#this is like. if i could drawn an animatic

[uhohbestie]

Absolutely frothing at the mouth. Losing my MIND!!!

THIS!!!! IS INCREDIBLE. Oh my god, we had the sketch of this pointed out to us on instagram, and were both like "oh my god it can't get any better than this," and now there's a full illustration and i'm losing my MIND. The way you drew this- the lighting and the angle and the attention to detail... Grian's face as he swoops in to save the day, and Scar being such a handsome bad ass, with the zombies in the background. It's literally exactly how I pictured this scene in my head, and it's so classically Zombie that I can't get enough of looking at it. It's the platonic ideal of what something zombie related should look like. I love it- I'm like.... I want to put this on my wall!

Also can I just say that we're both soooo thrilled and so flattered you enjoyed TAMN! I'll be honest, I've been a huuuge fan of your work and have been sooo inspired by it in the past (and had a lot of your videos playing in the background while I worked on TAMN!) so this is really awesome hahaha. THANK you thank you! We love this piece (and can't wait to see more! aaaa!!!) <3 <3 -🔒

It's finished! There Are Monsters Nearby is complete!

This fic has been the best piece of literature I've read in a while and I'd like to thank Key and Lock @uhohbestie for sharing an absolutely jaw-dropping and heart-wrenching piece of fan fiction with the community. This one's going in the pdf saves to make into a hardcover book for my library one day. Thank you guys so so much.

I feel a little bit behind as I missed most of the hype for the fic, since I've only read it all these last two weeks 😅 but in the next week I'll be sharing all the finished arts and sketches I've made for the fic while reading it. It was so inspiring for me and it's kinda what's gotten me back into MCYT recently.

Absolutely amazing <3

Also this scene is from chapter 19 when they get the vespa :3

[kolurize]

Watch the World Burn (by Falling In Reverse) but I match the lyrics to characters from Once Upon a Witchlight DnD campaign

Frost Gricko Kremy Gideon Torbek

Yeah, I got voices in my head again, tread carefully

And I don't medicate, it helps me temporarily

I got problems, I got issues, yeah, apparently

Trauma that I'm burying, I think I need some therapy

I battle depression, I'm back with a message

I'm asking the question that if you hate me, why you acting obsessive?

I'm past the point of no return, fuck being passive-aggressive

I'll brandish a weapon, teach all you motherfuckers a lesson

I actually battle my demons and shadows

They swim in the deep, and they creep in the shallows, I'm lost

I gotta admit that I'm living the life that I've always wanted, but it comes at a cost

They're licking their chops, they're fixing to rip me apart, I'm swimming with sharks

I'm lifting the bar, I'm lifting it into the stars

I'm like a shot of adrenaline mixed with some Ritalin

You started a battle, but bitch, I'ma finish it

You think you can stop me? Not even a little bit

Nowadays, everybody's so sensitive

Taking my words and you pick it apart

Tripping on nothing, just get in the car

Gripping and ripping, I'm sticking the mark

I'm tipping the ch-ch-ch-ch-ch-ch-charts

'Cause I got enemies trying to get rid of me

Evil tendencies are fucking with me mentally

I got people that don't like me in the industry

I can feel your energy, you are not a friend to me

'Cause I have been to places that you never wanna go, yeah

I got dirt on people, but they act like I don't know, yeah

I could do some damage but I'll never rock the boat

All it takes is one post, watch 'em fall like dominoes

You'll never get rid of me, too many mini-mes ripping my imagery

You know my history, it ain't a mystery

I put every enemy outta they misery

Somebody, send me some positive energy

About to go Darth, about to go Disney

Into the darkness, into infinity and

Shut you motherfuckers up, you listening?

Stacking every little pretty penny that I'm getting

And I'm never giving in to anybody, always winning

Never kidding when I die, I'm taking everybody with me

You're never gonna get me 'cause you'll never see it simply

I'm a motherfucking god, you're a light yawn, I'm a time bomb

And the vibes wrong, is this mic on?

I'm killing the syllables with a loaded refillable

I'm a lyrical, typical super villain, I'm venomous

And I'm never gonna stop until they put me on top of the list

I can't control the monster any longer that's inside

All:

The pain and sorrow left us hollow

No tomorrows hard to swallow

Death is calling so appalling

Tightrope walking, now I'm falling down

Like missiles falling from the sky

Come and save us

The pain and sorrow left us hollow

Here today, but gone tomorrow

The pain inside is the fuel that drives

This flesh and bone through blood-red skies

The death defying, hypnotizing

One day you're gonna figure out that

Everything they taught you was a lie

Watch the world burn

Ooh

The fear is what keeps you alive

Break the fucking chains, take back your life

The fear is what keeps you insane

Break the fucking chains, take away the pain

[puppyeared]

(SEASON 4 SPOILERS)

Here is the current wip for Dear Wormwood!!

[gobblinhours]

this is the only mari3 dynamic i'll accept

(plus a little bit of agent 32 teehee)

[melodraca]

OC animatic for my film class; this took me two weeks and it's my first ever animatic, please be nice to me <3

Head AMVs can become a reality if you just believe in yourself

[weirdnerdygoat]

Oh look, a younger ford blushing picture...

I... may or may not be making something...

[astranauticus]

this is how you tell i've been drawing almost exclusively for a podcast for 6 months but between the blackbox archive and the entire orv webtoon god i am feeling so SPOILED for references

[godsfavoritescientist]

Nearly Witches by Panic at the Disco always makes me try to draw pre-betrayal Ford in Awe of Bill over and over again with no success </3

[itsgwencayyye]

Been thinking a lot about the queer rep of the qsmp and like how much i appreciate characters saying full stuff about being only into women, or liking men, or being gay in general. Like I remember distinctly during the first movie night is when it first hit me. The milk carton animatic was playing and it ends with qcellbit and qroier kissing at the wedding. And like i remember physically looking away and preparing to see one or both of them be really uncomfortable or joke about it. But they were really happy about it instead and I felt like just weird relief from it. Cause like yeah mc smp's tend to be very homoromantic, but everyones tends to be very almost prudish about wanting those relationships to be shown or go anywhere or be drawn kissing and stuff like that( At least in previous smp fandoms I've been in). Then, although it was before that moment, cellbit saying "I want to be gay and happy" although funny, it's just so nice to hear the word and have it not be a joke or not danced around cause someone's uncomfortable with it. Like the character likes men and wants to be gay and happy, simple as that. Then you have q!bagi saying that she's only interested in women, and liking melissa, but not roier, even though they're the same person. Then there's q!fit who told Ramon "I'd prefer another dad for you" and just how much knowing his backstory that being canonically a gay man adds to his characterization(i could write like a 5 page paper on that alone). And on top of it all it's the language and seriousness of all the relationships as well. Foolish and Vegetta were calling each other boyfriends, and 'my love', people go on dates and talk about what they want out of their relationship and how they're feeling about it, and like it's even normal for a lot of the couples to normalize implying or just having straight up sex (thanks for the trauma slimeriana and maxpierre/lh). Like I know I'm rambling, but, it genuinely means so much to like have the queer romance be explicitly queer and also more than just a joke. Like in ways I didn't realize at first, but it's kinda fucking awesome.

[floofypan]

Akdjakkdjs yes I'm alive! I'm actually in my final year rn so I got a Final Year Project to do before I intern around next year October. xD

Sorry for not being alive, I had the summer off and was just goofing off and drawing anytime I could. ( ˋ ⁻̫ˊ)

I got a little bit of stuff for your LMK AU but they're all just sketches atm hahaha

@floofypan i hope u know I saw u in my notifs and went "*gasp* floofypan!! Ur alive!!" asfkfksjddj

[crabsnpersimmons]

This one goes out to all the slow burn enjoyers, the dense Y/Ns, and the soft robo jesters that suffer in silence!

Inspired by @bamsara's “Solar Lunacy” fic.

If you feel like reading my ramblings and want to experience more heartbreak for fictional jester blorbos, check under the cut where I detail all the planning behind the frames!

so i heard this song for the first time in a while and the opening lyrics immediately made me think of moon, so i was daydreaming some scenes and then i decided to thumbnail some ideas:

and it all went downhill from there as everything became a metaphor and a parallel to each other, which i will now go into detail on!

you thought the animatic itself was sad?

*writing muse laughs maniacally* IT'S ALL A METAPHOR

Frame 1. "turn down the lights" We start with a back view on Moon. The lights are out, the Moon is out, but we do not see his face. The music and the greyscale atmosphere are enough to establish the weight of the moment and the weight on Moon’s mind.

Frame 2. "turn down the bed" We cut to a shot of Moon's body, kneeling on the ground of the daycare, like a padded cell. Moon’s hands are twitching with the effects of the glitch, with purple sparks coming from his hands. We still do not see his face.

Frame 3. "turn down these voices inside my head" Cut to an extreme close up on the dark half of Moon’s face. Now we see his face, but only a portion of it. His left eye is wide open, red and glitching out. The voices in his head can refer to the glitch but also his repressed feelings. Or maybe it could be Sun's voice in their shared headspace.

Frame 4. "lay down with me" Y/N's hand enters the frame from the upper right corner, lowering down to meet Moon where he kneels on the ground. Only a corner of Moon's face appears on the bottom left corner of the frame, his starry nightcap beginning to cover his glitched left eye.

Frame 5. "tell me no lies" An full shot of Moon on the floor and Y/N standing in front of him with their hand stretched towards him. A light spills out from behind Y/N, creating a boundary between them.

Now we see more of Moon. It is only when Y/N enters the frame—enters his world—that Moon’s body is shown in its entirely. When Y/N is here, he is no longer fragmented. He is whole.

Frame 6. "just hold me close" pspspspsps Playfully, Moon extends his own hand, beckoning Y/N to come closer, to join him. His right hand crossed over his body as he uses the playful gesture to hide his true feelings—to put distance between him and Y/N. His hat continues to cover his glitching left eye. He doesn’t want to worry Y/N.

Frame 7. "don't patronize" In response, Y/N’s hand pats Moon on the head, returning his playfulness. Moon looks surprised by the action. Moon, notably, does not lower his hand—perhaps he has forgotten it or perhaps his invitation is still open.

Frames 8-9. "don't patronize me" Moon rotates his faceplate so Y/N’s hand is touching the side of his faceplate, a more intimate gesture than a head pat. However, his hat is in the way. At this angle, his starry nightcap fully covers his glitchy eye and the dark side of his face, hiding his defect and acting as a veil between him and Y/N. A self-imposed boundary. So close, yet thinly separated. It's better this way. It's safer this way.

The lyrics are broken up by Y/N's arm, both to illustrate how the song is sung ("patronize" is drawn out and "me" is briefly added in before the chorus starts) but also to show how Y/N interrupts Moon's resolve, highlighting the irony between the visuals and the lyrics. Demanding not to be patronized, yet Moon happily accepts this play at intimacy. Don't patronize me, I am weak for it.

This is also the only instance where the red light of Moon's eyes glow and tint the surfaces around it. Visually, it makes it look like Moon is blushing (heavily inspired by @restinsodaroni's art). But also, in this moment of honesty, Moon's intrinsic light spills out, colouring the greyscale world. In this brief moment of honesty, Moon touches the world with his own colours, his own light.

(and this is also where i forgot to clean up the shading on Y/N's arm, but it's okay it doesn't need to be perfect it simply needs to be. And Moon will still love Y/N even if they are a continuity error.)

Frame 10. "'cause I can't make you love me if you don't" A parallel to a frame 4, Y/N retrieves their hand away and immediately Moon is reduced to the corner of his faceplate in the frame. Only now his glitched eye is fully covered by his hat.

The lyrics here (and in the next frame) in particular grow lighter to emphasize Moon's diminishing resolve and agency.

From here on out, the lyrics here are broken up, carrying on this theme of fragmentation. Y/N is pulling away, Moon is breaking up, the words are breaking up. Everything is coming apart.

Frame 11. "you can't make your heart feel something it won't" Y/N turns to leave. The lyrics, broken up as before, highlight the irony of the situation. Y/N, a human, can’t feel something they simply don’t feel. Whereas, Moon, the machine, feels something his code never intended him to feel.

Frame 12. "here in the dark in these final hours" Another full shot that parallels frame 5, as Y/N steps towards the light and Moon leans forward into the space Y/N once occupied. Y/N is leaving—that which makes him whole is leaving. And he is only capable of making it to the boundary where the light cuts into the darkness. The "final hours" suggest it might be the end of Y/N’s shift, or perhaps this scene takes place right before the glitch takes over—the final hours that Y/N has with the true Moon. Either way, time is running out—and only Moon knows it.

There is a contrasting display of body language here. Moon is on the floor leaning towards Y/N with his hand still left out. Whereas Y/N is turned away, walking away, and has already slipped their hand away and into their pocket. Y/N is closed off while Moon is limply open. Y/N is actively moving while Moon is on the floor, waiting, hoping, for that which he lacks the agency to reach for himself.

Frame 13. "I will lay down my heart" A close up on Moon’s hand, rising up again, perhaps to beckon Y/N back once more. This is a slight parallel to Y/N's hand reaching out to Moon. While Y/N can freely reach out and touch Moon, Moon cannot. He can't enter the light and more importantly he can't risk potentially harming his relationship with Y/N—be it through the glitch or by his feelings. He can only lay down his heart—put aside his feelings or hope that someone will pick up his pieces and make him whole.

Frame 14. "and I'll feel the power" Still on a close up on Moon’s hand, now clenched in slightly. This initially was going to have the glitch effects. However, I felt it more meaningful for it to be left without. Leave it up for interpretation why Moon pauses his hand. What is the power that he alone feels and stays his hand?

Frame 15. "but you won't, no, you won't" A parallel to frame 1, a view of on Moon's back with his hand stretched out towards the light, and Y/N walking into the light spilling through the open daycare door.

The placement of the lyrics suggest two different “you won’t”—Y/N who won’t realize Moon’s feelings, and Moon who won’t dare speak them into reality.

Another note on the parallel to frame 1, this time we also see Y/N's back, but it is notably different from our view of Moon's back. With Moon, we literally see inside him through the hole for his loop. However, Y/N is shrouded in shadow, just a solid, obscure silhouette against the bright light of a world Moon—and Sun for that matter—are closed off from. We don’t see into Y/N, just as the Daycare Attendant doesn't have any vantage point of Y/N's life beyond their time at the PizzaPlex. (The unfortunate reality of a being a character made for the purpose of being a vessel for the reader.)

Frame 16. "'cause I can't make you love me" We finally cut to face Moon head-on, frozen in place with his hand stretched out, unable to cross the boundary into the light. His eyes have gone dark. Where we began by seeing bits and parts of Moon, and never seeing his full face—now we, the viewer, see the full Moon, open and vulnerable—unbeknownst to Y/N.

Frame 17. "if you don't" But in the dark, behind closed doors, there is no one to perceive him—no one to receive him. The light dwindles as the daycare doors are closed. Moon stays frozen where he kneels. It is no longer the glitch that plagues him, but a far deeper dread.

But a lone streak of light peaks through the gap in the daycare doors. Perhaps that is just enough. A silver lining. A frail hope. A single, ethereal thread out of darkness and into light.

Thanks for reading and watching!

We'll be back to our regularly scheduled fun and games shortly!

[ofoceansandtombsanew]

you are love itself (君は愛そのものだ)

cw. fem!reader, childhood friend au, established relationship, love as worship, love as a choice, reader has a defined devil fruit ability

pairing. portgas d. ace x reader

synopsis. his skin is dotted in stardust.

notes. a 1.3k look into those short moments of privacy you have with ace on the moby. i got the title from 'therefore you and me' after rewatching this amazing asl brothers animatic for the billionth time. cover comes klimt's the kiss (1908).

Everything is made of stardust; the stars that made Ace are simply visible to the eye.

They couldn't be contained in the depths of his body like the rest of the world's inhabitants. It's scattered all across his skin in a beautiful display, matching the skies they fell from. Isn't that something? You brush a hand against warm skin in awe. It's all right there. The stars themselves rest upon his skin, how beautiful is that? How could anyone want someone like that dead?

When you were children, Ace told you he would bring you the moon.

What do you need the moon for when you've been touching the stars since you were 10?

Straddling his lap, you can't help laughing as you think you'd been fighting a losing battle from the start. From the beginning, you'd been drawn to Ace and his stars and you wanted to follow where they'd go for the rest of your life.

"What's so funny?" Ace murmurs into your shoulder.

"I think I was born to love you." It is the only plausible conclusion for you to reach after 10 years of loving the same person. For the half of your life you've known him, you've chosen Ace from day one. You will continue to choose him for the rest of the life you have. You chose to chase him all around Mt. Corvo, you chose to be his friend, you chose to join his crew and your heart chose him even if your head had been slow to realize. "We don't need to find the One Piece," you murmur as you lead a trail of kisses from his shoulder to Ace's cheek. "I already have everything the world has to offer right here."

You feel Ace stiffen beneath you before he laughs sheepishly, "I think you need to have your eyes checked if you think that."

"Hey," you lean back so you can see his face. Your brows are furrowed sternly but your eyes sparkle with mischief and your lips stretch into a challenging grin. "I have better eyes than you, I can see the soul."

Ace snorts but his voice is light and as warm as the smile painting his face, "souls of the dead, yeah." Smiles suit Ace more than the frowns that were once commonplace when you were younger.

"That still counts," you protest with a chuckle. He doesn't have to believe he's worthy of it, you'll tell Ace all the same. You cup his face in your hands and enjoy the vibration of his mellifluous laughter under your fingers tips as you squeeze his cheeks. "There's a lot you can learn about this sort of stuff when you can see the dead." How the soul carries its wounds even after death. How the soul carries the essence of everything that makes something itself. How love can carry on beyond the grave.

You've seen it countless times by now in your truthfully short time of being a power holder.

The spirit of a man who wanted a few berries to leave as a surprise his husband could stumble upon to brighten his day.

An elderly woman dancing in the town square, seemingly alone following the steps she took with her lost love long ago. Unbeknownst to her, however, her love danced with all the same as they did once a long time ago.

Pods of orcas full of members past and present, refusing to part from their birth pod even in death.

How beautiful it is, a love like that.

Even while deceased, they choose to remain by their beloved all the same.

Whenever it is Ace's time, he'll take his stars with him and they will rest on his skin just as they did when he was alive. But I'll make sure you're so happy you won't want to stay, you vowed when you partook of the sea's cursed fruit. You carry this vow even now. Ace will die a happy death but more importantly, he will live a long and mirthful life.

(You can tell for as sure as your eyes are dry; the urge to cry and scream in mourning and warning nonexistent. Still it's your heart's desire that you go first so you don't ever have to risk the day you know death will come for Portgas D. Ace.)

"You know what I think," you cease your pinching, letting your lax thumbs stroke his face. Dark eyes look up at you like you're a dream and gold like sunlight rests in your chest. It's light yet heavy and even if your heart is calm, its rhythmic beating tells you something precious. And he's so, so precious. "I think that when people move on, they're reborn as someone else. Then they get to live life all over again. And one day, that's gonna happen to us."

Then you'll cease to be the 'you' you have been and so will he.

Maybe that time, you'll be raised in separate seas and there will be no trio of brothers you'll latch onto. Maybe he'll be born somewhere in Paradise but I'll be from the West Blue. Or maybe he'll be a fishman. Or a giant!

Maybe next time, Ace will be a short girl with firey auburn hair and chocolate brown eyes with the disposition to match. Or he'll be a scarred and gruff dragon moray eel fishman who is an overt romantic.

Maybe next time his stars will follow him as the marker that ties him to his previous life. Then you'll recognize him the moment you see him. But even if I don't, I'll love you then too. You don't need reminders of who he was to make you want him again.

Whatever the outcome may be, you will embrace it wholly.

"Whenever that happens, I'm gonna find you and I'm going to love you all over again. You can be a girl or a giant or a fishman." Or maybe he'll be the tiny human and you'll be the giant. It will be nice being taller than Ace for once, you tell him as much with a laugh. There's a spot of wetness at the corner of his eyes that you wipe away instinctively. "Or… maybe this world runs in one big loop and we get to be us again but that time we get to make different choices. Do the stuff we didn't do last time. But regardless of all the different things I might end up doing, the one thing that is gonna stay the same is that I'll choose you all over again."

There's a pause before Ace ducks from your gaze with a wet laugh, forehead pressed against your shoulder again. The unmistakeable feel of warm droplets subsequently follow. "Thatch must be cutting onions," he chuckles weakly. "Sorry."

"Dummy," you wrap your arms around his shoulders and inhale his scent. There's a natural sweetness to it you can't explain; it's sweet but there is a peppery kick. It's been that way since the first day you met him. I love him, I love him, I love him. The sentiment echoes throughout your entire being. "it's okay to cry."

"Would you really want me again?" His voice is soft and unsure like a young bird who doesn't know if it can trust its wings.

Who else would I want?

Why would I want anyone else?

I've known you for 10 years, Ace. There's nothing about you I don't want.

"Over and over again," you kiss his temple once, twice and then a third time before you lift his head and kiss the corners of his eyes. "It's you and no one else."

A noise of surprise escapes you when Ace's lips press against your own but you relax a beat later, humming tenderly. You relish every sensation, how his arms wrap around you tight and how his fingers gently dig into your back. The taste of salt on your lips is akin to the ocean and your heartbeat reverberates throughout your chest.

Yes, it's telling you something precious.

[whoiskt]

what sucks about art school is that I spent forever on this less than a year ago and thought it looked pretty solid at the time and now it already looks like total ass to me

actually here’s all three of my lovelies together and this will probably look awful in dark mode but oh well

[under-lok-n-ki]

Captain Ava & Captain Lizzie

literally cannot wait until we get more development on this plot bc it’s so so good

also I got around to listening to the Black Rose One-shot and Lizzie was originally blonde??? ik her design was changed a lot during the campaign in general but I’m deciding to play around with that info—I’m thinking she started dying it after joining Shadowbeard’s crew

anyways thoughts I had about Ava/the Ferin’s while designing her (possible spoilers or maybe just incoherent rambling):

gave her a rifle bc I feel like she’d have sharpshooting capabilities on par with Drey, but a pistol just didn’t seem appropriate for her. but I also see her favoring close-range attacks so she also gets a big knife as a treat

I think it’s mentioned in an episode how Jay looks more like their mother, May, so personally I think Ava resembles Jayson much more with certain aspects (specifically height, nose shape, eye color, hair ‘style’— Jay got his more square-ish face shape and broad build; they both have the same eye shape)

expanding on that fiery hair ‘style’ thing— I’m thinking that’s smthn that just kinda comes with the Ferin abilities and I’m thinking those powers need to be unlocked in a way?? there’s no other reason I can think of as to why Jayson has the flaming hair and specific magic skills while Jay doesn’t, so I’m thinking Ava may have been more in-tune with/naturally drawn towards the Ferin magic (esp since we see her using that golden form during the animatic sequence in ep101) while Jay become more influenced by May’s magic (since I think she spent the most time with her esp after Ava’s death). maybe Jay and Drey suppress their Ferin abilities (Drey def intentionally, Jay maybe a bit unintentionally?) and it could kinda explain why Jay has special blood: she’s a mix of two [supposedly] powerful magical heritages

I also have this thought that Ava may have unlocked these powers earlier than most of the Ferin’s, resulting in a fate similar to Gillion’s where she was regarded with pride for this yet constantly pressured and trained into becoming a weapon for the Navy (perhaps by request of Grandma Fey, who seems to be a very controlling character and could be the reason Jayson acts so cold and ruthless). and when she failed to uphold their beliefs that’s when The Order was given (maybe they found out about her & Lizzie???)

BUT in comparison to Jayson who absorbed himself in his work, and Gillion who was forcibly separated from his family, Ava was able to visit home often and had May and Jay to lean on as a support system. that connection alone could’ve helped separate the brutality and violence of her work in the Navy from her actual personality—the one that she became admired for and the one Lizzie was drawn to. it could also be speculated that she had the same ideas as Kira and Jay: that she could make the Navy better from the inside (obv this would be more difficult if she was held to high expectations, but she could’ve been on her way to making it work)

speaking of Jay—I think I remember a moment where someone explains how Jayson didn’t want her to join the Navy at all, and I always thought this was odd considering how it was moreso pointed towards her rather than Ava (as well as the fact that the Ferin’s ostracize those who don’t join, like Drey). this would coincide with my theory that Ava was expected to join bc of ‘unlocking’ her powers early, so maybe Jayson didn’t want Jay joining due to the fact that she hadn’t tapped into her Ferin powers yet, but Jay being Jay decided to enlist anyways and eventually gained a different motivation for her involvement than the rest of the clan [thanks to Kira & Ava]. or there was another thing at play. idk kinda just throwing smthn at the wall with this one bc that little comment stood out to me and I can’t remember if it even happened lol

also do we think the whole ‘sun nightmare’ is like,,, a test to unlock those abilities?? we know Jay and Drey opted to jump into it which kinda resulted in some magic golden eye phenomena (which we’ve seen in action once by Drey), but the issue here is when Jay rejected the heat the first time it just resulted in pain. so what would’ve been the option that leads the Ferin bloodline to become so powerful? do they choose to combat the sun?? do they conjure up heat of their own until they overpower it??? so many questions

gaaahhh I can’t wait until they’re out of the Black Sea so we can delve into this more bc I’m tired of feelin like this:

[chobbleblog]

A quick message to Goodtimeswithscar fanartists!

If you tend to draw/portray Scar in fanart with zero mobility/disability aides (wheelchair, cane, cannula, etc), or with them but in a way that pretty much disregards their existence (keeping the cane on his back at all times, making the cane purely aesthetic and not functional, treating the wheelchair like it's as light as a feather and can go anywhere, drawing cannulas but no oxygen tank, etc), I just want you to take a second and ask yourself why you portray it that way.

Scar has stated that he is ok being drawn with or without being visibly disabled, but he sees the wheelchair as a big part of himself ([LINK]). I'm not here to force anybody to do anything. But I just want you to seriously consider why you minimize or completely erase his disability. Is it just because he's a minecrafter and therefore he's not disabled in-game (debatable because when making fanart, the medium and therefore many universal constants are 100% malleable, not to mention how his disability does indeed affect his content such as when he is forced to take breaks, falls out of his chair, etc)? Or could it be that you are uncomfortable with the fact that he's disabled, or at least uncomfortable portraying/acknowledging that in your art? Could it be that you're afraid to get it wrong, don't know how, or simply don't feel like it? Please don't take this as an attack, but a small ask to consider the reasoning behind this design choice.

I do not use mobility aides as my physical disabilities would not be benefitted from them, but I am quite active in the online disabled community, and please believe me when I tell you that physical disabilities are erased enough. They are ignored and minimized enough. If you look in the comments of Scar's videos, if you look at the donations that were read during the charity event a couple of months ago, you will see so many people using mobility/disability aides (or not because they can't get them for many reasons, but need them very much) who are so encouraged by Scar doing what he does, by seeing a representation of their experience and community that they very, very rarely see (and even when they do it's in a pitying, infantilizing, or degrading way). When you draw fanart of Scar, please consider this. Please consider why you are erasing or minimizing his disability, and if you find it in your heart, please consider a design change.

There are aesthetically pleasing ways to include mobility aides. Some great ones I have seen are linked below if you want design inspiration. And plus, if nothing else, it will help you become a better artist by diversifying your experience:

[LINK] - An example animatic with a cane. While it is sometimes on his back, it's usually when he's flying (how would he use it? It makes sense for it to be put away). While he's walking it is being used properly. We don't see him walking around much since it's an animatic, but if I animated it more thoroughly, I would show that he had a clear limp, fatigue, or other difficulty walking, to avoid the "cane solely for aesthetic" interpretation.

[LINK] - An example animatic with a wheelchair, which is coincidentally the same scene. There was a fantastic one where his wheelchair transforms into a flying machine but I searched for 30 minutes and can't find it, so if someone knows the one please link it!

[LINK] [LINK] [LINK] [LINK] [LINK] - Great example drawings with wheelchairs.

[LINK] [LINK] - Drawings with canes.

P.S. all of this goes for writing and other non-visual forms of fanart too!! I see him written disabled even less often than I see him drawn disabled.

Thank you for reading all of this. I hope it helps somebody.

[orbmanson7]

From the Air - A Logangstamatic by Orb Manson

A little more animation than last time, but probably should still be called an animatic at most...

My "logangstamatic" project consists of about 26 different short animations and animatics (and maybe a lyric video or two), in each one, I take a song that reminds me of Logan from Sanders Sides and animate a short section of it in a different way!

The idea is to give a tiny taste of the type of work I want to do, when I someday have better means and the actual time and dedication to give to such projects, haha.

For more information on the full project, go here!

This one features the song "From the Air" by Laurie Anderson, and was animated by me by drawing and creating a bunch of paper doll versions of the characters (most dressed in costumes) as well as creating a paper theater and seats and props and stage setting, then using basic stop-motion techniques to create more of a photo montage of sorts of the story progressing, and used tissue paper to simulate fire. Everything was shot on my phone and then edited in the inShot app.

This song was chosen mainly because I have been a fan of Laurie Anderson's unique music for a very long time, and I originally wanted to do something for "O Superman" from the same album, but I felt this song fit Logan and his thought process way better, especially with how things are going for him currently in the series (and are bound to keep going at this rate).

I don't know why, but when listening to this song while thinking of Logan, I vividly imagined the words being spoken not by a pilot as a plane was crashing, but rather a stage manager watching everything unravel behind the scenes of a doomed stage play and once a spark sets the curtain aflame, he begins giving instructions on what to do, taking charge to clear things out but not once bothering to fight the flames, knowing no one would listen to what he has to say anyway, and eventually even revelling in how this is one of the only ways he can regain control of this unending stage of drama...

The storyboard was drawn almost instantly, haha, it just took a lot longer to find time to make all the pieces and then get it all put together.

Like the other video, I'd love to someday animate this whole song in a similar manner, preferably with a better camera and better software so it comes out more presentable and with way more animation on display. I was very limited in what I could accomplish with this, so if given the chance, I'd love to do it again but better.

I already have a few more of these other animatics and animations in progress, so stay tuned for those coming soon. As I said, there will be 26 in total!

If you liked this, please let me know with a like or a comment! It is greatly appreciated!!

Music Credits:

"From The Air" by Laurie Anderson, from the album Big Science

Art Credits:

All art, props, and animation done by me!

Character Credits:

Logan, Virgil, Roman, Patton, Remus, Janus, and Thomas Sanders are characters from Thomas Sanders' series, Sanders Sides

Lyrics Used In This Video:

Good evening

This is your captain

We are about to attempt a crash landing

Please extinguish all cigarettes

Place your tray tables in their upright, locked position

Your captain says:

Put your head on your knees

Your captain says:

Put your head in your hands

Captain says:

Put your hands on your head

Put your hands on your hips

Heh heh

This is your captain

And we are going down

We are all going down

Together

And I said "uh oh"

This is gonna be some day

Standby

This is the time

And this is the record of the time

This is the time

And this is the record of the time