#this is one such case where sometimes a better visual look is more important than the original intention. that is to say it was really

[kvroii]

Book Divider (3/3) - Poison World

[dognonsense]

Question...how do you make your patches? They seem so fuckin cool. I'm working on a vest and a jacket atm, and I'd like for them to be done by the time a pride fest rolls around next month.

Main technique I use for making patches nowadays is linocut. Its best suited for mass production of patches.

Make sure to remember your carving the mirror image so you have to flip all the text. Using tracing paper to flip the design is a good trick, as well as leaving graphite marks on side, then pressing that to the lino to leave the marks in the same spot. Another trick with pencil is to view what ur carving in negative space quickly, put a paper over your design and shade over it with pencil, darker marks will be where you haven't carved yet.

I use speedball fabric ink, it takes 1 week to set then will be fine to be washed. I have magenta, violet, turqouise, and white. They have a limited range of fabric colors at the store. I have seen gold and silver fabric paint for sale and I will investigate it one day.

I use a speedball roller, i find the smaller one to be better than the big one as I can be more precise and waste less ink.

I got a fancy handle for $40 but the screws fallen out so its broken now so just get some heavy books. I used to use a mug. Whats important is pushing your whole body weight into it.

I got a speedball carving tool with different heads I can swap out so I can cut into the lino at different deepness and widths. The heads are stored inside the tool since its hollow and has a screwable removable bottom. I use linocut or dollar store erasers for my carvings. Make sure to wash the ink off your linocuts after your done using them.

A thing to increase the lifespan of you're linocuts is to use wood glue, some cork or wood pieces, and glued the lino stamps onto them. I dont do that yet so my stamps fall appart from overuse sometime and because I cut way too deep into the lino since I hate chatter.

Chatter is the term for in linocutting when theres little messy lines and stuff. It makes the art more recognisably to be linocut. My work is very clean with no chatter which is why people don't notice its linocut usually. This is a stylistic choice, with diy styles having a lot of chatter can look really cool so experiment with leaving bits of extra uncarvered lino sticking out in ur stamp. I need to experiment and buy some more lino.

You can also use multiple linocut stamps together to make a patch. Some patches ive made have like 8 different stamps. Ive made a dog nonsense patch where each letter was their own eraser stamp. You can also use different colors between the different lino stamps on the same patch to add more color. An effect I like to do is first stamp it in color, then the next day I stamp it in white over the same spot but shifted to the right and down slightly. It makes the text have a cool border 3D effect I love doing.

If making a more detailed picture with colors, i reccomend hand painting patches. I use white fabric paint mixed with acrylics for color to get all the shades i need. Acrylic paint mixed with fabric softener works too.

If doing words and you dont want a unique font reccomend using letter stamps. If you want a unique font for that i recommend hand paint for individual or linocut for mass produce.

The positive of letter stamps is the font is neat and can be done quickly. I know from lending them to my roommate that they are very helpful if you have dyslexia and have trouble getting letters right.

A visual effect of the letter stamps is that have a nice boxy edge effect, its an imperfection that adds a personally touch to it. I have both lower and upper case stamps that I got from michaels. You can use a hair band or elastic to hold a bunch of letter stamps together to make a word stamp.

You can use other stamps than letters that you find at craft stores for example my racoon print is a craftstore stamp.

You can also find big plastic letter stencils at the dollar store that you can use to do lettering by filling in gaps with a sponge or or paintbrush. They make special paintbrushes just for using stencils.

You can also get plastic stencils in the shapes of things, i got some for children and use a horse stencil for my horse smoking weed patch. Easier than drawing a horse myself.

Another technique I use for more unique clean patches is gel plating. I haven't tried printing laserprint images with it as ive seen online a lot but I will try one day. What i personally do is use it to make imprints with chains and physical objects.

Another thing i use with gelplates are any stamps or linocuts that dont have words, or words ones that i fucked up with and forgot to mirror when carving. It flips mirror image twice with the gel plate so it goes back to being right again on the patch.

Another patch making technique is using foamboard cut into shapes glued onto cardboard. This is good for a quick test of a design and is very cheap to make. It will not hold under water so is more difficult to clean.

[howtofightwrite]

In writing a fighting scene how many sentences need to be it is always said it needs to have a variety of how long? Technical jargon better be ditched, or sometimes needs to be written? Is there any advice on how to do this, I still trying to get an idea of how to write fighting scenes? from tournaments, corridor battles (narrow and wide), room battles, field battles, war battles, or even hit-and-run battles?

So, there are multiple questions here, but some of these are going to be kind of quick.

How many sentences do you need? Enough, but no more. You need to be able to communicate to the reader what's happening in the fight. Or, at least, be able to communicate what your PoV character experiences from the fight. The more you add to it, the longer it will take your average reader to read the scene, and (to an extent) the slower they will perceive the fight.

This creates an awkward situation for a writer. If you have some, “really cool visual,” but you can't convey that quickly and efficiently, it might need to go. Especially if it's the kind of thing you'd see in a film, or comic, but that your character wouldn't be directly aware of. For example, a character isn't going to know that a blade narrowly missed their head, shaving off several locks of hair in the process, because they're probably not looking in the direction of their hair when it happens, and they're probably not going to feel it. In attempting to completely articulate that moment, you're going to slow down the fight.

Now, there is an application for this. The better a character's reflexes (really, the faster they are at processing information, which isn't technically reflexes), the more ability they'll have to actually perceive these kinds of moments as they happen, and the slow the fight will be, for them.

Technical jargon is characterization. A character who doesn't know how to fight, and has no prior aptitude for violence, probably won't have a particularly extensive vocabulary for violence. So, if that's you PoV for a fight, they don't know what they're seeing, and they might not have a vocabulary that extends much beyond hitting, punching, and kicking. This applies both to the attacks they can (intentionally) make, and what they can see and understand when other characters are attacking.

A character who is a combat veteran, with extensive training will have a much wider range of options open to them, and also a much greater capacity to accurately articulate the violence they see. They're likely to use and recognize things like stances, parries, restraints, holds, and throws.

This can lead to a specific situation that's counter-intuitive (at least in comparison to what I said at the beginning), but also very real. An inexperienced fighter, can find themselves quickly losing to a skilled opponent without really being able to understand what just happened to them. In this specific case, accurately communicating the details to the audience can be to the detriment.

So, this is all for limited narration. If you're using omniscient narration, then you'll need to make decisions on how to describe the combat. This is one situation where it's really difficult to avoid characterizing your narrator. Though, this should help make that characterization a conscious choice, rather than an accident.

Beyond that, asking about the different venues, that's a little to vague to really give any coherent answer beyond simply pointing to the earlier paragraphs. For example, when you're looking at armies clashing in a massive battle, the PoV is still the most important factor to assessing how it should be written. A general, commanding the troops from a hill behind the front lines is going to be far more interested in the overall strategic state of the battle. They'll be directing troops, trying to get orders through, watching the enemy, and trying to anticipate what they'll do. A soldier down in the melee will have a radically different experience. They may not even have the tactical background to fully appreciate the way the battle is progressing, beyond simply that there are still people trying to kill them, and they're preemptively returning the favor.

At a grander scale, a footsoldier in a war might not even have the frame of reference to really understand the state of the world beyond the scope of their orders and the battles they find themselves in. They may know who they are fighting, but, not really understand why. And, if they encounter enemy forces unexpectedly, they may have no idea what that really means for the war as a whole, where a general or commander would likely be able to understand and explain how that happened. In fact, a diplomat or spy, with extensive experience from before the war, may have entirely different understandings for how and why the enemy is maneuvering than even a general would.

Again, violence, whether it's on a personal, or a mass scale, is a venue for characterization. Who your characters are will dictate how they perceive, understand, and interact with the world around them. There isn't one way that a fight in a corridor will occur, because there isn't one kind of person who will walk into a corridor with violent intent.

If it sounds like I'm thinking of Glen Cook's Black Company novels, I am. I'm also thinking of Sandy Mitchell's Caiaphas Cain novels, and a few other stray examples.

Ultimately, this is all about characterization of your narrator, regardless whether that narrator is also a character in the story or not.

-Starke

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[cozymochi]

Okay gen question, how are you so good at anatomy? like I know its a mix of years of practice and experience. Mayhaps you can spare some tips on how ppl can improve theirs? Always looking forward to your works btw! Even the scribbles you think aren't decent are always such a nice treat to see <3

It being drilled into my system years ago in a drawing class specifically for that 😭 Then a character design class the next semester that added on top of it. BUT FOR CARTOONSSSSS (I have not accomplished anything in my life to utilize any of this.)

My main point of knowledge reference is this book though (OMG FREE INTERNET ARCHIVE PDF? Yes. Though I personally have a physical copy.) We didn’t really read the walls of text so much as just practiced the proportion stuff in the early pages ad-nauseam and some skeletons (not hyper detailed ones just making sure bones were where they should be). Tho admittedly I’ve been neglecting any studying. (This book came out in 1943 brrgh) DO YOU KNOW HOW MUCH I HAD TO DRAW THIS DIAGRAM? MORE THAN ANY PERSON SHOULD.

But hey, it works. I still sometimes end up referring back to it if I think I’m sucking (disclaimer: i think this often )

As far as I’ve come to know, how something looks visually doesn’t matter so much long as basic proportions are correct. Cuz even people without trained eyes for this sorta thing can recognize when something is proportionately wrong. Like, I guess on you know where everything is supposed to go, you can kinda do anything from there?? I think. It translated well when we were drawing real people who were not the “ideal” presented, and when moving to more stylized stuff with their own rules in a completely different course. So what if that leg doesnt look exactly like u think a leg looks anatomically— IS THE KNEE IN THE CORRECT SPOT? Yes? Then u did it.

Also that eyes are in the center of the face. Not the nose. JUMPSCARE!!!

Aaaa, this isn’t really an interesting answer. If I ever figured out better streaming outside if private discords I could probably make my points better rather than pulling a “here’s a textbook, figure it out” CUZ ITS LIKE. ITS OVERWHELMING WITHOUT A GUIDE AND 😭😭😭

I don’t know. I don’t think I have “anatomy” correct, just “proportions.” Cuz I wouldn’t be able to tell you what something is, just where something goes. Which… I think is a little more important and also a distinction I don’t really see anyone making in drawing.

Though, as much as I wanna be helpful in a more effective way, it’s really really really hard for me to articulate how anyone could improve theirs if I don’t know what the alleged problem areas are 😭 I find all this stuff to be case by case. I kind of do better if i can directly point things out and offer info from there instead of blank slate tips. If I ever figure out streaming outside of private discords it would probably be easier (literally doesnt own a functional up to date enough computer)

I guess focus less on “anatomy” and focus more on proportions since that does more of the heavy lifting? Unless ur a med student, then you probably should focus on anatomy

someone could die because you couldnt identify their coccyx

OKAY THATS IT THANKS AND SORRY

[pictureamoebae]

your post about ReLight is really interesting! I wanted to try it out but I understand nothing lol would you share some tips/tricks/little tutorial for dumbs like me on how to use it/setup for The Sims?

Hi anon!

It's not a massively involved shader, it's really simple, so a full tutorial would probably be a little over the top. Using it in TS4 is no different to using it in any other game.

The first thing I'd do is look at the preprocessor definition section at the bottom of the shader settings and change number of lights to 4 and hit enter. It'll reload and then you'll have 4 different lights to play with.

For the settings at the top, you want Use Smooth Normals turned on, and then all the boxes under Shadows ticked. For Shadow Mode you'll get the best quality with Trace All selected, and Ultra for Shadow Quality, but you can play around with these if your performance suffers (bear in mind I'm using a 980ti and hotsampling to larger resolutions and I'm fine with those settings).

Leave Shadow Sharpness at its default unless you want to go for a specific look, and you can keep Z Thickness at default too. You can play around with Z Thickness if shadows look like they're starting or ending in weird places. They're never going to be 100% accurate anyway, but you can sometimes coax them into not being truly awful.

One of the most important settings is down at the bottom: Visualize Light Position. Turn this on and it'll show you a round dot where your lights are positioned. This is really useful for lining them up exactly where you want them. Then, when you're done, you can turn them off (although they will disappear when you close the ReShade menu anyway, but this setting is useful for people like me who sometimes keep the ReShade menu open when taking screenshots so I can keep tweaking).

You'll see 4 sections that each start with a checkbox that says Active. Those are your 4 lights. Tick the ones you want to use. Then you can start moving them.

Next to Position there are 3 boxes, and they each represent respectively: left-right, up-down, backwards-forwards. Play around sliding each of them and see where your dot of light goes. You'll quickly get the hang of how to move the lights around using those position numbers.

Below that is Tint. It's easiest to click on the box of colour and colour pick than it is to manually change the RGB numbers. This controls the colour of your light.

Below that is Intensity. I think by default the lights are set up at the maximum level of 1.00 but that's super super bright, so bring that down considerably. You can use this to fine tune exactly how much illumination you want once you've set up the position.

And that's really it. You can use the lights to add more accurate light fall-off and shadows from in-game light sources like lamps, streetlights, windows, etc. You can also use it to just brighten a character's face a bit more for a clearer picture. Or you can really go to town and add completely fake and dramatic lights. It's up to you.

If you find that 4 lights isn't enough, you can't add more without editing the actual shader code. However, you can just duplicate the shader, so then you can have 8 lights, or 12, or 16, however many times you duplicate it.

To duplicate ReLight, create a copy of the shader in your shader folder, and give it a unique name (for example, qUINT_ReLight2.fx). Then, open it up in a text editor (I use Notepad++) and scroll all the way down to the bottom. You'll see a section that says

technique qUINT_ReLight

edit that so it matches the name you gave your copy, so in this case

technique qUINT_ReLight2

Then you can use them both alongside each other. I do start to experience a performance impact when using a second version, so bear that in mind.

I'm sure the better option would be to edit the shader code to add the ability for more lights directly in the first shader, but you'd need to be semi-knowledgeable about what to change. You're not often going to need more than 4 anyway, so it's overkill.

[irradiatedsnakes]

Hi! I really like your furry aus! They really inspired me to branch out species in my own. I was wondering how you chose such a wide array— I’ve noticed a bias towards mammals in my own, with birds following close behind. Do you have any tips on collecting species & looking for furry symbolism? Thank you!

HI HELLO so i typed out most of an answer to this like a month or two ago then it got deletd and this languished in my askbox since so let me try again and emphasize the stuff that i think is the most important when i'm making my furry aus

biological interest and diversity

i think the biggest thing that gets my goat when i look at other furry aus is the lack of animal diversity. and, i need to be clear here, this is ENTIRELY a personal gripe/preference- it just kind of annoys me when i see furry aus that are entirely familiar, domestic mammals, yknow? where at least half the characters are dogs and cats. like, no shade to people who do or like those, i cannot emphasize enough how this is a meaningless Me pet peeve, i just really really think furries in general should broaden their horizons and try out more out-there species. and i'm not perfect in this way either: there's an OBVIOUS bird bias in my choices, and a MASSIVE tetrapod bias: almost none of my furries are fish or inverts, despite fish species outnumbering tetrapod species, and invertebrate species outnumbering vertebrate species by massive orders of magnitude.

i think my point is: try getting more unconventional with it. i also really like including extinct species because that's just my jam. pterosaurs, man, consider them

i often will do wikipedia trawls for animals when choosing species for furry aus- i'll have a general idea of the animal i want (ie, horsefly, wallaby) and i'll get to peruse the various families/genera/species under those more general umbrellas til i find something that works either visually or symbolically better than the others.

i'll also say that there will often be a very obvious choice for characters- like, spider for annabelle cane, or something. i encourage, in cases like this, don't go with the obvious choice, see if you can find something more subtly meaningful and interesting. (see: a hummingbird for annabelle cane. they steal spiderwebs in order to weave their nests, but can become trapped in the webs instead and get eaten by the spider.) it can also help to actively try and choose animals- like inverts and fish- that don't usually immediately jump to mind for you.

i also highly recommend getting Specific with it. always do your best to choose a Species of animal, rather than a genus, family, or more general group. it's always more interesting.

2. The Process

so very first thing when i'm choosing a species for a characetr is ENTIRELY vibes-based. like what does this character Feel like. sometimes this step is skipped, if there's like, an obvious symbolic or mentioned-in-canon choice that would make more sense (see: condor callum crown). but most of the time for me: Vibes. i'm just gonna list a few of my dialtown furries and my thought process (as i remember it, may be inaccurate) for how i chose them? hopefully that helps a bit.

oliver, to me, feels like a soft and fluffy mammal. he's outgoing, friendly, kind of an in-your-face personality. just feels like a mammal to me! but he's also a complete freak, so i was like, oh, he has to be a marsupial or a monotreme. the Strange mammals! i decided that, from there, he feels most like one of the megapodes (kangaroos, wallabys, those sorts) to me. kangaroos look too scary and imposing, with a frightening Buff Man kind of vibe, so those were out. went to wallabies, because they get that cute fluffy mammal vibe that i wanted for him. i eventually settled on the yellow-footed rock wallaby: they have bold, stripey patterning that i think fits his vibe, and rufous coloration on their limbs that meshes well with his red color palette.

or let's take randy. vibes here were some sort of Trash Animal, those sorts like pigeons and raccoons that adapt well to living in human garbage and most people regard as a nuisance. randy also feels very Birdy to me. from there, i think it was fig who suggested an animal that preys upon swans, and that's really funny. i eventually landed on gulls: some larger gulls will hunt swan chicks, and gulls are a perfect epitome of Trash Animal. i went with the great black-backed gull in particular- randy jade being the biggest, most imposing, apex-predator ass gull is really funny to me. also: i like great black-backed gulls.

karen! she was pretty straightforward for me: karen very much felt like a bug. some sort of insect or arachnid was my starting point: i felt that the Bug Vibes fit her well and that the segmented leg look would work well for her visually. flies are a group i like a lot and felt fit well here- overlooked, often seen as generic or boring (but are actually really cool), and also i like them. and, like, i couldn't resist the pull of Oh She Should Be A Horsefly. She Needs To Be A Horsefly. much like for oliver, the species was chosen for visual reasons: needed to be brown or tan to complement her color scheme, and i didn't want it to be one of the like, larger/scarier horseflies. band-eyed brown horseflies fit her color scheme and are pretty to look at.

3. uhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

that's most of what i've got, i think. sorry for the lateness, hope this can provide some direction.

[thebemoon]

hiii i love your writing and i squeal everytime you update. I am a writing but I feel like I over explaining my characters movement. But I’m scared my readers won’t know what’s happening. Sorry if this makes no sense!

Thank you!

It's a great question that I am here going to overexplain.

Because I'm going beyond just characters' movement and into overexplaining in general. It's so easy to underestimate your readers. And then all your lovely ideas are buried in explaining and people have to pick out the gems.

I always overexplain when I first write something because I'm feeling my way through the story, too, and trying to figure things out. So we get a Hermione internal monologue for a page telling everything that's happened to her since the battle, and then every joke is overexplained.

And I'm writing like this:

-----

"How can I help you?" Hermione said civilly. It was a good idea to be civil because she and Malfoy had to work together and she vowed not to say a thing about the pygmy puff on his shoulder because it wouldn't be polite, and surely he would appreciate her self-control.

Or not.

"Go ahead, say it," Draco growled through gritted teeth. He knew she was looking at the pygmy puff, everybody was looking at the pygmy puff -- in fact, there was a mirror on the corridor wall next to him and the creature was looking at it, so even the pygmy puff was looking at the pygmy puff.

-----

This is great because now I have a better handle on what's happening and where did that pygmy puff come from? The key is to go back at the end of the chapter and edit out all the overexplaining. The thing is, you won't really know what the overexplaining is until you've reached the end of the chapter or long scene.

One key question to ask yourself is: Can the reader figure this out? Can I reasonably count on them to make the mental leap? It's okay if readers don't catch everything the first time. that's what rereading is for. it also lends a bit of mystery to your writing, the sense that there's so much more unrevealed.

In the example above, I'm going to leave the pygmy puff stuff alone because it might be important (it wouldn't be the first time). I'll just edit Hermione's paragraph.

---------

"How can I help you?" Hermione asked. She raised an eyebrow at the pygmy puff on Malfoy's well-tailored shoulder, but said nothing. Surely he would appreciate her self-control.

Or not.

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

I don't have to say civilly because the question is already very civil and we all know the tone it's usually said in. Especially if I've already positioned Hermione as a responsible person. It's not a huge mental leap that she said the question civilly. It's also not a big leap that she's being polite (just another word for civil) because they work together, the working together apparently been established. Plus now I have room to throw in a raised eyebrow and well-tailored shoulder. Readers are smart. They pick up the nuances.

And yeah, sometimes something will be unclear, but it happens less often than you think, and I'd personally rather read a fic and occasionally go "wha?" rather than have everything explained.

So overexplaining is not a writing problem -- it's often an editing problem. I recommend overexplaining with abandon in first drafts. In my case, I take a little break, then come back and edit, always assuming the reader is smarter than I am.

As for characters' movement, which is what your original question was about, I always overexplain in the first draft because I'm trying to visualize where they are and what they're doing. There are some subtle tricks to avoid that, though. Some movement parts are supposed to be hardly noticable, like "said" in dialogue. She opened the door, she walked over to the sofa, he picked up his wand. Little bits like that ground the scene. But you don't have to describe everything. You can just say he made tea, rather than describe the process.

One trick is to infuse the characters personality and situation into mundane actions. Let's say Hermione is closing a door. She might do it with a bang if she's made, or do it very carefully if she doesn't want anyone to hear, or do it carelessly, hitting it with her foot and not even looking. Or even seductively, then leaning against the door and looking up into silver eyes and so on.

I recommend reading a lot of good writing -- fanfiction or not -- and noting how they move their characters around. It can be done very naturally.

I'll close this long essay with a quote from an amazing writer about overexplaining:

"In school you learned to write as if the reader

were in constant danger of getting lost."

— Verlyn Klinkenborg

I think that's true.

We're all encouraged to explain and organize and transition and constantly supervise the reader. But I'm not convinced that makes writing any clearer, and it certainly takes away some of the fun.

But then I like to sweep ahead with energy when I write, looking over my shoulder at the reader to say, "C'mon, keep up! We're going places! Don't you want to know where Draco's headed with that dying Nightshade plant?"

Have fun!

[mongoosefangs]

Fursuit Camp 2024: Getting Started

Welcome back to Fursuit Camp! It's time to start this thing proper! Whether you're ready to build along at home or just enjoying the ride, let's go over one of the most basic and important steps: planning our project and choosing our fabrics!

For this demonstration I'm going to be making a coyote partial! I don't always plan my projects thoroughly in advance (I may or may not have a dragon head base from like 2017 that I'm still stumped on how to finish) but I usually like to do at least some rough doodles to figure out what kind of colors and markings I want. These details may be subject to change as the build continues, but this is a decent starting point.

I'm going with a 'yote because I've wanted to make one for a long time and they're pretty iconic in the desert Southwest where I live. It helps that I already have all the right fur fabrics on hand for this design. I also figured a canine species would be good for this demo, dogs/wolves/foxes etc. are eternally popular and common choices for fursuits, and a fine place for beginners to start.

Although you can make whatever you want if you're following along at home, I will say that if this is your very first build, you might not want to start with a beloved fursona or visually complex character. Keep it simple with less pressure to make it perfect as you get used to the building process. My first suit was a generic fox; I didn't attempt to make my mongoose 'sona until later.

Here are the faux furs I'm going to be using for my coyote. You can see I've got a mixture of both long and short fur, and the colors don't exactly match 100%, but that's okay. Have faith! There are a lot more faux fur choices now than there used to be, but sometimes you're still limited. Depending on what you can get, you might want to start planning your project the other way around. Look at the fabrics available to you and pick an animal based on that.

You might be fortunate to live in an area where stores sell fur locally, or you might have to order online. You might even find yourself cutting up furry pillowcases and jackets from the thrift store for that perfect fur you can't find anywhere else (which is totally okay, in my opinion, as long as the fabric is clean). Regardless of where you source it, there are a few things you should keep in mind.

Always inspect fur in person. This means buying samples first if you're ordering online, but I promise it's worth the extra hassle. Make sure it's the color and texture you want before dropping $30-50 per yard on the stuff. How's the durability? Gently tug on the fibers; do they stay put or fall out? Part the fur with your fingers; does it seem flimsy or patchy? Faux fur quality can vary tremendously between styles, sellers, and even when the fabric was made. You won't know for sure until you've got it in hand.

Buy more than you think you'll need. How much that actually ends up being will depend entirely on your design. For this 'yote I probably won't need more than half a yard in any single color, but it's always better to have extra in case you make a mistake or want to add extra fursuit parts in the future. Don't assume you can just order more of the same exact fur later! It might be out of stock, discontinued, or not the same color or quality that it was in the past.

Know your terminology. What's the difference between fox fur and shag? Beaver and seal? Multiple types of furs are commonly used on fursuits and there are pros and cons to each kind. Let's go over some of them:

-Beaver, Seal, or Super Seal: very short fur, dense, soft, and kind of shiny. The short orange and cream in the photo above are beaver/seal style furs. A great choice for fursuit faces and finely detailed areas, but doesn't come in very many colors, and seams are more likely to show though the fur.

-Bunny or Teddy: short to medium length furs, up to about an inch long. Soft and fluffy, comes in a variety of colors, but some of them can be kind of thin furs in my experience. Not as dense as the shorter stuff. May need to be shaved down if used on fursuit faces.

-Lux Shag, aka Punky Muppet: a long style fur about 1.5" to 2". One of the most common choices for fursuits, widely available, comes in a huge array of colors. The long grey and orange in the photo above are examples of lux shag. Will need to be shaved if used on fursuit faces, but does not always shave down neatly. Quality varies. Can look clumpy or messy over time. Better for cartoony suits, less ideal for realistic styles.

-Fox: longer than lux shag, usually 2" or more, and a little more realistic in color and/or texture. The long cream in the photo above is an example of a fox style fur. Not as soft as lux shag, but also not as clumpy. Will need to be shaved if used on fursuit faces.

-Mongolian: a type of shag that's extra long and kind of wooly looking, with a chunky or kinked texture. Might work for some characters but probably not what you want in most cases.

-NFT/NFTech: National Fiber Tech, this is high quality faux fur used professionally for film and TV. Can be custom made to order to almost any length and color, especially good for fursuit hair tufts, but prohibitively expensive for most folks. They do sell overstock and random remnants, which can be a great value, but the selection is pretty unpredictable.

There are also other types of fabrics you may use for a fursuit, especially if you're like me and want to avoid shaving long fur at any cost (we won't be covering that in this build at all.) If you need something really, really short, but you can't find it in fur, try one of these instead:

-Fleece: just regular old anti-pill fleece can be a fantastic choice for fursuits. I always use at least some for things like inner ears and mouth linings, but I've made entire faces out of it, and some people have even used fleece for whole suits. Fleece is cheap, easy to work with, comes in a zillion colors, and hides seams surprisingly well with the right stitch. It's not fluffy like fur is, though, so it can't hide everything. Try to make your underlying structures as neat as possible if you're using fleece.

-Minky: commonly used for stuffed animals, comes in different styles, some are fluffy enough to mimic a bunny style fur. Tons of colors and prints to choose from. Can be used in a lot of the same ways as fleece, but I honestly don't like it as much. It doesn't hide seams as well and it's messy to work with. Good for making plushies, maybe good for some small details, but probably not my first choice for a fursuit.

These are just some of the fabrics you might end up using, but honestly, that's only the tip of the iceberg! I could literally spend the rest of the summer just weighing the pros and cons of every conceivable material you might use on a fursuit, but I'd rather actually make a fursuit. How about you?

If you're looking for fur online, try these sellers. I'll add to this list as I find more recommended shops!

Big Z Fabrics

FursuitSupplies

Hairymann's Closet (NFTech)

Howl Fabrics

JoAnn Fabrics

Mendel's

Next time, we'll compile the rest of our shopping list and price out everything else we need to make this fursuit. It may be more affordable and accessible than you think!

If you're building along at home, please use the tag #fursuitcamp24 or reply directly to this post, I would love to see what you're working on! Let's do this thing!

[kyogre-blue]

Played about 2.5 hours of Wuthering Waves tonight. I was hoping to unlock the dailies, but I only made it to Union level 4, which I think is too low, but whatever.

My impressions are fairly mixed, but given how many gachas I've now started and dropped pretty much immediately, WW is doing quite well for itself.

I have to say tho that I deeply pity it for how much it will be compared to Genshin.

For positives, I think WW has a rather solid opening section. I focused on the main story to advance the Union level faster, but it seems like you get your main tutorials out of the way fairly quickly and can go and explore from there. Given the complaints I have about being railroaded in other games, that's nice.

Additionally, I think the story is nice if unremarkable. It's paced better than Genshin early parts imo, which were ridiculously rushed, and it benefits from having multiple characters who talk to each other and have different personalities. Yangyang, Chixia and Baizhi invite the harem jokes, but they are a friend group who decide to look after this amnesiac they found. They frame it as a combination of responsibility and friendliness, which I think works. Aside from that, yes, the game certainly leans into the MC being someone super special and important, but it's treated as an actual mystery and the current driving point of the narrative. Plus, the male MC is rather cute, so I can forgive a lot.

Compared to a whole bunch of other gachas, I am actually mildly interested in seeing where this is all going.

For the neutral points, WW actually has a fairly different tone and vibe than Genshin. The colors are more muted, the music is notably less upbeat, and there is a vaguely scifi aesthetic underlying the setting. It also has a lot more... what I read as Chinese cultural influences. You do start in the China region, but there's also stuff like the goofy gourd gadgets everyone has. I have a general impression of what mythological thing is being referenced, but it really does come off as goofy. However, those details are kinda... cute? narm-charm? I guess, when you consider that it's a Chinese developer. It also just has a different flavor from the most common settings, which is always a nice change.

For the negatives, I think the game does lack a few points of polish compared to Genshin. The movement controls feel kinda floaty, the designs (especially the adult female ones) are just not as competent or appealing, the proportions on the models look a bit off at times, and there are even minor bugs, with stuff like dialogue boxes being unable to fit all the lines of text (with no log feature in the scenes themselves), the auto advance moving too quickly and cutting off voice lines and sometimes even making it impossible to read the text fast enough, some awkward visual elements, textures loading kinda poorly, etc.

All of those are very small details and I'm not going to stop because of them, but they do create a certain impression in accumulation.

Examples:

The bottom of the image was also the bottom of the screen. A line or two of the text is just invisible, and this happens quite often.

Weirdly sized and spaced apostrophes.

Bad spacing on the wishing menus.

Weirdly poor textures on this guy. This happens once in a while. There are also very obvious cases of pop in that can get quite distracting during story scenes.

For the spacing stuff, I do play in windowed mode, but like... that's an option they give you. It shouldn't be like this.

All that aside, I'm going to continue for at least a while, though I plan to take it very casually, maybe even as a non-wishing account. The exploration and story can probably be cleared even with welfares... I hope.

[petricorah]

How to do make comics??

I’m terrible at making lines between them

here's my paneling process, under the cut because it's long :)

I'm assuming you're talking about paneling? I like to layer panels, which sometimes makes things slightly more complicated, but it's really fun!

after the script, I start with thumbnailing, which is where i just draw blobs and scrawl the words to get an idea of where things will go. this is really important when i have complicated paneling because it helps visualize where i'm blocking characters out.

(i show just one thumbnail here, but for this page I sketched it out a whole bunch of different ways just to see how it would look. you can see that i have a panel of the kiss that ends up being on the next page because the paneling worked better that way. i went back and forth on where the panels should go forever on this one, and ended up splitting it onto two pages)

Then I add in speech bubbles. I do this before i draw my sketch so that i don't overestimate how much space i have to draw, especially if it's text heavy because i usually underestimate how much space the words will take up. While you can sometimes use speech bubbles to cover up something you don't want to draw, it's good to draw as much as you can in case you change the words or need to adjust where they are. This is especially pertinent if you're transferring to webtoons/tapas.

then I do the sketch, and I draw under the panel layer. By the time I've drawn everything, the last thing I do is go back and erase the parts of the panels where the the drawings spill out.

i hope i understood your question, if not feel free to ask again! i tried to keep this short but if you wanted a more in-def process i love talking about comics lol. personally, my favorite panelist is david aja, and i'm constantly looking at his stuff for ideas. in general, my favorite trick to make comics more dynamic is to just have stuff constantly spilling out of panels, and it's really fun!

some other quick things i think about when paneling:

pacing and atmosphere. Is the scene fast paced? maybe add more panels. is it slower? utilize the space between them (the gutter) or how much space is taken up inside the panel.

how do you want to lead the reader's eye? panels guide their journey through the page.

honestly this explains the basics way better than i can and this is an amazing one for paneling as well and leading the eye. aaaaaand here as well is good for how to place characters

[eluxcastar]

Sorry I just came out of nowhere, but I found you through your sequel to 'One of Reputation' and then went scavenging for more of your arlecchino scraps and I am literally so in love with the way you write Arlecchino, platonically and romantically. I feel like a mouse that found the treasure trove of cheese. Um, warning for the huge rant because I'm fangirling so hard.

'One of Reputation' and its sequel(the arlecchino x Harbinger reader) makes me so happy? I love the lore behind reader, and although I never particularly cared about Il Capitone before, I am wondering on what his and reader's relationship was like. I also love especially how much thought and effort was placed into writing reader's thoughts and emotions in 'One of Reputation.' It's very easy to visualize and sympathize with reader. And the idea of sharing the food with Arlecchino and her begrudgingly accepting it? This is so inexplicably cute. I do want to know what Arlecchino and reader are like after reader decides to follow Arlecchino.

Among the scenarios/headcannons my personal favorite are 'arlecchino relationship headcanons' (awkward and cuddly arlecchino? are you kidding me? I'm so in love),

'arlecchino bring comforted by her s/o' (the idea of affection being so foreign to arlecchino and she doubts her reality sometimes hurts me in such delicious ways I cannot explain, and just how effortlessly reader is like 'yeah, and?' when Arlecchino asks if shes enough makes me want to combust in joy),

and 'the little sisterfication of arlecchino' (I love reader's protectiveness of arlecchino so much. It's incredibly sweet. It cannot stop me from thinking, what if reader is no longer there anymore? If reader dies on a mission she's sent for the Knave or she gets punished for protecting arlecchino, what will that do to arlecchino? I imagine that it would be the breaking point for arlecchino, and the catalyst to her overthrowing the Knave).

Anyways, I really like your Arlecchino works as a fellow Arlecchino simp. Looking forward to more 🧎‍♀️🧎‍♀️🧎‍♀️Your work is hella scrumptious 😫🤤

NO don't be sorry I love asks like this they make me explode (good thing) thank you I'm glad you enjoy her ♡( ◡‿◡ )

I had sm fun plotting lore for One of Repetition (⁀ᗢ⁀) and their relationship. At the time, I wrote Capitano in in such a manner because I liked the idea of her bringing back an abyss creature like a stray dog and going "Mom look what I found can we keep it" and because I wrote it before Arlecchino was introduced and I didn't know where else to fit reader in (￣▽￣*)ゞ (admittedly, the turn of events of Capitano likely being the First Harbinger fits my plans much better than Fourth, though I had an explanation for the alternative as well)

When I get around to making it into a proper fic (which I am actually doing, at last), I plan to expand on their relationship (and her friendship with Columbina if you can call it that (。。 ) )because very likely he'll be important and it'll be necessary to understand why he's so attached to her in that case. It was also going to be something I threw into the prequel oneshot I threw together, but I only ended up throwing in tidbits (￣ヘ￣)

I love love love Arlecchino combined with being awkward and cuddly and her being lowkey unsure of herself because I just MELT at how much it draws back to living under the previous Knave in the orphanage and her being much crueller to the children (⁄ ⁄>⁄ ▽ ⁄<⁄ ⁄) She would have known love once, if that, through her parents and I explode at how cute it is to be overwhelmed by this new thing she loves so much

THE VISION FOR OLDER SIBLINGS READER ⸜(*ˊᗜˋ*)⸝ I had that thought in the middle of writing it, but I was like "this is sad enough, I don't need to kill reader off too (・_・;)ゞ" and let them live but not without keeping the part where the Knave kills them and is killed by Arle in retaliation in my drafts (possibly an idea to be used in One of Repetition)

I'm sorry that is a whole ass ramble of a response of random information (/▿＼ ) I get very excited to get to ramble about it thank you for reading and enjoying my works

[eldritch-elrics]

i think the problem with video game remakes is that, whether or not they're actually trying to, many of them will end up feeling like they're meant to be a replacement for the original game, as the OG will be on an older and therefore less accessible console. which sucks! ideally, remakes should always be taken as an interpretation of or response to the OG, rather than the experience...

thinking about adaptations in general gives us some interesting questions to use to talk about remakes.

like, you might ask... how important is fidelity to the original?

i think that's something that becomes very important if the original is not made accessible on modern consoles. the ideal situation is that a fan is able to tell a curious non-fan, "yeah, don't bother going to all the trouble of playing the OG, you're fine just playing whatever is easier to get."

on the other hand, a remake that goes in new directions is one that i'd be more interested in if i were a fan of the OG! remakes are in theory a super interesting way to critically/artistically respond to the OG - you can apply many more years of collective game design knowledge, but also try out new spins on the story, aesthetics, etc etc. that's really cool!

another problem remakes have, though - which adaptations in general do not always - is that, as far as i'm aware, they're such a big commitment artistically/legally that there can only really be One. with something like literature, especially older/public domain literature (but sometimes newer stuff, like in the case of percy jackson), oftentimes there will be multiple visual adaptations to pick from, so to speak. so, if you're making, say, a movie based on hamlet, it doesn't have the pressure of being the movie version of hamlet. but if there's this feeling that there can only be one... i'd imagine it leads developers to choose whether they want to sacrifice more fidelity or more creativity, neither of which is a perfect answer.

i'll end this by talking about what might be (one of) the worst case scenarios to me, which is where a remake is almost entirely faithful... but has one new major element, and that major element is just not as good. this is the case with shadow of the colossus (2018), which plays almost identically to sotc (2005) to the point where i would probably say it's not worth playing the remake if you've already played the og. they're even both smooth and polished-feeling! the one major change (apart from the new secrets, which i will admit are cool!) is the artstyle, which has gone from "eerie, overly-bright, melancholy, empty landscape" to "indistinguishable from any other recent AAA game." that's so sad! imagine that the only version of the game you can access is the one that's mostly the same, but a little bit worse! (well... maybe it's better if you really like your landscapes highly detailed..... but idk, i don't think that vibe works for sotc at all.)

i guess... i don't think it's super helpful to talk about whether or not a game remake "justifies its existence," but if you can look at a remake and go "if the OG was as readily available to me, would i be interested in this at all," and the answer is no, then something's probably gone wrong

[nightwatch-ithaqua]

i dont mind much, i get it anyways. i was too busy drawing to check this and then thinking of how to respond also takes a while so its not much of a problem if i have to wait sometimes ...

i like visually separating from nathaniel less because i dislike him so much and more just because.. i like having my own unique style. i dont mind looking as similar as we do, but i prefer to still have defining traits so we dont get mixed up constantly.. at that point id be no better than his shadow.

its really funny now having like, a ton of Proper brothers after the fucked up one. ..too many brothers, in fact. at least according to bede.. who is also one of my brothers лол. i kind of just.. collect them on accident, im very Little Brothjer Swag or someyhing like that. i only have like, 2 younger brothers, (one of them also being.. one of my older brothers), which normally isnt even really possible with me because i tend to get freaked out if im not the Most Little Brotherly around. didnt know that was even a thing, much less a competition, but it is apparently because my brain says so.

its even worse because i kind of just call all of them "my brother" with no sort of context or added name to specify which one im actually talking about lmao.. a bit confusing at times, but i find it funny nonetheless. i think ive been getting better about it lately because helel or andrew tend to ask which one when i mention a brother, so theyve been reminding me to be specific about it pretty well..

sorry if it seems like i change the topic too much or anything like that. if i cant think of a way to respond to something and continue that part of the conversation i kind of just ignore it and go on to the next thing i want to talk about instead. i find it more convenient, especially in cases like this where the goal isnt bonding, so needless small talk without getting anywhere important just seems unnecessary to me.. but i understand if its a bit annoying to deal with anyways.

🪷

Our ADHD allows us to switch between topics with ease. Because of how the mind is wired.

No the only annoyance is having to read such a large ask 5 times because we stop processing it midway through and also dyslexia. We meant to ask you to tone that down a bit the last time but they're still decent asks

- ☁️

[jeremy-ken-anderson]

Scale of Agency

The scripting community on Idle Champions has provided me with a weird quandary about The Gaming Experience.

Scripting in this case is quite similar to modding, except generally it's not reaching into the code of the base game but simply acting around it.

For instance, where one might mod Skyrim to include a model of Thomas the Tank Engine instead of a dragon, scripters in IC have a script that looks for green buttons and clicks them, essentially playing part of the game for the player.

What's interesting to me is how scripting and modding relates to fanfic.

Like, it's a place where you're taking someone else's work and then not simply creating your own separate work but rather taking greater responsibility for your own enjoyment of it. Introducing features you consider important to QoL (in the case of Bethesda titles this has sometimes been, like, graphics card compatibility), or riffing on the base idea without really departing from it, can be a lot less work than doing all that AND having to congeal a new universe out of the ether and describe it to a player/reader. There have been a lot of roguelike card games since Slay the Spire, but there have also been a LOT of Slay the Spire mods introducing new characters and game mechanics.

In gaming it feels like the layers are something like

Playing as you think the devs intended

Fooling around in the game

Using mods/scripts to mess with the game experience

WRITING mods/scripts to mess with the game experience

Developing your own game

I don't think either end of this spectrum is more Noble. I know of some player puritans who think scripters ruin the game experience of Idle Champions, which I feel I should mention is a purely solo experience outside of a single element (and that element doesn't give OP characters a chance to ruin other players' fun; only to make the game mildly easier for them and give them better rewards), and on the opposite end I know of people who think fanfic writers are just writers who can't really write. Both of these ideas are pretty self-evidently idiotic, but people fall for more watered-down versions of them all the time.

I think the reason they can be so enticing is their adjacency to other ideas we already buy into. It's certainly possible for a scripter or modder to ruin the game experience...for himself. And there have been high-profile cases where the developers' adjustments to accommodate mods have created problems, such as how WoW's gotten more and more lazy about in-game indicators over the years even as they've continued making more and more complex mechanics, to the point where some of their diegetic visual language is now garbage.

But the idea of "canon" as greater than or even different from "fanon" only functions in a social context. Within a single reader's head (or a single player's computer) they're not different. They're artistic works crafted by a creator. They may be well-made or poorly-made. The problems with them usually aren't from their provenance as "canon" or "fanon." Outrageously good writers are just as likely as other fans to get an idea in their head that won't leave them alone until they post it to AO3 (or Year's Best Sci-Fi & Fantasy Anthology, if they're more professional - lookin' at you, A Study in Emerald). Bad game developers release Official, Original garbageware games onto the Steam store all the time.

The only important bit is having a shared understanding of which shape of the story you're talking about, for when you're talking about it. If we start arguing about the social dynamics of characters in Ranma 1/2 and you slowly come to realize I've been spending the argument talking about a version where Kuno runs a coffee shop and Ranma and Nabiki have 3 kids, then you'd be justified in telling me I wasn't "really" talking about Ranma 1/2. I was talking about Kuno Black or whatever the fic is titled. Concepts of "canon" or "original authorship" aren't important to questions of "is it good," but they do matter to "what is being discussed right now."

[estellamiraiauthor]

The Stars May Rise and Fall: The Annotated Re-read (Chapter 13)

Yet again, a long gap between chapters, but I think this one will be fairly short before we get into the hell of 14 and 15 (which I don’t hate in their current form, but it’s a little painful to remember the writing of). 13 picks up where 12 left off, in part 2 of the longest night of just about any of these characters’ lives…

Spoilers under the cut, including spoilers for chapters beyond this one!

So, there are a couple of things in the beginning of the chapter that I really like, and that say something really important about Rei, I think. They go into the restaurant and are shown to a table that’s in a pretty heavy traffic section. Up to this point, Teru has seen Rei largely seek to avoid going out in public or being seen by anyone he doesn’t trust, so he asks Rei if he’s OK with being in the middle of all these people, and Rei says:

“Being stared at, you mean?” “I don’t mind if people stare at my hair or makeup any more than you do.” … “I choose to look like this. I don’t mind being stared at for something I can control.”

This was one of the very, very first sort of concepts for the character I had. It can be a little bit difficult sometimes to really “sell” the concept of a modern-day Phantom in a retelling or a fanfic. Yes, you want him to wear a mask and hide from the world because it’s a Phantom retelling, but if it’s not done right (at least for me as a reader), it can feel like a bizarre and maybe even unsympathetic reaction in a world where people tend to at least PRETEND to accept physical differences. I think the visual kei setting works in a way that some modern settings don’t, because people DO dress extravagantly and do wear masks and wigs and eyepatches and whatever else, usually probably for fashion and not for necessity, but you might never know if that WASN’T the case?

This was also kind of a personal thing for me. Back when I was into the scene, I liked getting on the train in full goth getup with black and white vampire makeup… people would stare at me if I dressed that way or not. But if I was dressed up, at least I could tell myself that it was because of my clothes or makeup. That probably wasn’t always TRUE, but I could TELL myself that, and I think being able to tell himself that is important to Rei, as well.

Then we have maybe some more subtle characterisation that was obvious to me but maybe I could’ve explained better. This restaurant has those disposable chopsticks that come joined together and you have to break down the middle, and Rei has a hard time breaking them. Teru wonders if he should offer to help, but since Rei tends to not respond well to offers of help, he decides against it, and think this little non-interaction says a couple of things about both of them.

First, a couple of early readers commented on the pretty stark difference in Rei’s ability to do things like type, Photoshop, and play the piano (which he does pretty well) vs. things like using chopsticks and writing by hand (which…not so well). Now, this does NOT come from personal experience or professional expertise… I did what research I could and based some of it on the experiences of people I know, but I definitely could’ve missed the mark. It was at least based on some kind of logic, though… typing and playing the piano are both two-handed skills to begin with, so it’s less of a “learning to do something all over again” situation and more of a “learning to do twice as much with a hand you were already using to do the thing” situation. ALSO, these are both things that Rei cares deeply about being able to do well, and basically NEEDS to do in order to earn a living writing and selling music, so it makes sense to me that he would’ve adapted fairly quickly, just by doing what he would’ve been doing anyway. On the other hand, I don’t think he really eats in front of people much. Even if he became proficient in using chopsticks with his left hand, his face is also damaged and he wouldn’t be able to eat “normally” enough to satisfy him. Until he meets Teru, I don’t think he’d have any real DESIRE to share a meal with anyone… food would just be for sustenance, so rather than attempt to do something and not be able to do it well, I think he just eats things that can be eaten by hand or with a fork, and does it when no one else is around. Same with writing… most things can be typed, and in Japan it’s much more common to stamp documents with a seal rather than signing them, so I think he just chooses to type instead, because the finished product there is going to look “normal”, where it won’t if he writes by hand. He absolutely would’ve been required to practice both of those skills in rehab, but after that I think he simply chose to accommodate in other ways rather than continuing to improve on his own.

ANYWAY, eventually Rei manages to get around to the “important things” he wanted to tell Teru when he asked him out in the first place… namely, the confession that his feelings for Teru are more than professional and that the kiss may not have been an “accident”. Their conversation here is a little cryptic… Teru says up front that he’s never really admitted his feelings to a man before, and Rei says that he hasn’t said anything like that “in years”, alluding of course to Saki, who died five years ago, but Teru doesn’t know about that yet. Rei also says that he doesn’t deserve Teru, that he’s not a good person… referring to his guilt over the part he played in Saki’s death, but he’s still telling himself at this point that he doesn’t need to address that right now (which will turn out not to be true; he DOES need to get that out in the open before he can really allow himself to be fully with Teru but OH these boys really like lying to themselves, don’t they?).

Teru offers to pay for half of the meal, even though he just spent the last of his “emergency fund” on dinner with Kiyomi. It’s not specifically stated here, but that last bit of money he has is DEFINITELY supposed to go toward rent and bills… Guess Rei isn’t the only proud one here? But Rei’s not going to let him pay, and sort of brushes the issue aside with “Well, I got a good insurance payout.”

Now, that’s not really 100% true. Assuming the other driver (who would’ve been legally at fault) had a fairly typical insurance plan here, Rei would definitely never have to pay any medical bills associated with injuries resulting from the accident, and (regardless of other income, unlike in the US) would get about $700 a month in government disability benefits. Since he inherited the apartment, once any inheritance taxes were paid he wouldn’t have any rent or mortgage payments, but all of that still doesn’t add up to “rich”. Teru and the reader don’t know about his other sources of income right now, but I don’t really think he’s trying to hide them or anything here… it’s definitely over-simplified, but I really think he just wants to say, “I have more money than I need and I know you don’t, so don’t feel guilty about letting me do this for you.”

Teru finally admits to himself that he IS attracted to Rei, but that it’s too soon for words like “love”, and suggests again that they take a taxi to the love hotel… Rei refuses, saying “You spent a year of your live learning to walk… and I spent two.” which… is certainly a Dramatic Line, but doesn’t make a GREAT deal of logical sense. Just because a person IS physically capable of walking doesn’t mean they should walk everywhere even when doing so causes them pain… but it’s Warped Rei Logic again… there are already enough things he’s lost, so he’s holding on desperately to any “normal” he’s managed to regain.

Poor Rei. Normal is so boring. Maybe someday I’ll write that sequel where everyone has finally embraced that. (I think he’s at least sort of come to terms with it at the end of this one though?)

[mydnsdubai]

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