Eriol is Clow's reincarnation, and according to various Cardcaptor characters, he (Clow) was the most powerful magician to ever exist (but also the most fucked up one as well, i guess.)

Given that Clow's reincarnation were 2 people (he thought he could divide his magical abilities between them), Eriol still (unfortunately) got all of the magic, and most of Clow's memories, literally passing down his title of being the most powerful magician onto Eriol.

This manchild can do lots of things, and his memory of his past life helps him excel in some of everyday skills a "normal child" would struggle with (ie. baking, drawing, sewing, speaking a language, etc). But, no one knows that— not even Sakura until he told her that himself.

also I'd like to point out the fact that despite a lot of his robe's designs were in gold (color, who knows if it's really gold? I don't.), the lining of his outfit is in red.

not sure if Clow's robe is similar (if not the same) or anything but if it is, has his robe been passed down from generations before him? and if so, which side of Clow's family was the robe from?

Yuna D. Kaito is also a powerful magician— in fact, one of (if not the) highest ranks in the Magical Association. (that's the D. in his name— it wasn't his middle name and in fact, Yuna D. Kaito probably isn't his real name) He can do lots of things, but he specializes in Time Magic... which is considered a taboo since you'll get a fucked up alternative world when YOU fucked up using that kind of magic... and also a shorter life-span but let's not delve much into that so this post won't go to the depressing direction 😁

And in regards of his robe, one can argue that the robe isn't really exclusively HIS, since you can see in the picture I've used that there are other people with him wearing the same clothing (assuming it's his clan's) so i suggest burning their headquarters down to ashes to make it YDK's own robe 😆😆

note: a kind friend in the comments pointed out my mistake of associating Yuna D. Kaito and Lilie Shinomoto's clans as one: their clans differ from each other. Yuna D. Kaito's in particular are a congregation of magicians that aren't blood-related and are officially referred to as "Magic Association".

i have no idea what to call his or Lilie's clans yet, but for now I'll refer to those as their respective clans 😅

Now onto the main Protagonist of the series: Sakura Kinomoto. In Tomoyo's words, "The only Cardcaptor in the world"

Started as a girl that had little magic that managed to grew stronger and stronger, then now having one of the abilities Clow had— creating cards (or new magic) on her own.

Though one can argue that she won't be able to do that if Yuna D. Kaito wasn't pulling the strings in the background, keep in mind that Momo said she saw right past Eriol's magic protection [to contain Sakura's magic]. Plus, in the Sakura Arc (where she technically created new cards but under a "template"), Eriol was pulling the strings as well and yet her powers still managed to grow, probably beyond people's expectations.

Her ever-growing power might be hard to control for her, but she's doing her best to utilize it in protecting the ones she cherishes the most.

Now the upcoming argument about Sakura's"ceremonial attire"... well, technically Sakura doesn't have one, and you can't really call that outfit a robe, but most of the details in a ceremonial robe (at least CLAMP's robes) present: the neutral color, the symmetrical design, and the gold lining/design.

I like to consider it her own ceremonial robe— made in a very fitting and unique image of Sakura, that only she will wear.

speaking of different, there are other powerful magicians that doesn't follow the same "ceremonial outfit" pattern so I thought I'd show them too!

here we have the Shinomoto Ceremonial Outfit, worn by the beautiful Akiho Shinomoto in this color page!

sorry about the picture if it's not clean... i tried so hard to find a textless one (same as yuna d. kaito) but unfortunately I couldn't.

now about the details aside from the pointy hat: the neutral color + gold lining & symmetrical detail scheme is there, but the difference with the 1st three and their robe is that the neutral color used with the Shinomotos' were white, as opposed to the first three who used black.

i know you've seen this already but since I'm talking about Lilie here in specifics I'd like to put this here are well: a kind friend in the comments pointed out my mistake of associating Yuna D. Kaito and Lilie Shinomoto's clans as one: their clans differ from each other, and that Lilie's (though only officially referred to as "most ancient magician clan in Europe") clan is blood-related, as opposed to Yuna D. Kaito's.

again, no idea what I'll call their respective clans separately yet, so I'll probably refer to them as their respective clans for now— though i have a few ideas xd

another difference is that the hat may be a bit pointy, but it's not as pointy as the three, and that the hat has three pointy things instead of just one.... okay, maybe not that pointy, but, still pointy 😅

okay that's too many pointy, let's get back on track 😁

the difference is blatantly obvious about this one, and I really can't cross Lilie Shinomoto out from one of the most powerful magicians CCS has ever introduced, since she had strong premonition powers and she was also considered a very powerful magician that's feared within Yuna D. Kaito's Clan. I mean it would take lots of powerful magic to be even able to cross time and dreams for that long just to tell Sakura about the truth in their (now fabricated) timeline?

but i wonder why is their robe different than the others?

we'll get back to that later, if i remember it. 😆

speaking of pointy hats™, you know a magician who doesn't have a pointy hat?

He's none other than Li Clan's next leader and Sakura's most important person, Syaoran Li!

one can never talk about ceremonial outfits without remembering Syaoran's iconic ceremonial outfits! with S because he has two— 1st one (in the pictures) being the original clothing he has, and the 2nd one Tomoyo made for him that was inspired by the one he used to have.

our little wolf is special~ from being Sakura's rival in the Clow Card Arc to being Sakura's most important person? He has learned so much and grew stronger along the way.

now about the details: his clothing doesn't really follow the usual attire pattern: the dominant color of his robe is green, the designs are indeed symmetrical, but the linings are both orange and yellow instead of the usual neutral pallete... his hat also doesn't have a pointy thing on it and instead has a hanging detail on the back.

"what about the attire Tomoyo made for him? it has 2 pointy things!" yeah well you're right, and as much as I gave the effort to add his Clear Card arc ceremonial outfit, I'm realizing now that it's not really an official robe now, is it...

about the clear card ceremonial attire, one can argue the same thing as they thought about Sakura while reading this blabber (if anyone has gotten though this far), "That isn't even a ceremonial ROBE". and you're right, it isn't... since it was Tomoyo's work, inspired from the original one. 😅

so think of it the same way as Sakura— made in the fitting and unique image of Syaoran, that only he could wear.

I guess the main couple of the series have that one as a similarity in regards to this random topic I've thought about. 💚

sooooooo what does this mean? why is his so different than the others?

is he not as powerful as the ones listed?

well. probably.

but he's not entirely powerless— his entire bloodline is directly related to Clow, and in addition, his mother Yelan Li is also a powerful sorceress. So they're powerful.

I mean would the Li Clan even let someone not as powerful as Yelan to be the next in line to lead? Of course not, since being able to have magic and to be able to properly control it are probably some basic requirements to be even considered as a candidate.

But in CCS at the moment, his magic wasn't enough to turn all of the Sakura Cards into those little orbs he kept on his compass. He's even having a hard time converting just one. And if I remember this correctly, he was aided by her mother (by casting the magic he needed in the bears) when he snatched the Sakura Cards from their master.

I'd say he's not as powerful NOW probably because everything happened too fast, and that he didn't have much time to make his magic stronger to get at least within Sakura's power level. Besides, he has lots of potential, and we all know he's a strong one so it's about just a matter of time until he reach his full power.

Now this entire post got me thinking about things as I was typing it.

Mostly they're questions I had to ask, like "okay, now what?" "Why did I do this?" especially because the original plan i had was to only have Eriol, Yuna D. Kaito & Sakura here but I thought I'd be unfair to the Lilie & Akiho, and Syaoran since they both have their own as well...

I really didn't think that one through when I started typing, but the more I think of things to type, the more I asked myself, is the ceremonial clothing an indicator of how powerful you are?

and it's probably a "duh." moment, since the ones who have robes are part of clans AND are also powerful.

(note that Clow was from a union of a European Magician AND an Asian Magician so imo- technically he's still part of BOTH clans, if each of his parents were part of one)

it's probably more of "if you're in an association with lots of other magicians", considering the fact that some of the ceremonial clothings were passed down to the living blood-relative of the family— hence why Sakura doesn't have one and the rest has.

though eriol with that ceremonial outfit can be a bit questionable since he's a reincarnation n stuff, and so far I don't remember ERIOL (capitalized bc I've been linking him to Clow, but I'm talking abt him as JUST him) being part of a clan since he worked independently (as far as I can remember), from what I can recall it was mentioned in the anime that the ceremonial clothing resembled Clow's... correct me if I'm wrong, though.

with the additional input i got from Cinzia (the friend who also pointed out the difference between Akiho's & Yuna D. Kaito's clans),

I also now wonder if the colors used in their robes reflect their intentions? or, since Lilie & Akiho's clan has been around for ages, how long their bloodline has existed?

because if it's the former, then it really won't make sense for Sakura & Eriol (though Eriol is once again, questionable... since his previous body as Clow isn't particularly... good nor he is also evil— at least from my perspective), and the latter makes more sense in general.

another one question i have is the explanation for Meiling's ceremonial clothing? like do they give different styles of ceremonial clothes in the Li Clan based on your gender? your magical abilities? or how closely-related you are to whoever leads the clan? i mean, i know she's an anime-exclusive character but I still want to know because I'm curious...

lastly, i wonder if Nadeshiko has one... since she is also a powerful person (she really doesn't do much sorcery stuff as far as i can remember), though the extent of her magic is unclear like Lilie, it's clear that she's also powerful because she can still do lots of things even after life.

IF you're one of the few people who finished reading this i just want to say thank you, and i hope everything made sense since i am very bad at explaining my thoughts 😭.

I think that's it, my brain is tired now and i want to go back to sleep again so good day to everyone and until next time, if there will ever be a next time 😆

and, cut! 🎬

[goodqueenaly]

Do you think willas tyrell will be exactly like how he is spoken about? As this lovely, we’ll-read and respectful man. Or will he have a Tyrion edge to him like how Tyrion is portrayed but his pov shows differently. How do you think his personality and archetype will be? 

I would certainly like to think that Willas Tyrell will be an overall positive character in the story. Every time Willas has come up in the story, he is the subject of admiration, approval, and/or affection: he is the big brother of Margaery’s memory who “used to read to [her] when [she] was a little girl, and draw [her] pictures of the stars”; he is the familial protector of Garlan’s childhood, who dubbed him “Garlan the Gallant” to protect him from crueler, body-shaming monikers; he is the “mild and courtly young man, fond of reading books and looking at the stars” whom Tywin identifies as his preferred new husband for Cersei (and note that Tywin says that “all reports” verify this description of Willas). While it might be easy to dismiss the consistent praise of Willas as merely the product of pro-Tyrell bias, I find it difficult to agree entirely with such an assessment. Oberyn Martell, certainly, had no incentive to praise Willas to Tyrion, even if he, Oberyn, wanted to deflect Tyrion’s barbed observation that the prince of Dorne had “trampled” the heir to Highgarden; likewise, Tywin hardly spared his (private) contempt of Robert Baratheon, for example, even though he actively sought to marry Cersei to Robert in the aftermath of Robert’s Rebellion.  

Indeed, I do not think it at all coincidental that these descriptions remind me most strongly of Samwell Tarly. Just as Randyll Tarly had set out to forcibly mold Sam into (his conception of) the perfect warrior, so Mace Tyrell had forced Willas into a tournament when he, Willas, was “still a green squire” (according to Mace’s WOIAF app entry) and when he “had no business riding in such company” because Mace “wanted another Leo Longthorn”. In turn, just as Randyll’s years of physical and psychological abuse toward Sam caused Sam deep and lasting trauma (so much so that he still fears Randyll’s brutal disapproval toward a career as a maester, despite owing no further obligation to Randyll now that he is a brother of the Night’s Watch), so Mace’s decision to urge Willas into Westerosi (peacetime) martial glory resulted in permanent physical disability inflicted on his son (and, relatedly, the consistent identification of Willas as a “cripple”, a shameful state in the eyes of largely ableist Westeros). However, where Randyll vigorously and horribly attempted to crush Sam’s non-martial interests, Willas seems to have been allowed, maybe even encouraged to pursue the same. Where Randyll treated with contempt Sam’s gentle bonding with his siblings - singing a lullaby to help baby Dickon sleep and sharing a bed in childhood with his sisters - Willas clearly showed himself the caring older brother to Margaery and Garlan; where Sam was chained by the neck for three days in a dungeon for merely suggesting that he become a maester, Willas has seemingly eagerly pursued his interest in books and learning. Importantly, where Randyll refused to show further interest in training Sam as his heir once he had Dickon, Mace has never done the same with Willas: Garlan and (especially) Loras may be the sort of talented young knights celebrated in Westerosi culture, but Mace has nevertheless deputized Willas as his representative in Highgarden (even praising Willas as such when he rejects Cersei’s suggestion that he, Mace, “is needed in the Reach”). Willas, perhaps, offers something of a glimpse into what Sam might have become, had Randyll Tarly not been such a violently hateful misogynist and male chauvinist - that is, an intelligent and capable heir without performing the expected (read: battlefield) roles of Westerosi male aristocrats.  

That similarity in character I think will result in a meeting of the minds, so to speak, in TWOW. When (and not if, I believe) Euron Greyjoy attempts to take over Oldtown as its apocalyptic god-king, I think Sam will make his way out of the city and toward Highgarden (as the political heart of the Reach and the closest major seat of protection, especially to a Reach-raised aristocrat like Sam). This is where good-natured, empathetic Willas Tyrell may work far better for the story than a more cynical or caustic take on the character: where Sam has been throughout his life mocked and derided for his lack of martial interest and his bookishness, Willas is exactly the sort of person to empathize with Sam and be keenly interested in what he has to say (especially given that Willas himself had warned Leyton Hightower of the ironborn’s coming). It is Willas who may appreciate Sam’s diligent study into ancient texts, especially into the supernatural, and so Willas who may be willing to listen to whatever advice Sam can provide, or even help himself with such research (in whatever archives Highgarden may have) in the quest to defeat Euron. (Incidentally, if Alleras-who-is-really-Sarella makes it out of Oldtown with Sam - and I certainly want to think she does - then Willas’ amiable relationship with her late father and demonstrated interest in learning may appeal to not only Oberyn’s proud daughter, but the one who had “wanted to know everything there was to know” on her dad’s field trip to the ruin of Shandystone.) 

So this is all a very longwinded way of saying that yes, I think Willas will be a Pretty Cool Dude when he gets introduced (so far as anyone in Westeros can be, anyway, and certainly anyone in a feudal aristocratic system). I don’t think it makes a lot of sense for GRRM to build him up consistently as such a positive figure and then say “actually just kidding, he’s a big old jerk” (though we’ll leave Jaehaerys I out of this discussion …). Rather, I think it works much better for the story if Sam finds one much like himself, but with the political power he never had - a true ally, kind, empathetic, and willing to listen to what he has to say when few others have. I firmly place Willas on the side of the good (along with Sam and, so I hope, Sarella) in the fight against the evil that is Euron and his attempted apocalyptic takeover.

[cerealforkart]

I made myself these little dress up dolls because everyone’s getting changed all the time, here’s the first batch, outfits pre-episode 13

Design notes under the cut

[part 2] [part 3]

Lincoln

* I would first of all like to thank Lincoln for being shaped like a model (long boy) and thus very easy to dress up

* I forgot that Link needed to tear off his sleeves to make Normal a diaper in lesson 14, so in lesson 11 he grabs a sweater when I assume he goes home between escaping the FBI and returning to school

* Lincoln is so comically tall the Teeny costume (which I just moved from Normal to Link and edited to match Link’s pose) only reaches his knees. It actually looked so stupid that I had to edit it to make the Teeny costume slightly longer in the legs

* Link has two roombas in his room, he’s a clean boy, he isn’t walking around Taylor’s house in his bare feet, he doesn’t trust like that, it’s sock time

Scary

* I actually originally planned for Scary to have more piercings, but I forgot to add them in lesson 1. Let’s just say her mom won’t let her go crazy on the piercings, from what we’ve heard in rad facts (wouldn’t let her get a tongue piercing or learn guitar) that sounds in character

* I wanted to do the Shit Garden logo on Scary’s shirt like one of those metal bands that only people who like metal can actually read, but I only have so much time and patience

* I want so badly to play with Scary’s hair more, but I haven’t really had the chance, I hope there will be more excuses to give her different styles in the future, I like the braided bun for fancy occasions a lot

* Big T-shirt and shorts are peak pyjamas, love it for her. Also, you don’t need to know how long I spent trying to come up with something for her shirt to say

Normal

* Don’t tell anyone but I kind of miss drawing Teeny’s big stupid head every day, it was easy comedy

* I did actually draw a Jimmy Buffet design on the shirt before scribbling over it, you can barely see if you look closely

* I don’t actually have anything to say about Normal’s dance outfit so I guess I’ll just take this opportunity to talk about my Normal design in general. He was the one it took me the longest to land on and I’m still unsure if I’m happy with him, I want his hair to be long enough to just sorta hang and be greasy, but not so long that it will get in his face too much and I still consistently fail on it

* Not much to say about his sleepover fit either. Froggy :)

Taylor

* I had originally planned for everyone to be wearing their bracelets on their left wrists but in episode 8 it’s mentioned that Taylor is wearing his on his right, at that point I think I had only drawn Taylor’s bracelet once so it was easier to just change his and let him be a special boy (also, they keep the bracelets on post-FBI because Taylor never really has an opportunity to take it off and the others wear theirs in solidarity)

*After Lesson 10, Taylor swaps out the crest of friendship from Digimon to wear his dad’s ring of swapping as a necklace, he tends to grab at it when his dad or the topic of betrayal comes up

* I hate Taylor for his dance fit. No longer my favourite son

* Not really a design note but I watched the Sailor Moon dub in three parts on youtube with my little sister huddled around our home computer after school, we’re real OGs

Hermie

* I finally decided to add the Joker makeup to my Hermie design, I found a powdery sorta brush to use for it so now he’s a true clown. Good for him I guess

* You may notice that I’ve tweaked my Hermie design and his colour scheme just a little bit. This is because white Hermie is dead and you know what? Good for him. I also made his hair a little wavier for Scam, you’ll start seeing the updated Hermie design (as if you can tell there’s a difference other than the very slight change in hairstyle) in lesson 16, because I drew the lesson 15 pages before episode 23 came out and I wasn’t going to go back and change them

* Stupid Joker tie. Hate it

* No sleepover fit for Hermie. Tragic. They need to have another sleepover and include him

[thetruejerrycan]

Sniper is pretty overpowered for a few reasons, main one being that he can instantly kill any class from an indefinite distance without much counterplay, but I think huntsman Sniper is pretty damn well-balanced.

For starters, it promotes players not to camp. Camping is a perfectly valid way to play an FPS especially if you want to win but it's not fun to play against at all. Unfortunately, a lot of maps in TF2 have some really potent sniper sightlines where if you exist in that space, you are dead faster than you can say "fuck", with very little you can do besides switching to Sniper and hoping you're fast enough to headshot him before he can headshot you. With the Huntsman, this problem is significantly reduced thanks to the arrow's having an arc and limited range, and the fact that it's a fast projectile as opposed to hitscan. This means that the most effective huntsman Snipers are the ones who stick and move and overall play more aggressively, without necessarily negating the class's more defensive and calculated tactics. Sniper is a pick class after all

Coming back to the Huntsman's range, this fixes a problem with the way Sniper is designed. TF2 is a game where every classes' most effective ranges are not very far in front of them. They pretty much have to clearly see their enemies in order to score a kill. And then there's Sniper who can kill you from anywhere on the map, which creates that aforementioned imbalance where most classes' counterplay is to simply not engage with the Sniper. But the Huntsman is a weapon that's most consistent in those same ranges that everyone else has to play in but also doesn't remove Sniper's long range capabilities. The Huntsman still maintains Sniper's unique ability to headshot from any distance. And this is another point in favor of the huntsman, getting those long-ranged kills is still entirely possible but more difficult thanks to the physics of the Huntsman's arrows. This means Sniper has to get a lot more creative than simply picking a different spot to stand in where nobody can reach him, which means that everybody has fun instead of just Sniper

The Huntsman also has a unique learning curve. Now aiming is very difficult and I'm not going to downplay the ability to do so (I fucking suck at aiming). But the sniper rifles are essentially just scoping in and clicking on peoples' heads. TF2 was designed to have every class be as pick-up-and-play as possible and this had the consequence of the Sniper being very powerful for how low the skill floor to play him is. But with the Huntsman, there's a lot of ways to draw and release an arrow to your advantage depending on the situation. You might be thinking "why not just fully charge all the time since that's how you get the farthest, straightest, and most damaging arrow", and that's because full charging is slow, plus if Sniper holds this position for too long, his hands start to shake and God only knows where the arrow's going to fly from there. It can be really beneficial at close ranges to do a partial charge before releasing or even not charge at all since if you aim at their heads, they're going to die. But because I have to say this and because a lot of huntsman Sniper players only do full charges, that's not obvious at first and you have to learn and practice this mechanic to make the most out of it, which is exactly the thing that makes people like this game and other classes like Soldier and Demoman (The Demoman in general is just a pinnacle of good character and game design but that's a topic I want to learn a lot more about before discussing another day)

Lastly (and tbh, leastly), the Huntsman has WAY better synergy with the SMG than any of the rifles do. I think the intent was to give the Sniper a rifle for long-ranges and when somebody eventually did close the distance, he has an automatic weapon to defend himself without having to risk being in the enemy's face with his melee. The problem is that when you're playing Sniper most optimally, this situation just doesn't really happen since he directly counters almost every other class in the game. Once again, the Huntsman encourages the Sniper to be more involved in fights in the mid range, and this is where the SMG's high rate of fire really complements the slower and more calculated drawing and releasing of the Huntsman's arrows. The Cleaner's Carbine in particular feels a lot more consistent when you're running the Huntsman, whereas with the rifles it can feel like a hindrance since you could be doing a lot more for your team by using the jarate instead

With all that said, obviously the Huntsman is far from perfect, like most of this game. With the sniper rifles, you at least have to scope in to score headshots which can be a legitimate downside when up-close, and with the Huntsman you can just left click one time and instantly kill any class with its only real downside being the time invested to practice doing that, which at this point is not relevant. And of course we can't talk about the Huntsman without talking about this thing's uncanny ability to just magnetize to peoples' heads thanks to the characters' ginormous collision boxes. Plus unlike the sniper rifles, you can instantly kill people without ever seeing them if you just volley arrows into crowded places, i.e. a control point or the chokepoint on Dustbowl last

This weapon has rightfully earned the nickname "the lucksman", but I believe my point still holds water. The Sniper is a far more fine-tuned and nuanced class when using the Huntsman. I know it would never happen but if Valve ever ended up making a Team Fortress 3 and they carried over all of the same classes, I think the Huntsman would make for a perfect base to rebalance Sniper so that we don't end up running into the same fundamental pitfalls that we have in TF2