#this is all just a lot of nothing

[littleeyesofpallas]

So weirdly enough the flowers on Rose's shirt appear to be the Stewartia pseudocamellia (notable here is the clear camellia-like profile) which is in fact a flower called shara[沙羅] in Japanese, like the name of his zanpakutou, Kinshara[金沙羅]: "Gold Shala." But from what I had always gathered the zanpakutou had a lot of clear references to a different species of slower entirely, the Shorea robusta also shara[沙羅] aka the sal/sāla/shala tree.

So to start, in Buddhism the sal tree of scripture is arguably more mythical than real, and so it's associated with the former in Japan, but natively in India it's associated with the latter, which would seem to account for the confusion, except that the actual design of Kinshara clearly evokes the long whip-like vine shape of the Indian Shala rather than the Japanese pseudo-camellia, which just grows on normal tree branches.

I kinda wonder if Kubo didn't just google it and grab whatever looked good without any regard for them being the same/different flower(s) or not.

Kensei's shirt seems like a pretty straight forward reference to his name Muguruma[六車] meaning "6 Car/Vehicle," something Kubo used to base his bosozoku gimmick off of in TBtP, so the 6 bars just look like stylized bikes or cars in a sort of motorcade.

It is also, perhaps coincidentally... the daoist bagua trigram ☷ for kun[坤]: "Earth" (as in the opposite of "heaven" but it's elemental association is actually [地]: "earth" but in the dirt and soil sense) But incidentally the Earth trigram is associated with the epithet Liù duàn[六斷]: "Six Fragments/Sever(ed things)" and the traditional chinese character duàn[斷] simplifies to [断] which is the same kanji in tachikaze[断地風]: "Sever (the) Earth Wind." The Six is there, The Earth is there, the Sever is there...

Again I'm not even sure this was intentional but it does happen to link the name Muguruma[六車] to ☷ and [地] to Liù duàn[六斷] the sword Tachikaze[断地風] even if it took a seemingly improbable game of 6 degrees from such an innocuous design, of just 6 lines, to get there.

[eggscargot]

i promise im not being tooooo mean to stan

i also couldnt figure it out when someone showed it to me the first time NUDNDJDRNJFJ

love sibling energy hehe

[ID: Ford Pines and Stan Pines are making heart shapes with their pointer finger snd middle fingers. Ford is giggling at Stan and doing it correctly, while Stan struggles and says, "Keep laughing! See what happens-"

The second drawing is of Ford unable to contain his laughter anymore, and Stan jumping to attack him, shouting, "I SWEAR TO FUCKING GOD-" while it is implied off screen that Mable and Dipper are pulling him back, while shouting his name. Mable thinks its funny, while Dipper is comically concerned. End ID.]

[hinamie]

spiraling

[zorangezest]

thanks for listening

[poorly-drawn-mdzs]

Put that thing back or so help me.

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[madamemiz]

sad: falling out of a hyperfixation

tragic: watching your beloved friends and mutuals fall out of the hyperfixation while you're still in it

[deoidesign]

How I save time on backgrounds as a full-time webcomic artist

Hi! I make webcomics for a living, and I have to be able to draw a panel extremely fast to keep up with my deadlines. I draw about 50 panels a week, which gives me about 45 minutes per panel if I want any semblance of a healthy work-life balance.

Most webtoon artists save time on backgrounds by using 3d models, which works for them and is great! but personally I hate working in 3d... I went to school for it for a year and hated it so much I completely changed career paths and vowed never to do it again! So, this is how I save time without using any 3d, for those of you out there who don't like it either!

This tactic has also saved me money (3d models are expensive) and it has helped me converting my comic from scroll format into page format for print, because I have much more art to work with than what's actually in the panels. (I'll touch on this later)

So, first, I make my backgrounds huge. my default starting size is 10,000 x 10,000 pixels. My panels are 2,500 pixels wide, so my backgrounds are 4x that, minimum. Because of this, I make them less detailed than I could or that you might expect so it doesn't look weird against my character art when I shrink portions of it down.

I personally find it much easier to add in detail than to make "removing" details look natural at smaller sizes, but you might have different preferences than I do.

I also make sure to keep all of my elements on separate layers so that I can easily remove or replace them, I can move them to simulate different camera angles more easily, and it's simple to adjust the lighting to imply different times of day.

Then I can go ahead and copy/paste them into my episodes. I move the background around until it feels like it's properly fitting how I want.

Once I've done that in every panel, I'll go back through the episode and clean up anything that looks weird, and add in solid blacks (for my art style) Here's a quick before and after of what that looks like!

This makes 90% of my backgrounds take me just a few hours. This is my tactic when I'm working in an environment that an entire scene, or multiple scenes, will take place.

But many panels will inevitably have a location that's used exactly once, and it would waste time and effort to draw a massive background for those. So in 10% of cases, I just draw the single panel background in the episode. I save all of these, just in case I can re-use it later (this happens more often with outdoor locations, but I save them all nonetheless!)

I generally have to draw about 2 big backgrounds per episode, and 3-5 single-panel backgrounds per episode! At the beginning of an arc/book the number is higher, but as the series is continuing and I'm building up an asset library of indoor and outdoor elements to re-use for the book, the number generally goes down and I save more time.

My series involves time travel and mysteries, so there's a lot of new locations in it and we're constantly moving around. If I were working on a series that was more consistent in this aspect, this process would save me even more time!

Like I said earlier, this also saves me a lot of pain and gives me a lot more options as I'm converting from scroll format to print format!

panels that look like this in scroll format...

can look like this in print!

because I drew the background like this, so I didn't need to go through the additional effort to add in the extra detail to expand it outwards at all.

Anyways, I hope this helps someone! As always if it doesn't help, just go ahead and disregard. This is what I do and what works for me, and I feel like I only ever see time-saving tips for comics that involve 3d models and workflows, which don't work for me at all! I know there's more people like me out there, so this is for you!

Enjoy!

Also obligatory "my webcomic" if you want to see this in action or check it out!

[slfcare]

the most difficult thing about growing as a person socially, as in getting out of your shell and noticing that you are, is that there will still be times when it doesn’t feel like you’ve grown at all! times when you can’t really connect with anyone around you, times when you fail to enter into an existing conversation, times when you say the wrong thing (or nothing at all when in hindsight you probably should’ve). but that’s also kind of the best thing, because that’s the thing that helps you realize that sometimes, it’s not you or your lack of skills or any shortcoming. sometimes certain environments just aren’t for you and certain people aren’t your people, and that’s okay. that’s human. it’s okay to not feel the progress you have made all the time.

[a-scary-lack-of-common-sense]

I missed drawing for my old WIR AU, so I came back to it for a bit!! Exploring the lore and the characters is just as fun as I remember it being.

Mini summary of the character lores and random tidbits under cut to remind myself, because I forgot everything :) I might revamp some of the lore as well.

The Turbo twins just barely managed to escape being unplugged along with their game after Turbo game jumped years ago. They survived, but homelessness for a game sprite is dangerous, since it implies a lack of protective anti-virus barrier their consoles would typically have offered them. The twins' raw codes were now completely exposed to external errant bugs, viruses, and other malware, which could prove to be fatal. So, they were stuck going around stations picking up odd jobs and services in exchange for temporary shelter in other games' consoles. But because of Turbo's actions and his disappearance, the twins' reputations were forced to take the full brunt of the arcade's backlash and scrutiny. This ruined their chances at a permanent home, not to mention the fact that letting an outsider stay too long in your game was considered very taboo at the time (especially with the whole game jumping scandal). Thus, they were stuck hopping from one game to another, never staying for longer than a few days at most.

- Felix and the Turbo trio knew each other before the Turbo incident :) He and the twins are still in contact after the incident, and he sometimes lets them stay in his game.

- Felix' in-game story is pretty much the same as Ralph's. There's still the stump, except that in the beginning of the game it's actually a full tree that Felix and his father used to care for before the latter died. The animation shows the bulldozer knocking it town to a stump to make space for Niceland, which basically is the whole opening of the game where Felix gets mad and wrecks the building, blah blah blah, you know the rest :)

- Felix used to be mistaken as the hero of his game a lot since he looked so small and unassuming. It annoyed him to no ends, because he despises having to talk to strangers.

[novelconcepts]

Obviously next week could prove this all dead-wrong, but I don’t think the trial’s quite over. I don’t believe the end of that episode actually took place, because I’m pretty sure we’re still firmly in the “punish Agatha” phase. Rio’s suddenly gone. Alice seems to be dead by Agatha’s hand, and no one—including Teen, who has always been on her side—seems primed to believe she was out of control. The others have been sucked beneath the power of the surrogate son who not only just told Agatha to fuck off, but went full-Wanda to do it. It just all seems too tailored to cut up any of the character progress Agatha’s made on the Road thus far. Getting harassed by her ghost mother and hearing her son’s voice don’t feel like a complete tear-down. This does. It feels like more trial.

[egophiliac]

the lovers, reversed

(aka I'm still freaking out about Jou)

[wasyago]

the brainrot won

[assiraphales]

bro I’m sick bc ace dying in his arms was luffy’s biggest nightmare but dying in the arms of the person that he loved most / loved him most was probably the kindest Fate (under the circumstances) that he could have been given. luffy, the person he sacrificed himself for and would again and again and again and a million times over if he’d been given the chance bc there was no world he wanted to live in without his little brother alive and breathing, there with him at the end.

[cerubean]

johnny zest but he goes by john landgraab and hasn't dropped out of college and been disowned yet and is also arranged to be married to dina caliente

[poorly-drawn-mdzs]

Burning Rotten Bridges

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[shepscapades]

I think it’s safe to say Ranchers Win These

(In the silence between the last two panels, there is a 20 page comic in my head filled with flashbacks of every moment Scott teased, scolded, or dismissed Jimmy—and every moment where Tango was instead kind, patient, and proud)