#this was actually going to be a progression comic (sort of)

[dr-spectre]

I think that it's now more important than ever to keep making art.

Whether it's some scribbles on a piece of a paper, paint on a canvas, typing out erotic fanfiction about two cephalopod women, i need you to keep going. OKAY?!

Keep going at your own pace. Don't feel like you have to "grind" to achieve success, you're probably young as hell, you don't need to become a masculine obsessed fucking nutjob that is so obsessed with "discipline" and all this bullshit. Sure "discipline" is cool but... That shit takes a LONG TIME to develop and it only comes with experimentation and see what you believe in and what you enjoy. Don't get.... heh...... heh heh..... BRAINWASHED!!! by women hating bald bastards online who wanna turn you into a fun hating robot that's all about "work work work." Fuck them.

You are a human with flesh, blood, bones, a heart and a brain. You are not a machine. Got it?

Anyways, in talks of art, i wanna give my own sort of help for my writer friends out there! I thought it would be fun and plus, there's too many damn writing tips out there that boil down to "you HAVE to do this thing, you HAVE to follow this structure" and i think that is bullshit. Complete and utter bullshit that gives you more stress than needed. You know how many boring mid action movies come out that follow the hero's journey? The three act structure? The story circle? It is better to just make shit and learn what you could do for next time.

There are no rules, all of the "rules of storytelling" are just optional suggestions that you can either take or leave. Plus it seems like every fucking YouTuber has a different set of rules that conflict with each other anyways. However, I wanna share my own sort of "basic ass fundamentals of stories" that can fit into any story structure you want! I got these guidelines from the YouTube channel The Closer Look. I like their content, it's very insightful.

Here's Dr. Spectre's basic ass fundamentals for stories.

Characters. Simple, a story must have characters otherwise you are making something else that is not a story.

Progression. Is there a sense of progression? Does it feel like for every second of story it isn't stagnating or getting dull and boring? Does it feel like shit is happening and growing? If it feels boring to read for you, then it's gonna be boring for another person reading it. Progression could be plot based or character based and them growing as the story goes on. Doesn't matter which one, can be both or one. Good stories never feel like they are staying the same or spinning their wheels.

Delivery (Aka. Setup and payoff). Do you deliver on the promises in the story? And do you deliver them in a way where the audience after they finishing reading or watching, they felt like it was all worthwhile and they didn't waste time consuming your story.

Everything else? IT'S OPTIONAL!!! COMPLETLY OPTIONAL! YOU KNOW HOW MANY STORIES BREAK THE "RULES"?! Do not become reliant and dependent on these "rules" because it'll slow your development and discourage experimentation. Not every story is gonna fucking follow the Save The Cat format.

There is also the talk of theme and i will say this.

Theme is not "this story is about sex, drugs, greed." No. Theme is a message or argument, it is not a word, it is something you are trying to say via a story. People don't have to agree with the theme, but it must make people think about it. If your story is about sex, what is it trying to say about sex? That sex is a scary thing and that it's okay to feel scared and worried about your first time? What are you trying to say about greed? Etc. Etc.

I read through a Sonic comic recently that everyone loves called Scrapnik Island and guess what? I fucking love that comic too.

Scrapnik Island isn't truly about Sonic and Tails getting stuck on an island and Mecha Sonic is there and he becomes evil and does all this stuff. No, what it's ACTUALLY about is that your worth as a person isn't determined by successes and failures, Mecha Sonic feels like he is worthless and is a failure because he not only failed to kill Sonic, but also failed to help his friends on Scrapnik Island. However, Sonic snaps him out of that bullshit mindset and it's truly, truly wonderful stuff.

Splatoon 2: Octo Expansion isn't truly about Agent 8 being trapped in a facility and defeating an evil ai. It talks about racism and what does it talk about specifically? That it doesn't matter what someone looks like, as long as they are a good person that's all that matters. That life is varied and beautiful and it's worth protecting from those who wish to destroy it.

There's a reason why Agent 8 takes the time to soak in the fresh air and sunlight near the end of Octo Expansion, why Eight has memcakes to collect and we see their thoughts and wishes. it's there to explore that theme, that idea of what the story is truly about.

Splatoon as a franchise is about how wonderful creativity itself is, that art and life are connected and grow together and are important and deserved to be protected. Commander Tartar, Mr. Grizz and Overlorder are all opposed to that idea and that's why they are the antagonists. DJ Octavio less so because he is trying to save his own culture and art, even as to go far as manipulating a mentally ill Callie who was already growing distain and tiredness from her own culture, so it just so happens that these two chaotic forces share the same ideology.

Now, I wanna say, do you NEED a theme to make a story? No. BUT! If you don't have something to say and that connective tissue, then it's gonna weaken everything else and the action, plot and characters have to be fucking top notch. The "Rule of Cool" only works when... you know.... it's cool? And well done?

Anyways, I've rambled long enough. Please keep making art, please? Especially now considering what has happened. I need you to hold onto hope, hold onto creativity and fun. You must. You have to...

Be good people.

[ratwithhands]

I had an idea a while ago of Emmet getting white hairs from stress after Ingo disappears, so here's the sketches that came out of that. Little man so tired he looks like he got bleached. Also long hair just because :)

anyways have a good day and see you later ^^

[hana-no-seiiki]

Good news. Did some decent progress on What’s Up Danger so you guys will finally get fed this Wednesday! Bad news, the quality might not be the best since I’m fasting while writing it oTL

Anyways, here are some Batfam w/ Cat Villain! Reader moments/snippets.

TW YANDERE AND MENTION OF NONCON/SOMNO

Both Jason and Reader’s first words to each other were, “What the fuck.”

Reader referring to Jason being a giant, and violent asf esp in comparison to Dick. While Jason was confused at his heart beating so fast and mildly crushing on you while you were fighting.

Bonus points: You guys did the spiderman point meme.

You have the biggest age gap with Dick. I headcannon the boys to be close in age so there wouldn’t be any not so good implications when it comes to relationships, but it’s almost unavoidable unless Batman switches sidekicks every year or so. (You are younger than Jason but older than Tim)

But that is also another reason why you two didn’t click as well as you did with Jason

You’d often make jokes or use slang and Dick would just be “???” He tried his best though.

On the reverse side of things, and like I mention before Tim and you got along too well as friends. He’s one of the few people you could gush to about literally any fandom and he somehow (through stalking your searches and literally every gadget/appliance you owned) knew everything about it already.

You two have written several theses on fellow vigilantes and villains (mostly ‘dumb’ ones like who has the best cake based on so and so criteria)

Damian is the best when it comes to bantering with you mid-fight. It’s the combined years of sass and assassin training. Went from plain insults to whole ass (not so) subtly being horny when you beat each other down.

He’s also the worst (best?) when it comes to your nicknames. He insists that you two use it on each other. Some exclusive while others he’s usually fine hearing from other mouths.

There was one point in time where you were called Kitten while the boys forced/bribed you to call them Daddy

Tim and Jason have tattoos of you/related to you.

For Jason it’s your name with a few paw prints, and for Tim it’s when he first fought you (and got his ass whooped)

After Jason came back and revealed himself to you, he tattooed the scratch marks you left him on his back after doing the deed.

Damian secretly practices doing henna so he can draw on you during your “wedding” since he doesn’t want anyone touching you. Sort of defeats the purpose, but go off king.

Being the thorough guy he is, he uses lab equipment to make his own blends.

Bruce? Bruce hates your ass. Sometimes it’s in a hatefuckey way but most of the time he blames you for corrupting his kids.

So he corrupted you in turn.

I feel like he gets off to cucking them honestly (blame that one comic) but if Reader is AFAB I wouldn’t be surprised if he impregnated them.

He’s a softie at heart when it comes to you though, courtesy of your similarities with Selina.

Speaking of, Talia adores you.

Like if there was anyone she would want with her son it was you.

She thinks the fact that you haven’t been put behind bars is a testament to your skill, and after getting over your similarity to her “rival in love” she would actively get you to be with her son.

Eventually she realizes she loves you more than Bruce and well, that’s a story for another fic.

You have at least a dozen trackers on you at all times.

Most of them you’ve ingested and pooped out.

It’s mostly Tim of course. But the duty of actually feeding you that stuff usually goes to Dick.

Dick has uh- somnophillia’ed you a fair bit after the break up.

He really, and I mean really likes to watch you sleep.

It reminds him of those ‘catnaps’ you’d take while watching over the Titans.

There would be times where he’d just be in a daze/in autopilot for hours reminiscing about your past together

His favorite memories to go back to were your first fight together, first kiss, and times under the sheets, and a date you guys had before in a festival/circus.

He never takes the antidote for Poison Ivy’s sex pollen and always comes to you for it, regardless of his or your relationship status.

Tim has at least a million typewritten chats with AI you, and around a few hundred hours of voice chats.

You did eventually take his virginity.

He came as soon as he was inside you/you were inside him.

You have been offered to be a part of the bat crew or a vigilante. But,

you massacred many after Jason’s supposed death and feel too guilty to call yourself anything other than a villain.

Chokers with bells. It’s a popular gift to give you. Especially ones that are custom made with expensive ass materials and engraving.

Sometimes Tim just gives you weapons.

Alfred is your best source of blackmail material.

You’ve actively tried cursing him (with immortality). You love the man.

He’s secretly the president of your official fanclub/fansite but you didn’t hear that from me.

You fight a lot with Damian’s pets. Like in a way that you turn into a literal cat and hiss at them.

And last but not least, you’re vv close with every member of the Teen Titans (besties with Rachel and Garfield)

NOT PROOFREAD!!!

@sophiethewitch1

[anim-ttrpgs]

Disabilities and Monsters in Eureka: Investigative Urban Fantasy

Through a discussion with @vixensdungeon (great blog to follow for TTRPG stuff by the way) it came to our attention that some of our more jokey and memey posts and reblogs may have given some people a slightly skewed idea of what Eureka, and particularly the “urban fantasy” parts of Eureka are really about, and its tone. We like to joke around about it, and the “cute monster girl” angle really sells on tumblr.com, but actually playing these types of characters in Eureka is not exactly a power fantasy. They eat people, and often eat them alive. If you find that cute, funny, and/or sexy, well, Eureka is still probably just the game you’re looking for, but that isn’t the main thing. Eureka uses the fact that many of these characters necessarily subsist off the flesh and/or blood of other people as a loose metaphor for mental and physical disability.

Imagine you need something that everyone else has but you don’t. If you don’t have it regularly, you will literally start to waste away. The only way to obtain this thing is to take it from another human being, who also needs it, and others will deny that you need it, and abhor that you need it. It’s not uncommon for people, even “progressive” people, to say something along the lines of “they need to all be killed for the good of society,” even if they don’t realize that’s what they’re saying. You didn’t choose to be this way. This is the reality of monsters in Eureka, and many people in real life.

And then even when you have that thing you need, for now, there are many facets of society that you just can’t participate in because your condition makes them impossible for you, like if a vampire wanted to take a run on a sunny beach. Monsters in Eureka will be challenged by their supernatural weaknesses at every turn, while hiding their abhorrent needs from society and even the rest of the party, and asking why they have to be this way. Finding clever ways to get around and circumvent their weaknesses is a core part of the gameplay of monster PCs in Eureka. Imagine you and your friends want or need to go somewhere, but that somewhere is on the other side of a river. The river has a well maintained bridge. For everyone else but you, a vampire who can’t cross running water, getting across the river is the simplest task in the world, so much so that no one would even consider it a task, but for you, it’s a challenge, and for gameplay, it’s a puzzle.

It isn’t totally hopeless, as many of the jokes and fan comics show (those aren’t just memes, they’re only showing one side of the coin and not the other). Monsters who accept, or even embrace and celebrate their monsterhood, can and do exist canonically, alongside monsters who can’t bear to do what they do. In some cases, these may be the same monster on different days.

I’m going to conclude this post by posting two excerpts from the rules text itself.

Disabilities are Disabling

So why don’t disabilities grant any advantage? It isn’t too uncommon for RPGs to have some sort of “flaw” system, where during character creation you can give your character “flaws” or some kind of penalty, and usually get that balanced out by being able to add extra bonuses elsewhere. Sometimes, these “flaws” may take the form of disabilities.

One particular high-profile indie TTRPG takes this beyond just character creation, and makes it so that if a PC receives a “scar” in combat that reduces their physical stats, their mental stats automatically go up by an equivalent amount, and proudly imply that to make any mechanic which results in permanent consequences or makes disabilities disabling is ableist. We think you can probably tell what we think of that from this sentence alone, and we don’t need to elaborate too much. 

We do think, in the abstract, “flaw” systems in character creation are not a bad idea. They allow for more varied options during character creation, while preserving game balance between the PCs.

But in real life, people aren’t balanced. The events that left me injured and disabled didn’t make me smarter or better in any way - if anything, they probably made me dumber, considering the severity of the concussion! Some things happened to me, and now I’m worse. There’s no upside, I just have to keep going, trying harder with a less efficient body, and relying more on others in situations where I am no longer capable of perfect self-sufficiency.

A disabled person is, by definition, less able to perform important daily tasks than the average person. To deny this is to deny that they need help, and to deny that they need help is to enable a refusal to help. This is the perspective from which Eureka’s Grievous Wounds mechanic was written.

When a character is reduced to 1 HP (which by design can result from a single hit from many weapons) they may become incapacitated or they may take a Grievous Wound, which is a permanent injury with no stat benefits. Grievous Wounds don’t have to result from combat, they can also be given to a character during character creation, but not as a trade-off for an extra bonus.

“But then doesn’t my character just have worse stats than the rest of the party?” Yes, haven’t you been reading this? There is no benefit, except for the opportunity to play a disabled character in an TTRPG. This character will probably have to be more reliant on the rest of the party to get by in various situations. Is that a bad thing?

Monsters Essay

All investigators in Eureka: Investigative Urban Fantasy are regular people. They can also be a monster, like a blood-sucking vampire or a broom-riding witch. Importantly, this works because despite their unique nature, monsters are still regular people. You can read more about this in Chapter 8, but the setting of Eureka does not have a conspiracy or “masquerade” hiding supernatural people from normal society. Though they are still largely unknown to modern science, they exist within normal society - and a lot of them eat people.

The default assumption in RPGs has been that monsters are just evil by nature, doing evil for evil’s sake. RPGs that seek to subvert this expectation often instead make monsters misunderstood and wrongfully persecuted, but harmless. Eureka takes a wholly different approach.

There are five playable types of monsters in the rulebook right now, and it’ll be seven if we hit all the stretch goals, but for simplicity’s sake this discussion of themes will just focus on the vampire. Despite them applying in different ways, the same overall themes apply to nearly every monster, so if you get the themes for the vampire, you’ll get the gist of what Eureka is doing with its playable monsters in general.

Mundane investigators have to keep themselves going by eating food and sleeping (see p.XX “Composure” for more information). Well, vampires can’t operate the same way. They don’t sleep, and normal food might be tasty for them as long as it isn’t too heavily seasoned, but it doesn’t do anything for them nutritionally. Their main way to keep themselves functioning is fresh living human blood, straight from the source. To do what mundane PCs do normally by just eating and sleeping, vampires have to take from another, whether either of them are happy with this arrangement or not. They do not, of course, literally have to, and a player is not forced to make their vampire PC drink blood, just like you reading this in real life don’t literally have to eat food. You do eat food if you want to live in any degree of comfort or happiness, and vampires do drink blood or they eventually become unable to effectively do anything.

This is numerically, mechanically incentivized and not simply a rule that says something like “this character is a vampire and therefore they must drink blood once every session,” to demonstrate that the circumstances a person faces drive their behavior. In America, there is a tendency to think of criminality and harm done to others as resulting from intrinsic evil, but people do not just wake up one day and decide “I think I’ll go down the criminal life path.” Their circumstances have barred them from the opportunities that would have given them other options. 

People need food; food costs money; money requires work; work requires getting hired; but getting hired requires a nearby job opening, an education, an impressive resume, nice clothes, charisma, consistent transportation, and so on. For people without other options, crime becomes the only method left to meet their basic needs. Would you rather take what you need from other people, or go without what you need? There are people who don’t have the luxury of a third option. Failure to meet the needs of even a small number of people in a society has high potential to harm the entire society, not just those individuals whose needs are unmet.

As their basic need for blood becomes more and more difficult to ignore, a vampire is going to encounter much the same dilemma. There is really no “legal” or “harmless” way for them to get their needs met, even if they do have resources. Society just isn’t set up for that. And no, your kink is not the solution to this, trying to suggest every vampire just find willing participants who are turned on by vampires or being bitten is suggesting sex work. It’s one step removed from telling a girl she should just get an OnlyFans the minute she turns 18, or that women should just marry a rich man and be a housewife that gets their needs taken care of in exchange for sex and housekeeping. Being forced into such a dynamic isn’t ethical or harmless for the vampire or for their “clients.”

“Oh well, then the vampire should just eat bad people!” You mean those same bad people we just described above? Who gets to decide which people are “bad people?” Who gets to decide that the punishment is assault or death?

Playable monsters in Eureka are dangerous, harmful people. They were set up to be.

Society not being set up in a way that allows monsters to make ethical choices brings us to the next theme: monstrousness as disability, and monsters as “takers.”

Vampires have to take from others a valuable resource that everyone needs to live, and the extraction of which is excruciatingly painful and debilitating. No one knows what happens to blood after a vampire drinks it, it’s just gone. Vampires are open wounds through which blood pours out of the universe.

This is a special need, something they have to take but cannot give back. Their special needs make them literally a drain on society and the people around them. In the modern world, there is a tendency to feel that people must justify their right to life, that they must pay for the privilege of existing in society. This leads people to consider “takers” (people who take much more than they give back, such as disabled people) as something that needs to be pruned away for the betterment of everyone else. Even many so-called “progressives,” while they claim not to agree with pruning “useless eaters,” still hold the unexamined belief that people must justify their existence. To reconcile these two incompatible ideas, they instead simply deny that disabled people take more resources than most people, and are capable of giving back less. This sentiment is perfectly illustrated by the aforementioned game’s insistence that disabilities are never a net reduction of a character’s stats.

Vampires and other playable monsters are inarguably “takers,” but in positioning them as protagonists right alongside mundane protagonists, Eureka puts you in their shoes, and forces you to acknowledge their inner lives and reckon with their circumstances. You have to acknowledge two things: first, that they are dangerous, that they are harmful, that they take more than they give - and second, that they are people. Because they are people, Eureka asserts that they have inherent value, a right to exist, and a right to do what they need to do to exist. (We also acknowledge that their potential victims have a right to do what they need to do to exist and defend themselves, but that is a separate discussion.)

One final point to touch on is mental illness. Mental illness is a disability, one pretty comparable to physical disability in a lot of ways, so all of the above points can apply to this metaphor as well, but there are a few unique comparisons to make here.

It’s not the most efficient, but there are a couple of loopholes deliberately left in the rules that allow vampires to sometimes sporadically restore Composure (and thus their ability to function) without drinking blood. Eureka! moments and Comfort checks from fellow investigators can restore Composure.

When writing the rules, we came to a dilemma where we weren’t sure if it was thematically appropriate for monsters to be able to regain Composure in these ways (since it could lessen their reliance on causing harm), but ultimately we decided that yes, they can.

People with mental illnesses may have the potential to be harmful and dangerous, but all the information we have access to has shown that mentally ill people with robust support structures and control over their own lives are much less likely to enact harm, whether through physical violence, relational violence, or violence against the self. This is why we kept that rule in for playable monsters. Being able to accomplish their goals, and having friends who are there for them, makes that person less likely to cause unnecessary harm.

Vampires are especially great for demonstrating this because they’re immortal and they always come back when “killed.” They can’t be exterminated, they aren’t going away, there will always be problem people in society, no matter how utopian or “progressive.” Vampires are a never-ending curse, who will always be a problem whether they like it or not. The question is how you will grapple with their inevitable presence in society and how you will treat them, not how you will get rid of them.

Eureka is as much a study of the characters themselves as it is the mystery being solved by the characters. It is a game about harsh realities, but it is ultimately compassionate. It argues through its own gameplay that yes, people do have circumstances which drive their behavior, people do have special needs that are beyond their ability to reciprocate, many of those people do cause harm or inconvenience to others, and all of them are still valuable. 

Elegantly designed and thoroughly playtested, Eureka represents the culmination of three years of near-daily work from our team, as well as a lot of our own money. If you’re just now reading this and learning about Eureka for the first time, you missed the crowdfunding window unfortunately, but you can still check out the public beta on itch.io to learn more about what Eureka: Investigative Urban Fantasy actually is, as that is where we have all the fancy art assets, the animated trailer, links to video reviews by podcasts and youtubers, etc.!

You can also follow updates on our Kickstarter page where we post regular updates on the status of our progress finishing the game and getting it ready for final release.

Beta Copies through the Patreon

If you want more, you can download regularly updated playable beta versions of Eureka: Investigative Urban Fantasy earlier, plus extra content such as adventure modules by subscribing to our Patreon at the $5 tier or higher. Subscribing to our patreon also grants you access to our patreon discord server where you can talk to us directly and offer valuable feedback on our progress and projects.

The A.N.I.M. TTRPG Book Club

If you would like to meet the A.N.I.M. team and even have a chance to play Eureka with us, you can join the A.N.I.M. TTRPG Book Club discord server. It’s also just a great place to talk and discuss TTRPGs, so there is no schedule obligation, but the main purpose of it is to nominate, vote on, then read, discuss, and play different indie TTRPGs. We put playgroups together based on scheduling compatibility, so it’s all extremely flexible. This is a free discord server, separate from our patreon exclusive one. https://discord.gg/7jdP8FBPes

Other Stuff

We also have a ko-fi and merchandise if you just wanna give us more money for any reason.

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

[velnna]

What are the races in your under garden comic? And how did you come up with them?

Oh oh oh juicy question

We're still exploring what "races" we have, how mixed they can get, etc etc, but I love yapping about this so I'll give a bit of a TL:DR

The Under Garden started off with me and my cowriter having a couple of DnD characters we got very attached to and didn't want to dispose, so the "basis" for their races was attached to DnD somewhat - namely drow and tiefling

HOWEVER when we decided to make it its own world we basically broke off with that and decided to, for starters, have a basic "elf" like race for humanoids. The range is basically any vaguely human creature with pointy ears, and then other physical attributes might determine where they're from but wouldn't exactly count as a whole separate thing.

When we worked out some of the large scale history of the world, we decided as well that the people we first interact with, with skin in shades of purple/blue and hair in shades of silver, would have been dominant at some point, then driven to seclusion in small pockets of the world. Meaning that if someone were to look vaguely.. "drowish" I suppose, they'd be linked to this ancient powerful people and the few places they're known to still exist in. They've got the longest lifespan (~250 years) and are also more intertwined with the high level magic system in this world.

For example:

From here we sort of made room for types of elf we haven't pinned down yet, and will probably parallel anything from bluer "sea" elves to stockier more dwarf-like people, and for all intended purposes even if someone just looks like a human they're a flavour of elf. For example:

And again, the further you go from the silver hair - purpleish skin combo the less connection you have to the OG magic dwellers. There's more nuance to the magic system but that's the gist of it.

ASIDE FROM ELVES HOWEVER we now get into what we decided to do with the "tiefling" side of it. The thought process here was funny because we had a character inspired by a cyborg but no way to have actual cyborg shit justified in this world without an extra layer of complication. So I was like yo what if he's like a bug instead. Exoskeleton vibes n all. So then we decided fuck it out more wack looking people will be mostly inspired by bugs. Within them you DO have a bigger variety of "races", lifespans, physiologies, etc, and there's a lot of room for us to wiggle. They're generally non magical and can cross breed with elves so bugness is also a spectrum.

Some bugs:

Some bug hybrids:

Basically anything with a weird number of limbs, eyes, odd scleras, exoskeletons, wings, etc is some flavour of bug or bug hybrid. They tend to be as far removed from magic as possible.

Obviously there's a bunch of more and lesser known types of bugs and the sheer diversity makes for some interesting worldbuilding questions and dynamics but as a whole it's a work in progress

*takes a bow*

[parisoonic]

I just want to say I love how you do your lineart, it looks so good! ahhhhhhhh!!

I'm gathering a lot of advice about the topic of lineart and I just wanna know how you get it to look like that? My line weight is getting better but the drawing itself just comes out a bit.. weird.

Thank you so much! Lineart is probably the thing I've been working hardest on as I am not a lineartist (and still struggle a lot) but it's something I really need to get better at for my job. UM there's honestly so much that could be said on the topic of lineart. Big things for me are:

Weight -> Use line weight (aka thickness) to describe form, lighting, contact and scale. Thick lines imply shadow, contact and nearness-to-camera. Thin lines imply tension, recession and light.

Straights vs Curves -> Use straight lines against curved ones for maximum interest. This is partly a character design thing but as we're using lines to describe our characters it's worth mentioning :)

Complex vx Simple -> Use complex lines against simple. Faces are always complex so therefore the backs of heads should always be simple. Chests are quite complex so backs should be simple. Dorsal sides of the arms are complex (Delt, tricep, bicep) whilst the ventral side is more simple (tricep...mainly) etc.

'Think in Ink' -> Lower your sketch layer almost to 0% opacity so you're not getting hung up on how nice/energetic your sketch look and instead are approaching the piece from an ink mindset. BUT it's digital! So if there's something in your sketch that you like just bring it forward (copy and paste) into your ink layer. I sketch and ink with the same brush so I can use this workflow

'Confidence' -> small hesitant feathery lines will look nervous compared to big swooping lines. Less is always more. I'll redraw arms/limbs until I can get the appearance that it was done in one brush stroke. Again it's digital so you can erase to cheat this look : )

MISC 01: I always hear 'draw from the shoulder'........meh............it's digital so draw from your wrist...it's fine honestly. If we were working at A1 in a life drawing class then we could get some shoulder action going but most of us are hunched over 16inch tablets. I think this advice aims to pull people away from feathery-nervous lineart honestly which you can improve on without relearning how to draw from your shoulder.

MISC 02: For a 'smoother' look do your lineart at a larger canvas size than you need. Once I'm happy with a sketch I usually double the canvas size and do my lineart then.

MISC 03: In PS (at least) anti-aliasing goes funny at any zoom level that isn't in the 5 times table. So try not to look at your canvas when you're zoomed in to 87% or 71.39% or something crazy. Just stick to 25%, 50%, 75% and 100% if possible.

UNFORTUNATE TRUTH: Lineart is incredibly based on raw draughtmanship I've discovered. When you're working with colour you can hide a lot in rendering (shadows, highlights) or post-processing (depth of field) but in lineart all your mistakes are just...there for people to see. There's ways round this...which I use A LOT. 'Flourishes' (I use 'flourishes' to mean over-confident lineart where it veers particuarly thick or particuarly thin in contrast to your approach in the rest of the image) can sort of trick people into thinking you're more confident about an area than you actually are.

As well as leaving 'breathing room' within your lineart instead of actually...resolving the area. I do this the most around the face and hands.

Hopefully some of this helps? Honestly there's a lot of deep dives that could be done into indivudal things and there's also the massive caveat that all of these are 'guidelines' and not strict rules. I also favour a more...concept-arty? animation-y? storyboard-y? look to my lineart which favours flourishes and breathing room for a incomplete/work-in-progress feel which would make methodical colouring (ie: for a comic or something) a pain.

Keep up pratice is the main thing and doing studies of artists who you like that have great lineart - you'll pick up draughtmanship skills along with the lineart studies. Here's some of my lineart from a year or two ago...it varies between very 'standardised' (which makes it difficult to read volumes and to be honest, it's boring) and 'TOO EXCITING' (which...also makes it difficult to read volumes and for the eye to rest).

I'd like to share my brushes at some point as I've found 3 that I really like and use for everything more or less. I discovered that a shocking low amount of people use PS on tumblr (shocking to me I guess as i'm so used to PS being the standard) and everyone seems to use Procreate or Clip Studio Pro...so I want to check that the brushes are Procreate compatible at least before I share!

[unofficial-underfell]

Hey guys, I've been thinking about making this post for a long time and I think its finally time I do so. After realizing that some of my last work was done over a year ago, I don't think I can really ignore it anymore. While I haven't quite thrown in the towel on this quite yet, it's pretty evident to me and I'm sure to everyone who still follows this blog that my fervor for the project has drastically decreased. And has been kind of dead for a while. The comic has not been a priority to me, or posting online much at all actually. I did some soul searching and found that I'd started relying on outside approval for my art instead of doing art for the sake of wanting to tell a story and express myself throughout my work. I have limited energy and depression and sometimes it feels like i get such little progress done even though it takes all of my energy. While I'm trying to go to the gym more and build better habits my energy levels and mood still have a lot to be desired, and I'd rather use the limited energy I have to work on something I'm more passionate about.

I've been trying to grow my skills and absorb more stories and I've moved around a lot and started to listen to what I really felt, and I found that a lot of the art I want to focus on deals with heavier and more mature topics. I do love this story, and all of the characters and I feel like I could make a really clever subversion of what is expected from an Underfell comic. But I feel like in these uncertain times with the world and with all of the stuff going on right now, I'd like to use my energy to work on stories that hit closer to the things that I feel are important. So that's why I've not been posting much.

I'm working on a book, and I've actually got quite a lot of progress done on it, but because of all the horror stories online about people stealing author's original works, I'm kind of holding off on publishing any chapters before I can copyright the first draft of the novel. So my online activity will still be pretty scarce for a bit, though I'll still post occasionally on my @cosmicpixel01 account. I'll try better to not be so radio silent though lol. Even if that means I'll post something boring about my dog or books I'm reading just so everyone knows I'm still alive.

I don't want to call it quits on the story. But I also feel like you guys have been kept waiting to see what happens for a really long time, and that makes me feel so guilty. I will try to finish up the pages I have in the works, and I'm probably going to switch to a different format that is some drawings, some writing to finish the story. I'm sorry that I wasn't able to finish it the way I intended for you guys, even with all of the support and kind words and even the fanart that I've kept in a folder on my desktop. I am letting a lot of you down, but I feel like the radio silence is probably more irresponsible than just going out and saying something. And I'm sorry I've kept you all waiting for a not-so-happy update on the blog.

I hope that some of you will continue to follow me for some of my other exploits and see whatever other things I have going on, but I understand that you all followed me for Undertale so I don't want you to feel any sort of guilt if you decide not to. I'm just happy you all supported me for so long.

I'll try to work on this blog again soon, and if anyone has any questions, my asks are open, though I'll probably keep the asks private. Until then I hope everyone stays safe out there. And from the bottom of my heart, thank you.

-Avery

[lurkingshan]

Helloooo, Shan! This is a bit out of left field but it’s something I’ve been wondering for a while. BL has developed more as a genre and shown itself to be increasingly sociopolitically aware (whether or not it effectively engages with that awareness beyond marketing is another thing), do you have thoughts on any sort of progression of how women and girls have been portrayed? Or observations on the general state of women and girls in BL? It seems to me their roles have become meatier, not just one-dimensional femme fatales or fujoshi. Or am I projecting a false narrative of genre evolution? 🤔

Hey Megan, thanks for sending! I love an out of left field ask. And I agree with you, I do think there has been a clear evolution in the way women characters are portrayed in BL, and I have been making note of it where I see it.

It used to be that female characters in BL were mostly just there to be antagonists, either as villainous femme fatales trying to break up the couple (like Plern Pleng in TWM) or fujoshis inserting themselves into the main couple's relationship in really inappropriate and fetishizing ways (like Pang in Love Sick). Even the precious few decent women characters from early BL (like Manow from UWMA) are still really only there as side characters who provide support to the boys and/or a bit of comic relief. Women in early BL were either problematic or kind of an afterthought in the narrative.

But more recently there have been BL dramas featuring women who are more fully fleshed out and actually a crucial part of the story. This is not linear and consistent, of course--there are BLs airing as we speak, like Knock Knock Boys and Blue Boys, that are still relying on women as primary antagonists--but there has been some growth. Here are some of the characters I find particularly notable in regards to the role they play in the narrative:

Ae Ri, The Eighth Sense

Ae Ri was a notable character because the narrative set us up to think she was going to be a typical femme fatale. She seemed to like Ji Hyun and we were naturally inclined to assume she would be an obstacle to him pursuing Jae Won, until the show completely turned that on its head and made her a knowing ally instead. It was a delightful surprise and she remained an important support and get a grip friend for Ji Hyun throughout the story.

Nara, La Pluie

Nara is another in the category of the subverted femme fatale trope, but this show took that much further by writing her with so much empathy and making her a fully fleshed out character with her own arc and even the start of a new romance by the end. It is still the best treatment of an ex-girlfriend character I have ever seen in a BL.

Fujisaki/Pai, Cherry Magic

Speaking of trope subversion, let's give a shoutout to these two corrective takes on the fujoshi archetype. Each version of this story did it a bit differently, but the common thread was that Fujisaki and Pai only wanted the best for their friends, and kept a firm line on how much to interfere in their relationship. Fujisaki is gentle and kind, offering small encouragements and nice gestures. Pai is much more of an enthusiastic fangirl so I was a bit weary at the start of her story, but the show used her fannish interests as an opportunity to model respectful fan behavior and I was quite pleased in the end.

Yiwa, Wedding Plan

And of course, I have to mention the current title holder for best female character in a BL, Wedding Plan's Yiwa. She is not only a great character in terms of having a fully formed personality, clear motivations, and a great set of relationships, she is also the engine that drives the entire narrative. I am still kinda amazed she exists.

This is separate but related to the recent increase in GL content and GL side couples in BLs, which is also getting steadily better. And I want both! I want solid GL dramas where the girls own the narrative, and I want BLs to write women better when they choose to include them in the story. I'm encouraged by the progress we've already seen.

[flightyalrighty]

I love this comic so much. The vibes are immaculate.

I love your depiction of Sonic. One of the big things that separate Sonic and Shadow is that while Shadow has been through “the horrors,"  things mostly work out for Sonic. So Sonic has been allowed to develop a sort of confidence and optimism that things will just work out in the end. So it’s super interesting to see Sonic forced into a situation where things are well and truly fucked and the only thing left to do is protect what he has left. We get to see his mind sputter and twist as it refuses to accept that he’s actually in the bad timeline this time. It’s all done in a way that’s actually engaging to read because it doesn’t feel like cheap shock value. It feels real and disturbing, and I love it.

Then there’s Shadow. Shadow, who is resigned to the grimness of his current situation in a way that a person can only be if they’ve already lost everything before. It’s an incredible contrast to see Sonic desperately grasping at straws to maintain his happy status quo, even if it’s only in his head, while Shadow is just sitting across from him like, “Well, shit. Here we go again.” It’s made even more interesting by how Shadow is trying his best to get Sonic through this. Since Shadow knows what it’s like to lose a loved one. Sonic doesn’t. At least, not like this.

I also love fanfictions that include Shadow because it provides an opportunity to put him through the emotional ringer in a way you really can’t anymore. Shadow has dealt with his past. So short of bringing Shadow’s past back from the dead, not much can really phase him at this point. Not that this is necessarily a bad thing. It’s part of what makes Shadow so cool. But it’s still cool that we can use fan fiction to craft scenarios that are fucked up enough that it manages to break through Shadow’s stoic mask and let the horror of his situation creep onto his facial expressions in a way that’s uniquely Shadow and that we don’t get to see in official media very often. I just think this comic is neat.

All of what you said is an excellent and very thoughtful analysis.

I want you to hold onto these thoughts. Keep them tightly enclosed in a fist held to your heart. Continue to think about it as this story progresses.

"Shadow knows what it’s like to lose a loved one. Sonic doesn’t. At least, not like this."

That, especially. Hold onto that.

[genericpuff]

Can you call Tina Belcher driving through a parking lot at an anxious snail's pace a driving "style"? So why do we try to use "style" as a defense for LO's pacing problems?

There's something about how Lore Olympus engrosses people within its weekly doses of H x P content and cliffhangers that makes people not realize just how long Lore Olympus takes to get to the point of, well, anything. Many plotlines are setup, and then go untouched for weeks, sometimes months at a time, before seeing any sort of progress, much less a resolution. In this, I'm going to actually give you time ranges on some of the more egregious payoffs and continuations of plotlines that were setup - some that are now resolved, others that have yet to see the light of day.

CONTENT WARNING: I will be discussing the SA plotline, and there will be spoilers for Episode 265. I will also be showing pictures of some rancid ass tattoos, I know that sounds random for what we're discussing, but trust me on this one, I have a point to make. Also there's a Junji Ito panel from The Enigma of Amigara Fault... yeah, that one.

LEUCE

Let's start with an easy one that's not exactly tied to the main plot. The Leuce plotline. She was first introduced in Episode 201 as a 'bargaining chip' from Zeus to Hades, in a misfired attempt to get Hades to call a truce over the embargo between the Underworld and Olympus.

At the time of this episode's release, by all accounts this seemed to be a cut and dry reference to Hades' first wife, Leuce, unfortunately reduced to a mail-order bride who Hades, of course, turns down, because he doesn't want the "I can't believe it's not butter" Persephone, he wants overpriced, tastes-the-same-but-costs-more-because-of-the-brand-name Persephone.

But then she came back, 36 episodes later - in real time, this was roughly 38 weeks for free-to-read users as the series went on a 2 week hiatus near the start of S3 - only to be used as a cliffhanger leading into a recycled Minthe plotline, in which she attempted to seduce Hades in Episode 238, only to be shot down for the second time.

If you're having a tough time wrapping your head around how long 36 weeks really is, that's nine months. If you got pregnant when Leuce was first revealed, you'd be entering the final window of pregnancy by the time she returned, assuming the baby didn't come pre-term.

Another 7 weeks later, enough time to actually get pregnant again following that first baby, we got the sudden continuation of that plot, with Persephone invading her home and filling it with barn animals, with a not-so-subtle threat to Leuce to stay away from her husband.

"But what about the text messages? Were they really from Hades?" Well, if you were someone reading this comic in real time, you wouldn't have this question answered for another SIX EPISODES - that's a month and a half in real time - and the answer would ultimately be "she made it up, she was 'manifesting', none of it's real, they should call her Deleuceional!" Six weeks for a nothingburger answer to wrap up a nothingburger sideplot, all in the pursuit to 'prove' for the 1275903729 time that Hades and Persephone are truly meant to be together.

EROS AND PSYCHE

This is a big one. The Eros x Psyche plotline was one of the most popular romance subplots, second only to Hades and Persephone, throughout the comic. And yet, despite people holding their breath to see what would become of the star-crossed lovers, a mortal and a god-

-readers in September 2021 would not find out how their recent skirmish with Apollo in Episode 171 would resolve itself until Episode 218, A YEAR AND TWO MONTHS - ROUGHLY 60 WEEKS AND A MIDSEASON HIATUS - LATER, and even then it would only show us Eros, who quickly summarizes what happened to him during the entire trial and Kronos arc that his anticipated romance storyline got sidelined for - he got married and now he has a child.

And it wouldn't be for ANOTHER six weeks that his wife and the mother of his child would actually show up, not alongside Eros, but Aphrodite and Hephaestus, in Episode 224.

What happened to her after finally having her 'true form' revealed to Eros? Well, that's not shown for another three weeks in Episode 227. During this a bunch of info about how Psyche got out of that sticky Apollo situation is dumped on us and we just have to go along with it as she becomes a goddess, not because she earned a place among the Olympians, but because Zeus needs her to spy on Apollo, which was actually shown one episode prior in 226.

So let's say you got knocked up again after that Leuce baby, when Eros and Psyche were shot out of the sky. Welp, in the time it took for Rachel to get around explaining what happened to the both of them, now you just had your second baby and for all we know, you could have gone for a third and already be well into or near the end of your first trimester, if you really wanted to get busy. You'd have a Dionysus, a Melinoe, and maybe even a Demophoon. Congratulations.

And speaking of Melinoe-

MELINOE

Turns out the interloper and the child in Tartarus were one and the same, or at least that's what I'm assuming, because otherwise that would mean there's some whole ass other baby to worry about that we haven't even been introduced to yet.

Melinoe, or "the child deity", was first established in Episode 218.

But as per LO tradition, the child would only mentioned in passing every now and then until finally being revealed as Melinoe in Episode 252, a whopping... THIRTY EIGHT FUCKING WEEKS LATER.

And that waiting is still ongoing as Melinoe is, of course, still trapped in Tartarus, with no end in sight. Since then, Hades and Persephone have gotten married, kidnapped a child, Persephone has terrorized a nymph and caused yet ANOTHER genocide, and they've resurrected a child that was suddenly revealed to be Demeter's. Thirty eight weeks and counting of dragging on a plotline that we're supposed to believe is dire while the characters do sweet fuck all.

What was the name of that other dream baby that Rachel referenced from some obscure non-legitimate source?

Riiiight, Brimos. Congrats, there's pregnancy number 4. But can we find a way to make a fifth happen?

KASSANDRA

We're first introduced to Kassandra, another implied victim of Apollo's, in Episode 226 when a photo of her is found on Apollo's pen drive which was conveniently left on the ground for Psyche to swipe.

In Episode 227, they theorize on how they could track down this mystery woman, using either Eros or Aphrodite's abilities to find her through the power of

✨love✨

How will that actually work though? Has anyone ever been in love with Kassandra, or has she ever been in love with anyone else?

Any bets on how long it would be until we'd get our answer?

Episode 251. The same episode where we're finally told about Leuce's delusions, we suddenly skip to the reveal of Kassandra being Apollo's personal oracle.

And it still doesn't end up answering our question as to how Kassandra was tracked down, by the way. Eros and Psyche sorta just conveniently find her at the same time Apollo happens to be there when he's getting her to deliver her big prophecy to him.

That's twenty four weeks, meaning you're now near the end of your second trimester with child #4. Whoever the child is remains to be seen but I'm sure Rachel will find a way to shoehorn another helpless baby into the plot for Hades and Persephone to rescue who we can use for this metaphor.

But none of these come close to the greatest unresolved plotline of them all, the one plotline that has outlasted even the main H x P plotline of Lore Olympus' story-

APOLLO

Or more specifically, the SA. Rachel has tried so hard to twist Apollo into a villain of Disney proportions, through his sudden involvement with Ouranos, while also using him as a mouthpiece for her own critics by having him literally dish out word-for-word the criticisms that have been made towards Rachel's writing of Persephone-

But the core foundation of his plotline goes all the way back to 2018, when he assaulted Persephone, a plotline that has yet to resolve itself or show any progression beyond Rachel's half-baked attempts at speedrunning Persephone's healing process, while Apollo is still at large and hasn't been brought to justice.

We've seen her in very poorly-written therapy where her assault was addressed once. We've seen her grapple with the potential consequences of the SA through a gynecologist scene that, as I've discussed before, does more harm than good in helping the discussion around women's sexual health. And of course, Rachel will pepper in vague references to the SA every now and then when she's bothered to remember that it's a plotline she wrote and still hasn't resolved:

And judging by how the story has been progressing, Rachel seems far more intent on simply using Apollo as a mouthpiece for criticism and a puppet for Ouranos rather than focusing on the bigger issues, all while Persephone has helped more people cope with the assault that happened to her rather than receiving help herself.

What's really telling is that despite half of the Olympians at this point knowing what Apollo did, not one of them even tries to convince Persephone to come forward, or say something themselves. Daphne has more than enough reason to come forward. Artemis, Hera, Eros, Hermes, and Hephaestus all know what he did, and yet none of them say a thing, even when those of them who haven't been conveniently shoehorned out of the plot are still in the same room as him-

The assault scene happened in August 2018. It's been five and a half years since it was established, and while there have been small efforts made to resolve it - from Hera and Hephaestus having the photos deleted to Persephone seeking therapy - there's less reason now than ever for it to not be addressed, especially with so much at stake. I could side with Persephone not wanting to say anything in the beginning, when he was blackmailing her with the photos and her TGOEM scholarship was on the line, but now that she's a Queen, rich, and married to Hades, living in the Underworld where he can't get to her, without any schooling or scholarship or job to worry about or the photos hanging over her head, it comes across as flat out irresponsible that not a single person thinks it's worth mentioning. Even the narrative itself seems to be trying to undo the SA entirely.

At this point, I'm not confident it will be mentioned at all, and that Apollo will be conveniently dealt with as a pawn of Ouranos rather than as a perpetrator of violence towards women.

A FINAL ANALYSIS OF LO'S PACING

There are certainly far more examples of this weekly edging happening throughout LO, but I hope the ones I provided get across the point I'm trying to make about its pacing.

Of course, none of these gaps in time are happening back-to-back-to-back. This is Lore Olympus' writing "style", if you can call it that - constantly bombard the reader with separate plot points so that they'll either not remember the ones that were left behind, or so that Rachel can buy herself time to get herself out of the corner she wrote herself into. It's the equivalent of clickbait, constantly grabbing your attention with shiny new things that will replace whatever you just saw in your brain, on a constantly repeating cycle. It's the writing process of inexperienced amateurs, like what you'd see in short stories written by fifth graders - "and then this happened, and then this happened, and then this happened", with no theme or overarching meaning tying them together; and if you were to ask them why a certain thing happens, especially if it logically doesn't make sense, the answer is just, "well, because it does." There's no rhyme or reason, they just thought it was cool.

And I say "style" because while fans of LO have definitely defended the story's pacing as just a writing style, the actual execution of what they're implying is painful to watch and not what any experienced writer would call a legitimate style. It's not uncommon at all in long-running series like this to jump from plotline to plotline, often times longform stories like these have to balance multiple side plots at once to keep things engaging and to bulk up the plot with more actual content.

But in most cases, the reader will expect the speed of a plot's resolution to be relative to its urgency. If a casual B plot with low stakes is introduced, it's not necessarily doing any harm if it just sits there for a bit before finally being resolved. After all, it's low stakes and no one is being hurt by it existing on the sidelines. It might feel a bit like pointless fluff, but there's nothing necessarily wrong with fluff and it can offer fun and relaxed reprieves from the overarching narrative, assuming you integrate them well so they're not drawing attention away from those more urgent plotlines at the worst possible times (looking at you, Stranger Things S2 Episode 7-)

But when even the high stakes plots are being hung out to dry and treated like distractions and fluff, it comes across less like a decisive writing "style" and more just directionless pantsing from an inexperienced writer who's gotten themselves in way too deep.

And that's what really separates Rachel's writing problems from "style". Style is decisive. Style is the act of referencing over a set period of time, crafting what you like and what you've learned into something new, with rounds and rounds of fine-tuning. Style is experience put into action.

And, while I don't typically like using my own work as a comparison, LORE | REKINDLED is meant to try and recapture the original magic of Lore Olympus' art style and writing foundations - and even then, you can still see the clear difference between Episodes 14 and 44, which use the same panel from the same scene, but look vastly different due to the improvement and refinement that's happened over time.

Same style, but different levels of experience and skill, which is to be expected after weeks and weeks of fine-tuning and deliberate practice.

If you're lacking in your fundamentals, whether in art or writing, you can't equate that lack of skill to "style" because you're not choosing to be inexperienced, you just are. And that's okay! But to try and pass it off as 'style' implies that you're choosing to be inexperienced - when in reality, if you tried to put out anything beyond your skill level, you simply wouldn't be able to, because you haven't gained those skills yet. Like fifth graders writing short stories with the "and then this happened" model, "it's just my style" is often used as an excuse by young artists and writers who don't understand that style is not exclusively an end result of inexperience.

I'm gonna go on a tangent here, but there's this controversial but trendy style in tattooing called 'ignorant', and it's best defined as "tattooing badly on purpose".

These tattoos are regularly praised for their simplistic ingenuity and visual aesthetic but equally criticized for being the opposite of what many artists have worked to overcome - being "bad at art". After all, who would willingly pay for a bad-looking tattoo? It's because it's the style that's in demand. I would argue that it takes a lot of confidence and mastery of the craft to be purposefully bad at it and make it look good, as contradictory as that sounds.

As much as the lines may be wobbly and the anatomy poor, ignorant style tattoos are done purposefully by experienced artists who still know how to properly tattoo. As much as they may look like they were drawn by a middle schooler, they will still heal properly, the lines will hold up, and the client will not (or at least, should not) experience any excessive scarring or unhygienic practices as one would experience from an actual inexperienced artist-

In a genuinely poorly-done tattoo, the evidence of the inexperience is literally written all over the body. The skin swells, the ink bleeds out, the lines are inconsistent in their depth, and there's clear signs of trauma to the skin that will undoubtedly result in a poorly-healed tattoo (and that's not even getting into the larger health risks such as contracting blood diseases due to a poorly kept space). It's not hard to see the difference between a bad tattoo and a tattoo that's intentionally bad.

It's the age old saying in a different medium - only once you learn the rules can you properly break them.

Rachel never learned these rules in her writing and it's evident to anyone who knows these rules and is viewing LO through a critical lens - or in my case, experiencing it on a week to week basis. It's a regularly occurring problem in the medium of webcomics as a whole - thinking that knowing how to draw is enough, and that writing comes dead last, if at all. When in reality, comics are a marriage of art and writing, you can't simply do one really well and allow the other to drag behind. That's not to say there aren't comics that succeed at having bad art and good writing, if anything a well-written comic can save bad art-

But if you have a comic with good art and bad writing, that's when a comic opens itself up to harsher criticism. As much as art may be the visual forefront of comics, if you want to keep your audience along for the long road that stretches ahead, you need to have a strong foundation in writing, or at least, enough of a plan to ensure you're not driving in the dark. The art can be as gorgeous as you want it to be, but if the plot is weak, then no one will have any reason to check back in week to week.

And such is Lore Olympus' biggest weakness. Much of what we praise LO for back in its first season was simply its foundation. It's very easy to praise a story's writing when it hasn't had to payoff what it's setup. Having ideas is easy, and early LO is rife with good ideas - but many of those ideas have since fallen flat, even the ones you wouldn't expect.

Ideas are a dime a dozen, but actually executing them in a way that can be engaging from start to finish and resolve itself in a way that's satisfying is a whole other challenge that many creators, including Rachel, find themselves unable to tackle; and nothing is a greater example of that than LO's third season, which is now fumbling its plotlines that have failed to resolve themselves properly after 5 years, while introducing new ones that serve as mere distractions, as if they were a laser pointer aimed at a cat.

I hear the argument, "LO is a better story if you binge read it" a lot, which - while I can certainly understand in today's culture of content that's churned out to be binged - I still fail to see how it actually makes LO a better story. Binge-reading LO doesn't remove the pointless plotlines. It doesn't fix its blatant timeline problems, its retcons, or its inability to stay focused on one topic for more than 5 panels. All it really fixes is the waiting, the ritualistic toiling over each and every cliffhanger that caps off the weekly episodes just for them to either be resolved in the next week or left behind with no in-between. And while having all that waiting removed certainly makes the reading experience a lot smoother, it doesn't make the story or its writing better.

The relationship between a story's writing and how the audience experiences it shouldn't be overlooked. Many stories depend on how the audience experiences it within the mind to succeed and leave an impression.

Junji Ito utilizes the dreaded page turn to scare his audience, an effect that can only be truly gained and appreciated if you read his books in traditional print.

Marvel spent years meticulously building up its Avengers franchise, culminating in a once-in-a-lifetime cinematic event through Avengers: Endgame, which is truly the epitome of "you had to be there", because if you watch Avengers: Endgame in 2024 in your living room, you're likely not going to experience the same level of hype as audiences experiencing it in the theater in 2019.

The same can be said for James' Cameron's Avatar, which entranced audiences with its innovative motion capture CGI and immersive 3D effects, an experience that could only be lived to the fullest if you saw it in 3D in IMAX theaters back in 2009. Without that experience, most people in 2024 find the movie to be pretty generic and uninteresting, a reverse Pocahontas with blue people in space, but when it first released in IMAX theaters in 2009, it was a cultural and technological phenomenon due to how advanced it was in its VFX. I can't even share with you clips of it, because obviously it would just be proving my point to try and show you how groundbreaking Avatar was in theaters through a bad shaky cam Youtube upload of its IMAX release on Youtube, but let's just say that it wasn't uncommon for people to brag about how many times they'd gone back to watch the same movie just to feel what they felt from the first showing all over again.

All that's to say that while Lore Olympus may offer a 'better' reading experience when binge-read - regardless of whether or not it actually helps the story's pacing problems - the reality is that LO is still being written exclusively with the weekly format in mind, and its been very much to its detriment, both in the short-term and in the long-term. Readers are often left in the dark on plotlines for weeks at a time, Rachel loses track of what she has and hasn't addressed, and the extended waiting times trick readers into believing that weeks have passed in the comic's story, when in reality it's only been a day or two, sometimes as little as hours depending on the sequence; meanwhile, if you binge episodes that had those problems in hindsight, you'll likely be a lot more quick to notice how many plot beats are either retconned or abandoned entirely, because you don't have the weekly waiting times artificially inflating the pacing of the story and causing you to forget what was established weeks before, because when binged, those weeks are reduced to hours and minutes.

And worst of all, with the assumption that you're reading on a weekly basis - as it wants you to do - Rachel tries to pull clever stunts by matching up LO's episodes with real life dates and holidays, which often just makes the story beats feel rushed or random in their execution - because to the vast majority of readers who haven't caught on to this or are reading the episodes through the physical books, they are rushed and random, and they can't exactly explain why.

Binging these episodes doesn't solve the problem, if anything it exemplifies them because, as a shining example, Hades and Persephone suddenly get married right in the middle of an ongoing issue, which isn't exactly the best time to wrap up the story's main plotline. Since then readers have become less and less interested in their story, and can you blame them? By all accounts their story is over. Everything now just feels tacked on to give them something to do in a story they no longer fit into.

There's an episode behind the FastPass lock right now, Episode 265. It unlocks for free on February 17th, three days after Valentine's Day. Guess what episode it is?

Ah yes, the episode where Hades' initiates sex without consent with his wife who's suffering from panic attacks, who also happens to be a rape victim. Happy Valentine's Day, everyone.

I actually made this particular discovery while writing this essay, so that was a very unwelcome surprise, but it explains the sudden random shift from Persephone being so stressed over the ongoing situation that she's passed out to Hades just deciding for the both of them that now's the time to have sex. As much as the fans will defend this as a husband and wife's last chance at intimacy before diving into a dangerous situation, they'll also still conveniently forget - just like the narrative and Rachel herself - that Persephone is a rape victim, and Hades initiating sex with her after nearly having a panic attack isn't exactly a good look.

This is why our theories as to when LO ends are so firmly cemented in one specific time range, because the story's pacing and distractions seem only intent in one thing - getting the story to last until spring, when the series will most likely conclude. It's basically been all but confirmed by Rachel, from her stating the series would be ending in early 2024, to Inklore - an imprint that seems designed specifically for Rachel and LO - launching officially in spring of this year, undoubtedly just in time for Rachel to wrap up LO for good.

(and boy, do I have some words about Inklore and its plans for "Rachel Smythe Presents", but that's another essay entirely.)

At the end of the day, LO's pacing is equivalent to paint drying on the wall, but it relentlessly convinces us to keep watching because the paint is blue and pink and maybe, maybe it'll turn into a piece of art. But as is evident in the comment sections of the newest episodes, even the fans are starting to realize that paint will not magically turn into the final piece of art they've been waiting to see if the hand that wields it doesn't know what it's doing.

Though style may be gained as an accidental side effect of one's influences and experiences, what Lore Olympus' intent is remains to be seen, and the longer the story goes on, the blurrier whatever intent it could have becomes. Unless it somehow manages to pull off a twist of Attack on Titan proportions that thoroughly explains and ties together the plotlines that have been left in the rearview mirror, the vehicle that is LO will continue to trudge along at a snail's pace, until it inevitably either crosses the finish line or crashes - but by that point, anyone waiting for it could very well be gone, their good faith left behind at the starting line when there was still plenty of time to change its trajectory or stop.

Such a time is long, long gone.

[erinwantstowrite]

Erin I have a question ⁉️

How did you start writing LoF? Like,.not writing it in general, I mean like how did you get—or learned—or studied—all the information regarding the Batfam and their backgrounds, and also about Peter and the Avengers, etc.

Currently, I'm honestly planning on writing a small fiction about Peter ending up in Gotham (You must know your words hold a very dangerous power to inspire) but unfortunately, I don't have the right information to actually START writing it TT_TT. Do you have any tips on how I can start?

(P.S Apologies if this sounds a little confusing, I am not entirely the best at explaining 😞🤞)

There's one person to blame for getting me into DC, and it's @alighterwood

I've always been a fan of Spider-Man. He was my first hero, I wanted to be him soooo bad. I had gotten around to sort of writing my own fic for it with my own version of Peter around last year? (Very much inspired by ITSV, LoF Peter came about because he's his own universe and is based on Spider-Man lore from multiple media versions). I had never thought about writing a Spider-Man fic until ATSV, but at the time I was pretty much dead set on rewriting VLD. I got inspired after rewatching ITSV and then watching ATSV.

But it wasn't until alighterwood got me reading their favorite Batfam fics (specifically Tim) that I started to enjoy Batfam or DC in general.

(My favorite Batfam fic is "The Lone Ranger Never Had to Deal with Bruce Wayne" )

From there I started branching out into learning more about Batfam, what is and isn't fanon, and forming my own opinions. It was a natural progression into "I want my favorite characters to meet each other" and alighterwood's evil genius plan ended up working.

I've read a few comics (mostly the Red Robin series, because Tim was my intro to Batfam so I figured I'd start there) but most of my information?

Wikis, reddits, forums from years (a few of them from decades) ago, my father (who was a Batman fan as a kid) and his friends (my uncles, who were all DC and Marvel nerds), my own friends- basically anything I can get my hands on. If I had a question, it was (probably) answered somewhere, or there was someone else with the same question that made me feel better for not getting it. The internet has a BOATLOAD of information about both Marvel and DC.

It's a LOT of research and note taking, to be honest. I have a physical notebook where I take notes on lore so I don't forget it. I comb through fanon AND canon and I decide from there what I want and what I don't want/what doesn't work and what does work for what I'm writing.

But here's something to keep in mind: at the end of the day, you're not writing FOR anyone else. You're not out to please people who are 100% canon, all the time, nor are you trying to accommodate people who only read fanon material. You're writing for YOU. This part is fun for me, but could be very tedious for other people. I'm a little weird like that (I started writing essays for fun since I learned about them in school).

I like doing research. Like a lot of writers, I go down multiple rabbit holes a day. I start by googling a simple question that should take five minutes and then I see something and go "oh! What's this!?" and pick it up, and the cycle continues when I see something else and eventually remember that I was writing.

I enjoy the research and figuring out the balance. Because DC and Marvel do the same shit with their own works! Shit gets retconned, or they bring characters back from the dead, blah blah blah. The fun part for me IS going insane trying to figure out the Flash Family and their STUPID family tree, or learning about characters that were basically forgotten by everyone- even the writers. The best part is that since it's my fic I'm writing, I can go: "What's the most entertaining way I can use this?" And no one can stop me.

But if YOU don't enjoy that part, and you try to do it, you might lose your spark!! Your inspiration!! You might not have fun, and that's what writing is all about!! My thing is, is that basically every fan interpretation, whether they try to stick to the original source as closely as they can or not, IS FANON. And fanon is fun!!

Basically it all stems down to: it's your sandbox and you can play in there however you want to. And sometimes, people see what you're doing and they're like "Can I play too?" and you're like "Yes that'd be awesome!!"

If you find that you do enjoy the research, I think it's well worth it. It's very satisfying to put together all that work and then get a comment from someone where they say "OMG!! I know that reference!" or "I love this interpretation of this very obscure thing!!"

My advice for writing a Peter in Gotham fic is to know where YOU are starting at, before you start writing your fic. If you're a Spider-Man fan and you don't know much about the Batfam, try reading a comic about them, or find some favorite fics and base your information on that. It works vice-versa, if you know more about Batfam and not a lot about Peter.

Imagine there are two people sitting in front of you. One is a Marvel fan, the other is a DC fan, and they know NOTHING about the other comics. But they both want to hear your story where you have combined them. It's important that you don't lean too much into either side: you keep both of their interest by appreciating the details from both DC and Marvel.

The Marvel fan will be happy to see Peter reacting to a new world and situations, even if they don't know everything you're referencing. But the DC fan will be excited because you care about the place that Peter is interacting with enough to make a joke that maybe only they would get.

So: have fun, explore everywhere you want to, and get a little crazy. Don't worry too much about not knowing everything there is to know. I don't know everything about DC or Marvel either!

[nhothicket]

is it too late for Halloween?

Some close ups and silly spare thoughts about this half-baked au below the cut ^v^

Some thoughts:

It's extremely important for this au that Etho is very enthusiastic about his clowning, okay? Nobody's forcing him to do this he is a PROUD CLOWN.

The setting is probably somewhere in the 80s-90s at an amusement park with a carnival vibe. I thought it might be fun to have all the Halloween hermits be canon, but I also see this being a world unaware of the more supernatural goings on, so I'm not sure if that could pan out. Maybe some sort of veil from the supernatural might be in play? Who knows.

Anyway! This is about Ethdubs not those other nerds.

> So, in this amusement part there's an oddities attraction of sorts. There resides Bdubs, he is a haunted heart preserved in a jar, not an actual attraction though just set dressing for the creepy shed vibe. As the story goes this jar has been passed around for decades, but its progressively gotten heavier despite being untampered with. The preservatives have gotten thick and changed colors over time. This is actually just Bdubs' spirit taking its sweet sweet time to manifest, as he slowly materializes around his heart, the preservatives turn to ectoplasm.

Most of the time he's sealed up in the jar, thanks to this mystical veil regular people usually can't hear him grouching about the tight space. The jar itself is part of his haunting, which means its technically part of him and he can't pass through it. So, until Etho realizes the disembodied voice he's been hearing come from the little building is not all in his head, Bdubs was stuck there.

> Bdubs' more human less goopy form is also a bit translucent in that form and he's not at all solid. If Etho were to poke him in the arm his finger would go through with some pressure. A firm hug would be fine at first, but he'd quickly start sinking into the ghost. It takes a lot of energy to be that physical, so Bdubs hardly does it. He's capable of leaving his heart in the jar and being a more traditional wispy ghost in that image, but... he feels left out when he can't touch things, so he'll usually choose being a bit gooey over being a beautiful beautiful man.

His heart is the only part of him that is completely physical. It is a real object in the world still, he's possessing it. It's what allows him to be more physical, so if someone were to reach into his chest and pluck it out he'd turn into a wisp. (He and Etho have both done so repeatedly to make bad jokes about heart stealing). How did Bdubs' heart get in a shady unmarked jar? Who knows. The people who ran the place probably don't even know its a real human heart anymore.

> Bdubs frequently lies about how old he was (recalling and inserting himself into historical events he wasn't even born for), Etho humors it.

> Bdubs died before Etho was born, this is the subject of mockery on both sides. (Etho would've been born maybe a decade or so after Bdubs died, he's in his 30s at present)

> Etho's gimmick is being comically good slight of hand and magic tricks. He's not supernatural, but he's like fantastical in his competence when it comes to looking magical. Etho invents (realistically jmpossible) contraptions to make his magic work.

> Horse drawn buggies would've been on their way out as Bdubs was growing up, so he could be nostalgic for that, I thought it might be cute if Etho took him out on one of those horse drawn tours as a surprise. Don't mind the clowny guy carrying around a jar with a heart in it.

> Another funny thought I had, Bdubs asking for a grand sarcophagus after getting jealous of the attention a new mummy is getting in the attraction. Etho doesn't buy him a sarcophagus, but he does get him a novelty canopic jar from the gift shop of a nearby museum.

Okay, that's all for now. ^v^;

[wuntrum]

do you have any tips for an artist who wants to start making one off comics? i really enjoy your artistic direction and style of story telling so i’m very interested in your thoughts on it

yes, definitely!!

-read lots of comics! and a variety of them, too--both ones in the sort of genre/style you'd like to make, but also ones in completely different genres, lengths, places of origin, traditionally/indie/digitally published, simple to experimental formatting, etc

-in relation to the last one, if a comic you read really speaks to you, take some time to study some page layouts from that comic! how do the panels vary from page to page? how much space is the text taking up? what sort of "shots" (to borrow from cinematic language lol) are they using? these shouldn't be fancy, just little thumbnails, but i find it really helps. here's a few i did from a guest in the house by emily carroll

-start smalllll. its really important to build up your stamina, just like with any new sort of skill. if you wanna make a graphic novel thats 200+ pages long, you should make some comics that are 1, 20, 50 pages long and see them through to the end before taking on a super big project.

-this is related to the last point, but i think keeping your cast of characters small at first can also help build up your comic stamina. signals was the first longer comic i made, so i specifically really wanted to focus on just jeanne (and occasionally her parents and peers when they showed up)

-character sheets are helpful, but i also think the easiest way to start getting your characters drawn consistently is through actually drawing the comic! there's also gonna be panels where they look "off" or whatever, and its literally fine, i promise

-through the smaller comics, experiment with how you go about writing your story! theres no right or wrong way to write/plan out a story so, it takes some trial and error to figure out what will work best with your work flow. for me, i've found success in making a timeline of events for the story -> loosely guessing how many pages i'll need/want per section of the story -> freewriting (trying not to edit too much, just dumping all the words out) -> thumbnailing/loose sketching/editing text (all sort of happens in the same step; i find i need the layouts in front of me to understand what i need/don't need from the text i wrote) -> tight sketching -> final . but, if that flow doesn't work for you, try something else! i know a lot of comics people find success in writing a script first, with indications of page and panel-by-panel breakdowns

-take shortcuts often and without guilt. its a lot of work to make a comic! theres just a lot of drawings involved, that most people aren't gonna look at for very long! i especially recommend for infrequent/difficult things, like buildings or crowds or cars or bookcases, using some sort of 3d asset/brush to make your life easier. if you can reuse a drawing and change the crop/expression, do it!

-use some sort of tracker to track your progress on how many pages you've sketched/inked/finished. even if you don't have an external deadline, i think it's still good to give yourself some sort of timeline to work on (i recommend setting "ideal" goals and "realistic" goals, especially if you're working/still in school/etc). for signals, i used google sheets, because you can set up columns to be attached to little circle charts, so as you check off your progress, you can really easily see how much you've done/how much you have left to do (as i type this i highkey forget how i did that before, with signals, so...you might need to do some sheets experimentation to actually do this lol. but there's probably other trackers you can use too)

-understanding comics and making comics by scott mccloud are both great books, highly recommend them (easy to get second hand/from your library/🏴‍☠️)

-lastly, haveee funnnnn

[gaybananabread]

♡~A Mother Always Knows⁠~⁠♡

~I’ve been reading a ton of sad books recently, so I needed something fluffy to get myself back together. So, here’s a completely self-indulgent fic I felt needed to exist. Fair warning, I haven’t seriously written in a few weeks, so this might suck. If you’re still here, I hope you Enjoy!~

Lee: Miles

Ler: Rio

Summary: Miles’s job as Spider-Man has been weighing heavier on him, and school and the Spider-Verse isn't helping. Rio notices almost instantly, and while she may not know what's causing her baby to feel so stuck, she knows exactly how to give him a little boost.

Warnings: none! This is a tickle fic, so if you don’t like that, scroll away!!

THIS IS NOT A SHIP! IT'S A MOTHER LOVING HER SON! DON'T BE WEIRD!

Groaning, Miles keysmashed on his laptop, trying and failing to generate ideas. He’d done everything: rewarding writing websites, the Comic Sans trick, drinking electrolyte-heavy beverages. Nothing was working.

His English teacher had assigned another essay, and he was completely stuck. Miles was an artist, not a writer; the creative essay assignments loved to kick his ass. That, coupled with the actual routine kicking of his ass from villains, left him all sorts of stressed out.

Deciding he needed a break from staring at the white screen, Miles got up and went to the kitchen. He had all weekend to complete the creative essay; unfortunately for him, that was prime villain attack time. He had barely gotten to sit down and work for a cumulative of two hours.

Rio had been noticing her son’s off behavior for almost the entire year he’d been Spider-Man. It was negligible at first: forgotten assignments, baggy eyes, messy appearances. Those were typical for teenagers going into High School.

So, when she saw him stumble into the kitchen while favoring his left side, her mama bear instincts kicked in.

Over time, however, it had progressed to very noticeable, very worrisome changes. While she hadn’t confronted Miles yet, Rio was definitely not oblivious.

After all, a mother always knows.

“Miles, siéntate ahora.” Her voice was loving, but undoubtedly stern; he’d be smart to listen, and listen he did. Miles sat down at the kitchen table, doing his best not to limp. It wasn’t enough.

Rio set a bowl of Cheez-Itz in front of him before sitting across from him. Miles could feel the heat grow beneath his collar; she was using her Mom Face. For a solid four minutes, she just sat there, watching him as he snacked. Just act natural, just be cool, just eat the damn crackers…

“You gonna tell me what’s going on, or are we just gonna sit here?” Yeesh, there was that tone. Miles knew there was zero way of getting out of there without some sort of conversation.

“Just…loaded up, Mami. I’ve got a lot on my plate with Visions, ya know?” He tried to pin it all on school, hoping that would be the end of it. It wasn’t technically a lie; he did have a lot of stress due to assignments, especially his English teacher.

Rio sighed a bit; that was true, sure, but not the entire story. It worried her to see her baby like that, even more so when he wouldn’t let her help. Still, she had to find a way to get him to de-stress, even if she didn’t know the full cause.

“Hmm. Couch,” she ordered, standing and heading to their living room. Sure, it was a short walk, but she could still be mysterious.

Miles knew better than to argue, setting the empty bowl in the sink before joining her. He was stiff, his mind spinning with all sorts of theories and questions. Was she gonna press the issue? Did she know, and was just trying to see how much he would lie to her? Was she gonna ground him indefinitely for not coming clean?

Instead of confirming her son’s fears, Rio just pulled him into a hug by the shoulders. Miles’s eyes widened, but he quickly relaxed, resting his head on his mom’s chest. Man, he was tired…

“I love you, Miles. I know something’s wrong, and I know it’s hard for you to tell me. Just…remember that I’m always here for you, okay?”

Miles felt his heart lift at her words. She…she really loved him. She knew he was lying, but she still loved him. He swallowed a small lump forming in his throat before nodding; he didn’t trust his voice.

Now that she’d gotten him nice and emotional, Rio decided he needed to cheer up a bit. Miles was so stressed and reserved most of the time. She missed the days where his bright, unapologetic smile would light up their home - especially his giggles. How Rio longed to see him happy like that again…

Oh. Lightbulb.

“Thank you, baby. You just seem so sad anymore. Me encantaría verte sonreír de nuevo.” Shifting her hand down Miles’s side, she tried to hide her growing smile. If she wanted to surprise her son, she had to be crafty.

Miles's brain lagged a bit as he translated her words. Smile again? What...why was his spider-sense going off?

"Lucky for you, I think I remember how to fix that," she crooned. Then, in a gentle and teasy way, she started wiggling her fingers into her son's side.

The teen's eyes shot wide open, a giggle slipping out. His mom was...tickling him? It wasn't something they'd done in a while, thanks to his constantly loaded schedule and isolating tendencies. It immediately made him giddy and lit his nerves on fire.

"M-Mahahahahahami! W-Whahahat?!" Miles was shocked, kicking his feet against the couch. How could just a few fingers tickle so much?

"What? It's kinda obvious, Miles. I'm tickling you!" Her other hand joins the fray, pulling her son against her. While Miles was a helluva lot stronger than her, he couldn't risk overdoing it. So, like a true man, he giggled his heart out.

"Dohohon't sahay thahahat! Mohom!" Right as Miles tried to pry her hand off, Rio started to scribble on his belly. His giggles shot up for a moment, turning to adorable belly laughter.

"HEHEHEhehey! C'mohohon!" Two hands was just being mean. Rio was loving all the giggles, and she could feel the tenseness in his shoulders melting away against her. There was no way she could stop at that point.

"Don't say what, papa? Tickle? How about this? Cosquillas cosquillas cosquillas~" Rio quickly whispered the words in his ear, loving the squeak she got in return. Her son was just the cutest, even when he was trying to be all macho.

The teasing fried his brain, leaving him a squirming mess of nonsensical babbling and giggles. The t-word in one language was bad enough, but two? And in his ear? His mom was killing him!

Deciding to be cruel, Rio suddenly jammed both her hands into his underarms. Miles was tired, so she had to hit the sweet spots quickly.

"NAHAHAHA! *snort* MOHOHOHOHOM!" Miles shrieked and thrashed, absolutely losing his shit when his mom targeted his worst spot. Her nails were torturous, far worse than Hobie's lanky fingers or Pav's loving squishes. It shot ticklish lightning zipping across his skin, sending him into near hysterics.

Rio cooed at her son's near manic reaction, giggling as he snorted. Miles was always trying to act tough, but he just couldn't get any cuter.

Miles was sort of exploding inside. He was already tired from patrols, and now he was laughing his ass off; the boy was ready to crash. His mind was a goopy mess of flustered joy and giggles, rendering him unable to speak. Still, he could feel his stress melting away, leaving him in a stupidly happy, ticklish bliss.

Still, it tickled like crazy, and he couldn't last forever.

"MOHOHOHO- *snort* OHOM! IHIHI CAHAHAN'T!" Small tears of mirth pricked at the corners of his eyes as he tapped out. Rio stopped as soon as he said that, moving to pet his hair and rub his shoulder soothingly.

"Te tengo, Miles. Take a breath." She held him close, trying to help him regain his composure.

Miles was still reeling, giggling off the phantom tickles. After that lovely attack, he was completely drained. Thanks to his mother's gentle pets, he was on the verge of passing out right then and there.

"Ohoho crap... Whyhy?" Miles failed to stifle a yawn and rubbed his sides as he asked. His mother chuckled at his attempt before answering. "Because you needed to relax, Miles. You're too stressed anymore."

He rolled his eyes, but she wasn't wrong; he was practically limp against her. "Ihi...yeah, I guess. Still though, that was overkill."

She chuckled and booped his nose, making him grunt. "Maybe a bit. Now, do yourself a favor and take a nap."

Miles begrudgingly closed his eyes, mumbling something about not being a baby anymore. Still, thanks to her gentle head pats and his exhaustion, he was nodding off in seconds.

"Te quiero, Miles. Sleep tight."

Rio couldn't help but smile at the sight. Her son was finally relaxed; she couldn't find a trace of the earlier stress on his face. After he relaxed, she'd work on the essay with him. It might not get far, but they'd struggle together. That was what mattered, especially to her. She kissed the top of his head with a small, happy sigh.

[purplebehittindifferent]

FAQ!!!!

before asking, check this out!

How many comic series do you have?

TLDR: As of currently I have 3!

Reconnecting: my deltarune fan comic. It is completed and the masterpost can be found on my pinned.

SpiderVerse: this is completed… for now. I had more plans but they fell through as the friends I had planned to do them with, left. Link on pinned.

IEYTD: this is just little comics scattered about, masterpost in on my pinned :)

RULE5: coming soon!

(if you would like more masterposts send an ask <3)

Is there going to be more reconnecting??!

TLDR: kind of? vvv

There will be no more COMIC/DRAWN content related to reconnecting (at least no more than the occasional doodle.) but I do plan to keep writing fanfiction on Ao3 to continue the story as long as it will go.

Can I send prompts for fics or art?:

Of course! Just know I might not be able to do them all!

Vivi “enjoyers” can be a bit much… are you comfortable with the way they (we) act?

I’ve decided long ago that Vivi is welcome to any sort of reaction. You are welcome to draw her however you’d like etc etc. as long as you don’t force others to look at it if they would not like, I do not mind what you do for your own enjoyment. Enjoy!

Your art is online and your AO3 is open! aren't you scared AI is going to steal it!?:

TLDR: my ao3 will remain open, my art will always be here vvv

I hate AI stealing creators' content as much as everyone else does. However, more so, I want anyone to be able to access real art. I have selected all of the available options to keep my works from being taken, and am very aware that the only way to keep my work safe on AO3 is to close it to guests. 

It took me, an avid fanfic reader, 4 years to get an Ao3 account. I care more about you guys being able to read what makes you happy and feeds your brain worms, than I care about my writing being stolen for this AI boom we are living in. It would tear me apart if you wanted to access my writing but had to wait so long for an account. 

I do not support AI in any form that replaces human beings, and though I know eventually I may never be able to have my work safe from AI on any platform, I will keep sharing it, and downright refuse to take it down. 

Taking all of my art down in fear of AI will be something I never do. In that way AI will kill me just as much as if it started stealing my work. Art is meant to be seen and shared. They will not take that from us.

I believe there is a group of people who like real artwork and writing made by real people. And I keep my trust in those people to see the value in non AI generated content. 

We will persevere.

Is fanart allowed?

TLDR: YES

SO MUCH YES. I BEG PLEASE PLEASE if you create fan content of my content or content inspired by my content, that is absolutely as long as I am either credited or @ on the post so I can see!!!

Where can I read RULE5?

TLDR: Rule5 isn't released yet!

Rule 5 is my original comic in progress, I have posted teaser art and some concept stuff. The hope is that it will start releasing weekly in early 2025. I am completing all the art first, so that it can have a consistent upload schedule and I can relax for a while. Trust me when I say- I will not shut up once it is available.

I want to make a comic but don't know where to start…

TLDR: DM me!!

My DMs are always open to genuine questions! I've actually spoken with many people who wanted to start their own series and have been told it's been helpful!

Though my biggest advice is GO FOR IT!!!!! The first couple updates might not gain a ton of traction right away, but persevere, keep going, and @ me so I can reblog it to help support you!!!

Are you LGBTQ+?

TLDR: nope :) cishet.

Many people have asked me this lol

Where can I find the masterposts and links to your other socials?

They are all on my pinned!!!

You have mental disorders + illnesses… What are they?

Respectfully it is none of your business. I try to spread awareness because I believe that is very important, but I also try to keep my personal things personal. If i'm ever outright about something, feel free to ask questions, and if i'm uncomfortable I will just say I do not wish to answer <3

How do I commission you?

There is a link on my Ko-Fi that goes to my comms!

 If you have any questions before ordering you can DM me anytime. Click the option you want, order it, and it will give you instructions from there. I check my orders once a day. If you set your order and I have not gotten back to you, please DM me it's possible I missed it.

Do you/will you draw NSFW and post it?

Not here.

Are you really in my walls?

Yep. I'm not kidding. That skittering you hear? It's me. Go hydrate yourself or I'll steal all your left shoes.

I found your work reposted without credit, should I tell you?

Yes please tell me!! I have not found any of my stuff randomly reposted without credit but I'm sure it will happen someday.

What art program do you use?

I use procreate! I highly recommend, as far as the brushes go, I use all of the base ones that come with the app itself. Nothing fancy.

Will you draw my OC?

If you commission me! sure!

if theres any more questions you think should be added here LMK

[deaddee-anime-brownfanlady]

Having read and reread the Lackadaisy comic more then once and looking through the Wiki on the different events. Mostly on Rocky and the familial tensions surrounding the McMurray household and why Rocky got the boot?

So the year 1921 was a big event of change. In which Rocky was kicked out at 16-years-old and within that same year Freckle dad died. It leaves me to wonder was this one of the " Family Tragedies " that Rocky mentioned in the chapter ' Breakdown ' I know that he was mostly delirious talking about his mom Sophie who was severely sick at the time and how his father was "working on the railroad~" most of the time which explains why Rocky spent a good half of his childhood at the McMurray house and was raised along side Freckle. But reading the lines and seeing some of the interactions between Rocky & Freckle, there's obvious some underlying issues and unresolved problems between the two cousins. Whatever happened between the two that Rocky took the blame for.

Closely looking through the many letters Rocky sent Freckle during his time on his own and going through different jobs after another, one of them that stands out specifically. Is Rocky asking for the whereabouts of his father, bits of it mentioning his dad haven't written back to him in awhile. ( Seriously need to know more about Rocky Pop's Ransom) In the present timeline of the comic it apparent that his mom passed away. But what about dear Ol Dad, is he also dead? Or did the man just took off after the death of his wife and left his son behind in the progress because he didn't want to deal with Rocky eccentricities. I know the series is still on hatius, but so far Rocky dad sounds like a major dick.

Of the many letters that Rocky has to sent Freckle before he ended up back in St. Louis again has a few words within it that is missing. One of them seems to mention a "Birthday" perhaps wishing Freckle a happy birthday but also one of the words from the letter that stands out to me is the " Your Fault " line the most. I got a feeling this could be connected to whatsoever went down between Freckle and Rocky that lead to Rocky getting kicked out in the first place. From the bits of missing words in the letter it sounds like Rocky is either telling Freckle that " it isn't all your fault anyway " or he's telling him that its " All your fault anyway ". It's hard to tell what Rocky might have actual meant in his 1923 letter, but from what I gather at it is that maybe he was wishing Freckle a good birthday and went a bit on some sort of one-off small tangent about whose really at fault for what take place at the McMurray house and what lead up to Aunt Nina finally having enough of Rocky and kicking him out of her home and her likely thinking he's a bad influence on her sweet boy and not wanting him around Freckle any longer especially when it came to his schooling.

I swear the more you look more in-depth when it comes to Rocky and aspects of his past, including him basically having been on his own since he was sixteen and been hopping from one odd job to the next as well as going from one place to another until he ends up back in St. Louis again later on is pretty real sad when you think about it. I feel like its very much deeply explains why Rocky tries so freaking hard at the Lackadaisy speakeasy when it comes to him taking on the bootlegging side of things of the business and wanting to prove himself useful to Mitzi and all. After everything he's been through thus far it makes sense.

Also the still up in the air question mark of whatever mess that happened in 1921 besides Freckle loss of his father, or when it comes to his mom illness that Rocky blames himself for and took the fall for something that happened in place of Freckle.

Whatever might happens in the next future chapters of Lackadaisy especially on the familial tensions that still lingers with Rocky and his relationship between both his cousin and his Auntie, which leaves me to wonders is how long will it take for Aunt Nina to eventually sense and finds out what her son and her 0ff-beat goofball of a nephew is truly doing for a " Job ."

How long before things between these rum-running cousin danger duo goes south? Especially when it come to Rocky on his part because I feel things for him might slowly take a turn for the worse again unfortunately.