#this is from december 2021

[ultimatedespair37]

IBUKI MIODA !

[turbo-tsundere]

Content warning for gore, blood, burns & body horror.

A king with no crown and a holy fool.

(The element of venom/poison, stabbing/puncture wounds and destruction of a whole body is present in both of their deaths. Kokichi's pristine white clothes also end up being shoved down the toilet, and the poison made it difficult for him to breathe, so there's plausible callback to Miu also. Karma at its finest?)

If I could be the devil, you could be the sinner.

(Don't mind them, they're just spilling their guts)

(...)

(Concepts for scenes from a Gonta-centric survival horror game I'll never make. But it was fun to daydream about - maybe one day I'll finish other sketches and doodles relating to it into a more presentable state. The Cat Lady OST was playing on constant repeat while I drew this - Lily of the Valley, Don't Follow the Light, String, Plainwalker, Early Winter, Storytelling, Susan's Blue Sheep (alone again) - those in particular are now stuck in my brain when I look at those drawings, and what I imagine the "game's" mood to be like, at least the opening segment.)

(I felt both heartbroken and like a monster when drawing this one... But I wanted to draw something that doesn't conveniently erase nor tuck his mangled, swollen face away from view. Sure... in game it looks goofy. But I think mockingly disfiguring him was the point in all of this, too. And given the venom, the Schmidt pain index, how it rates some wasp species, the fact that those robot wasps could be packed with anything necessary really... it had to be awful. Really, every stage of Gonta's execution was excruciating and enough to kill a person on its own, but due to his strength he likely suffered through them all. I remember begging in my head he was at least spared the flame, that he was already gone by this point... But it's foolish to pretend it definitely was the case.)

I wanted to post something new, but I was either busy, ill, or focused on something else, so another sketchdump with oldies and wips it is. This time strictly 2020-21 stuff, drawn during the first few months after finishing the game; mostly to process the post-game/Ch4 sorrows. All very emotionally raw, very edgy stuff that I felt, to be honest, too shy to show before.

Like with any wip I posted before, I do hope to finish some of them properly one day, even though I don't know when. But that's fine, I've signed up for a very long ride with the bug man. Taking it easy is the priority.

Speaking of long-term projects, maybe there's no need to, but I do want to talk about my Gonta fancomic, so here goes.

It's a bit long, so I will continue under the cut.

(Some panel teasers first! ...Gonta sanity fine.)

I took a few months long break from personal drawings - an *actual* break, not just sitting in front of a screen, tired, stewing in guilt that I'm tired, and that I can't magically muscle through burnout, or headache, or exhaustion.

My brain was stuck in a loop of berating myself for underperforming, not doing well enough, for taking so long on "mere" 27 pages, when in the past I could finish a 90-page webcomic chapter much faster. I wouldn't let myself rest, because I didn't do enough; but I couldn't do enough, because I didn't allow myself to rest. And it's been going on for months and months.

What a stupid, unconstructive thing to do to myself. I was only spiralling down, intimidating and overwhelming myself with work on the one thing I specifically wanted to keep doing out of joy, not ambition and pedantism. So I decided to just say "fuck it" and stop for a while. Like, actually stop, do something else and try to feel unapologetic about it.

So I briefly took up sewing, a creative activity I had no personal stake in, and then I started PVP-ing in DS3 (sorry if I happened to kick your butt in there. Rest assured my butt gets kicked just as much), which did wonders, too, as non-artistic pastime.

And, in the end, it seems it worked.

I finally feel this internal drive to draw again. Sadly, I can't spend all of my free time on the doujin (I might need to open commissions soon), so my pacing will still be glacial... But there was an internal change from "I have to, I have to, I must..." back to "I want to". And this is all that matters.

Still, that makes me think... while technically I don't have deadlines, the comic has taken so much longer than I thought it would - and it will take a while still. Thus, I wonder if I shouldn't change my approach re publishing it.

The initial idea was to post it all at once when it's fully finished, but I debate releasing it one page at a time instead, while it's still work in progress.

Thing is, I don't think it would be good for overall pacing. I don't want to sacrifice it, plus I can't guarantee regular uploads, esp since I don't exactly work on the pages in chronological order (While the first page is done, it was drawn after I finished a few in the middle & at the end; and there are still a few important pages/panels in first half I'm a bit too afraid of touching just yet, wanting to do them justice. This is how I work in general, jumping around rather than sticking to overly strict linear order.)

The compromise would be to post like 3-5 pages per post, making it so each upload covers a specific scene, however, same issue arises - I can't promise regular uploads. In the end it feels like a half-measure. But maybe it's a good idea, despite that impression?

There's a secret option, too - if this takes absurdly long, my plan was to just post the storyboard, after replacing some panels/pages with already finished drawings. The thing is readable as is, and long finished on that front anyway. My personal deadline for that was "right before my current lease ends", but, well… I plan on extending it anyway, and again... it's just a back-up option for when everything else fails. In the end, I just want to finish the comic, and present it how it's meant to be presented, however long it will take.

All those things considered, I'll stick to the original plan for now... and then we shall see. I simply wanted to share where things stand currently, and where they might go.

And that's it! If you've read this far, thank you. See you in the undetermined future.

[shellxrls]

everybody moved on I STAYED HERE

[nevertheless-moving]

unable to stop dwelling on the discworld trouser leg of time where, in the penultimate fight scene in Nightwatch, Carcer manages to kill teenage Sam Vimes.

Which means that the future that Duke Vimes came from can no longer exist, which means he can’t go home. Meanwhile you’ve got a bunch of history monks with stored up temporal energy, a prepared space outside of time, and the need to do some desperate damage control before the Auditors get involved. Death shows up, reality is unweaving, Sam is reading Carcer his discworld miranda rights because what else is he supposed to do.

and finally, with little other option, the monks de-age Sam so he fits the time period and send him back out into the fray.

(they didn't call it deageing of course. His memory is hazy, splintered during that terrible in between moment, They....took the time out of him? Sanded away the edges of his self for a terrible, workable fit? It...wasn't a good feeling.)

Just—damn. Sam Vimes having to live his whole crapsack life over again, but this time as his disillusioned-reillusioned, unwillingly-character-developed, noir-epic, Duke of Ankh, Commander Sir Samuel Vimes self. 

Younger (Older? He's never felt so Old, His steps so Childlike, reality twisting in his gut like one of Dibbler's pies) Sam Vimes walking around in a haze after the revolution. Desperate to go home, knowing he can’t. Wanting to drink. Knowing he can’t.

The whole precinct feels pity, he really took Keel’s death hard, hardly speaks except to do his job. Eventually he has to grit his teeth and start being present, because what else is there to do?

Resists the urge to drink until Colon takes the whole watch out to celebrate because -he’s going to be a father!

Come on Sammy, one drink won’t kill you— and after the first drink he’s cracking jokes and after the second hes smiling and after the third hes honestly the life of the party and sometime after that he’s crying about how he was going to be a father and my wife would be ashamed if she saw me drinking like this and— 

Oh shit, Did anyone else know he had a wife?? A PREGNANT wife??? What—aren’t you like 12—no you're 17 now aren't you but when did—

You guys n’ver met ’er—oh gods none if you ev’n know ‘er, is jus’ me...

What—when did you lose—

I lost her the same damn day I los’ ev’rythin else, whadya think...bleeding Carcer...the fuckin revolution...

So! That! Sam only vaguely remembers the night, but rumors travel faster than light on the disc, so by the next day the whole damn city knows about poor Sam brung low by the loss of his poor, tragic, pregnant wife, so young to be a widower, and the Seamstresses nod because they already knew, don’t ask them how, somethings you just have to know in that trade.

And his mother—I don’t know, sue me, I’m a time travel fiend but there’s something deeply intriguing about a man meeting his dead parent, who is somewhat younger than him, and stepping into the old relationship like a badly fitting thing that's supposed to fit well. She would know, right? How would she deal with her son’s impossible grief? Maybe she wouldn’t know—he spent most of the time out of the house, running with different street gangs, maybe he avoids her until she dies and lives with the guilt twice over. God, we don’t even know her name. There’s just so much narrative and emotional potential that I don’t even know where to start.

When he’s on duty, which is most time - it’s agonizing because at first he remembers cases, saves lives that would have been lost. But the more time passes, the hazier his memory because in the original timeline he was becoming an alcoholic. Fuck! A kid dies and he could have saved her if he hadn’t been such a drunk, if he had just remembered where the asshole lived, but it’s all a haze, and he wants to drown out his guilt, but that’s what caused this in the first place.

Good young Sammy, who spends his rare off-time in dusty libraries (and yes, the irony that he’s apparently Carrot now is not lost on him) reading gods-only-know.

It’s not like he can ask the wizards for help, cutthroat and vicious as they are now in the not-so-distant-past.

Good young Sam, who...talks to the Broken Drum’s pet Bouncer like he’s a real person and not a dumb rock? That’s a bit weird, but he’s a bit of a funny guy.

Good old Sam, who believed the testimony of the dwarf who said the humans were trying to rob him and let the dwarf go??

the PROBLEMS this man would cause, good grief. Can you imagine a moderately progressive middle aged man with some degree of begrudging diversity and equity training that he did, for all his sins, pay attention to, suddenly going back to like, 1990, going back just 30 years, and going...oh damn this is kind of fucked up, no man you can’t say that, holy shit.

Except Sam’s lived through even more rapidly shifting social moroes! There’s no seamstress guild, there’s no women allowed inside the university, there’s no black ribboner’s society. People hunted trolls for their teeth! But Sam can’t just unlearn everything, and he can’t shut up, and he has no real luck and anyway he would absolutely get himself (temporarily) fired.

FUCK. Sam has no idea what to do with that. None. Zero clue. Wanders around in a haze until that dwarf he saved from police brutality finds him and insists on repaying the debt. No, he insists, do you have any idea what debt means to a dwarf?

“Sort-of?” he replies hesitantly, and that honest admission of incomplete knowledge shows a hell of a lot more respect and understanding than any self proclaimed dwarf-expert ever did.

Gets a job as a surface man, hauling rocks into the city. It’s backbreaking work, but, in true Discworld fashion, it’s also one hell of a workout (again the irony of being Carrot is not lost him. he freezes for a minute while hauling a rock cart, when he remembers he's technically Lost Nobility too, in a strict sense, but someone curses at him in the street and he's comfortingly grounded)

And here is where this au slides into a SPECTACULAR romantic comedy, BEAR WITH ME. Because in his time on the Watch he’s already done noir, action adventure, war story, detective who dunnit, psychological horror, but guards guards only allowed him to be a romance protagonist in an extremely limited context.

Give me righteous, twenty-something-looking, can’t-say-he-doesn’t-have-style, young Sam Vimes, not an alcoholic,  being fed three square meals a day by his dwarven forced found family, hauling rocks. He is startled to find him bumping his head on a low hanging bar that he doesn’t think used to be there, eventually realizing that he’s an inch or two taller than he remembers. Huh. Guess all that bearhuggers really did stunt his growth.

Still doesn’t get what some of the looks from women he’s getting are about, sure, he’s dirty but so is everyone else. Fine, he took his shirt off, but it’s hot out, there’s far wrinklier than him hauling heavy loads, get a life. 

Happens to glance in the Ankh one day when it’s particularly slow and shiny and is startled to realize that he might be turning heads for a different reason. Oh. Right, not that he was ever a heartbreaker, but he did alright for himself... when he was a younger and his face hadn’t been broken so many times. Which...it isn't now.

Is mildly disturbed by the revelation.

Especially once things blow over at the precinct and what with high mortality rates, he ends up with getting hired again. The boys are delighted to have him back, nevermind that he’s an odd one, noone is ever quite in your corner like Vimsey, absence makes the heart fonder, no one else works that hard, and he’s not even competition for promotion. All around great guy, we should set him up with somebody and just, no.

It just keeps getting worse! He’s literate! He’s a feminist! He believes abuse victims! He’s got a tragic backstory! He’s unreasonably good in a fistfight! He’s kind to animals! Word gets around that there’s a good man on the watch and he’s just waiting for a good woman to come snap him up. The widower excuse doesn’t hold people off completely, and for some it’s its own sort-of appeal. 

Things REALLY become stressful after he rescues that carriage full of noblewoman.

What’s he supposed to do? Let them get robbed? Or worse? Chasing down and beating up 10 goons is as easy as beating up one, when they’re that stupid, getting separated like that, drunk and distracted, and he knows these streets better than anyone, really it’s nothing. And oh lord he’s Modest too.

I mean, they were genuinely greatful, as genuine as people like that are capable of being, the skill having grown rusty. And then there is something...magnetic about the man. An air of command.

So, soon enough you get Lady Marigold of Marigrave calling on Treckle Road for that gallant young officer who rescued them, she really needs to thank him. And Viscountess Elanor Thitzferal specifically requesting that he guard her at her next soiree. And Baroness Julieta van Shoeholten insisting that he come to her home while her husband’s away, for... manly protection.

Aaaah just zero sympathy from the guys. None. 'It’s become a competition, they’re just trying to see who can get me into bed first, it’s like I’m a piece of meat, you can’t send me sir, the Marquess greeted me in a nightee last time you made me go to—' and 'small gods Vimes are you even listening to yourself, shut the hell up'.

Simultaneous to this, (again this is several years into the timeline) swamp dragon accessories come into style. Which means abandoned swamp dragons scrounging on the street. Vimes takes one back to his apartment, blows his paycheck on dragon medicine, and eventually, heart in his chest, brings it to the Ramkin estate. The sunshine orphanage doesn’t even exist yet and he’s just standing outside the gates like an idiot, what is he thinking. Turns around, but her carriage is pulling up and—

well. they meet. it's cute. he's never felt so young. he's never felt so old, too old for her, too poor—

and certainly her thoughts linger too long on the awkward, kindly, handsome young commoner, but is it any wonder she doesn't quite connect it to the stern, dangerous, sexy young guard the ladies seem to be in some quiet, cuthroat competition over?

i have this gorgeous, absurd scene in my head in which Vimes is strong armed into standing guard at some high society soiree and one of the pushiest ladies insists he dance with here, or, if he prefers, if he's not confident about his skills, he can dance with her in-private at her home and he’s like [grinding teeth, looking for a way out, seeinf one] “I would be honored to dance with you.”

Steps right into some ultra-complex dance with multiple partner swaps (she never thought he'd pick this one, devilishly intimidating to one not strictly trained, and you barely spend anytime with your first partner).

But he does alright. Better than alright, for a common man, sometimes misstepping but his hands and feet always end up where they need to be. Raises several eyebrows part way into the song because he's throuwing in some slightly scandalous, no innovative, extra lifts and twirls that wouldn't become fashionable for another decade or two. Who even is that guy? Some out of towner? No, no he's in a guards uniform...how very strange.

Gets to Sybll and she's used to embarrassment during these dances, she tries to get out of them when she can... but can't always. Men awkwardly skipping the lifts, or worse, trying and failing. But him — oh it's him, the one who helped little Erold, and looked at her like—like—well like she was someone beautiful. And he's doing it again, and he's strong and there's a quiet moment where she's in the air, they lock eyes, and the rest of the room melts away.

And then the partners change again, the moment ended.

Just...living throught it all again. To the left, a dance he almost knows the steps to, throwing others off balance with erratic moves , honest mistakes, and delibrate stepping on toes. Improvising. Ruining. Improving. Getting far, far too much attention.

Hes almost excited when the first assassains start coming after him. It's like a hobby.

Everyone tells him he should get a hobby.

Interactions with young vetinari...I don't have the energy to write it all down, the slow circling in on each other, both burning with the need to fix the city, save it, their city.

needless to say he ends up fired again, life under real threat after offending some high lord.

Conveniently enough he has an employment opportunity- bodyguard to fucking Vetinari on his 'grand sneer.' The bastard knows vimes isn't what he seems, though sam is pretty sure that he doesnt know the exacts.

Vetinari hypothesis:(the ghost of keel? Keels son, with some hereditary curse? Or a larger spirit of justice possessing a string of unrelated souls? He knows things he shouldn't- mind reader? Fortune teller? Havelock once arranged for a wizard to bump into him on the street, the magical fool gave an odd double look and then muttered something about destiny looping in on itself giving him a headache. Destiny? Lost noble? And hes far too familiar with sybyl, one of the few bearable noblewomen in this city. And his thoughts on guilds, when havelock can trip him into speaking... Most of all, if hes reading him at all correctly (for all the mystery hes not that hard to read, unless thats a very clever cover) then it seems that behind those dark haunted eyes is Respect. Loyalty. For vetinari. What an interesting man. A puzzling asset. An intriguing threat. )

Did I mention the timeline is changing, healing slowly around the place where it was torn? Healing enough around scars to perhaps get some flexibility back, with some painful stretches and...massaging of said scar tissue?

And hes heading to unresting uberwald, a place where a werewolf pack still hunts humans and, truely unrelated but perhaps equally exhausting, an eldritch spirit of vengeance just might be looking to stretch its legs in a hapless vessel?

Opening drabble Vimes Vetinari Meta (Unwell) Scene from the Uberwald Grand Sneer

[outoftoucherlocksholmes]

ironically i came down with a fever while working on this so like don’t worry phoenix i get you

[piglinmyfeet]

If they had the idea of inviting replacements for people back in 3rd life/last life, I think Scott should've covered for Joel back in 3rd life

There'd be no need for sharing account passwords, Scott could just run across the road every five minutes, put on a terrible Yorkshire accent, then run back and mourn his dead roleplay husband

(sidenote: this only works under the assumption that Scott or Joel Lizzie and had not yet moved house between December 2020 and June 2021)

[paintpanic]

[k-i-l-l-e-r-b-e-e-6-9]

Ozzy Osbourne & Lemmy from Motörhead - Hellraiser

[tswiftupdatess]

2 years ago today, Taylor Swift wrote ''You're Losing Me (From The Vault)''

She recorded the song at home right after eating some raisins!

December 5, 2021.

[lapdogchase]

i feel like mumbo jumbo (on my period)

[3rdmissingsock]

Here's another from the archive!!! Bookmark gets mega evil blasted by the wind

[aldieb]

tonight i took what will hopefully be my last dose of antidepressants ever… i’ve been working on this for so fucking long and also i’ve been on some form of mood-altering medication for my entire adulthood and most of my teen years. freedom, babey

[a-flickering-soul]

if you think robots need genitalia in order for you to fuck them you're an idiot. let's see some hapticplay. let's see some wireplay. normalize taking out a user manual and a soldering iron during robot sex. get the fuck on my level.

[olliefishie]

Realized i can use this blog to post my non-persona fanart… take some chonglumi’s for the soul

❄️🩵💛☀️

[kowtownart]

Redraw time!!!

The original drawing was made before Birb was a thing! It was just Spamton with Kris in his hands :3

Though i did make an edit with my sona back then, i never posted it lol

[5280ft]