#where there’s a will there’s a way to reinvent the wheel

[falselyfabled]

voltron unexpectedly trending in the year of our lord 2023 has triggered a disturbing realisation that I feel is my duty to project into the void

sakuatsu 🤝 klance

(dumbass constantly trying to prove himself x brooding ✨mysterious✨ loner)

[luckycaricature]

I may take a break from working on speedpaints tomorrow to tinker around with robit stuffs, see if I can get some wheels to spin.

[comicaurora]

Do you have any advice for trying to avoid ripping off other people's works in original stories? I've been stuck in a weird writers block where anything I do to try and string plots together end up just being plots of other stuff I've read. Is that a problem you've come across before?

Honestly? This might be a hot take, but just get it out of your system. Write the story that's just your three favorite plots in a trenchcoat. Any writing will make you better at writing. To me, this is the storytelling equivalent of doing frame redraws or art style challenges. Art done for practice doesn't need to be free of all influence, and in fact pursuing that total originality is detrimental to the learning process because it forces you to continuously reinvent the wheel.

In my experience, through the process of just writing what you want to write how you want to write it, you'll find both that it's easier to find originality in the execution than you expected, and that originality has very little correlation with what makes a story good. When you go to write the plot you recognize as the plot of something else, you'll probably find yourself making changes. A different character moment to highlight an overlooked concept that spoke to you, a slightly more cruel twist of fate for a character to wrangle. Little original concepts will find their way in, because having ideas is the driving motivator behind creating art. It's always there, even if it's being sneaky or uncooperative.

Most of the time, inspiration is less "this story is good I think I'll replicate it in every detail" and more "I love parts A, B and C of this story, which tells me valuable information about the kinds of story elements I find compelling, which helps me guide my own writing towards things that involve the parts I like most about A, B and C." You'll always be able to recognize your own influences, but from the audience's external perspective, the you-ness that defines your art is much more obvious than it'll ever be to you.

[uraniumbones]

For those of you keeping up with the book of Bill and it's accompanying website and the bill cypher backstory. THE PARALLELS GOT ME FUCKED UP.

Spoilers incoming.

people love to talk about the dynamic between Stanford and Bill. Sure, interesting. But you know what people aren't talking about? Stanley and Bill. Specifically referencing the website (thisisnotawebsotedotcom.com)

If you input Stanley a bunch it will eventually open a new document instead of eBay pages. The page mocks Stanley and reveals his secrets or whatever. One of the clickable options on this page is "HOW HE BEAT ME". Each time you click into this is an increasingly deranged meltdown about how it shouldn't have been possible. Calling him a "cheap trick loving, past-denying overgrown child protected from failure only by a force field of denial and shamelessness" among other things. And when further pressed accuses you of acting like "those PREACHY INFANTILIZING AUTOMOTONS AT THE THERAPRISM who are SO OBSESSED with getting me to TALK about my "FEELINGS"." After that he spirals further eventually talking about "how much pain I'm in" and only in code admitting "I can still see through the eyes of everyone I've ever..." presumably killed.

If you don't know shit about Euclydia read the wiki page on it, it's not long. tldr Euclydia is bills home dimension, which he destroyed and killed every single inhabitant of in blood and fire. He did so (accidentally?) in an attempt to show them the third dimension which (because of a genetic mutation) only he had the ability to see (with his eye). Please also note when Stanford asks about his home dimension Bill says it was"destroyed by a monster".

In the website's many documents it repeatedly makes reference to Bill's parents and how much they loved him, his home, his childhood (he wore velcro sneakers it's actually incredibly cute), the ways in which he was different and not easily accepted.

Now knowing all these things. A pattern may emerge to you. Are you seeing it? Are you seeing the patterns yet?

Obviously Bill hates Stanley because he's stupid and still he somehow beat Bill. That's annoying, maddening even. But I believe it goes beyond that. He hates him all the more passionately because Stanley reminds him of himself. The poem at the end of the Stanley password on the website summarizes it best "always dragged his family down / One mistake, disowned, denied, / only thing to do was hide." Destruction of his own family, running and hiding from his own mistakes. "Reinvent, retry, reload" trying again in a new life. "When your actions make it worse, / When they see you as a curse," Making things worse where you have tried to make them better. "Give the wheel one last spin, / Take your chips and go all in" this is what weirdmagedon was for both of them. and this is where their lives differ "And lucky stan- the rolls on black, / he got his life and family back. / His big break it finally came, / Redemption from a life of shame." AND THERE IT IS. Stanley got his family back. Bill didn't. (Which is what it seems he was attempting). Stanley got his redemption. Bill didn't.

Stanley was a lonely kid fuck up just like Bill was. And he absolutely hates Stanley's guts for it because he hates his own guts for it. And all this time they're the same, just trying to fix those mistakes, to have their family back again, to be loved again. They both have this facade of untouchable aloof levity, the same insults Bill hurls at Stanley may as well be hurled at himself. "Protected from his failure only by a force field of denial and shamelessness"? "Cheap trick loving, past denying overgrown child"? You can see Bill goes from being outraged and insulting Stanley, to denying a deeper meaning to those feelings (and calling you a therapist), to talking about how much pain he is in (seemingly over all the people he killed in Euclydia), all without any specific prompting. Just pushing. Bill is the one that connected those things. Bill hates Stanley (at least partially) as an act of self hatred. Because he has made the same mistakes and can never forgive himself for them. AND (at least partially) because Stanley is not only just like him, but now just like him if he had succeeded. Stanley got his "Redemption from a life of shame". and in so doing actively prevented Bills.

Now do you see what I'm saying about THE PARALLELS?!

[alltimefail]

Can we take a second to talk about Niko's connection to the Principal?

Because I think we all moved on a little quickly from that!

General disclaimer before we begin: this is just my own theory and my personal interpretations. <3

As a refresher, The Principal is the Night Nurse's "Superior." We see her for the first time at the end of season 1, episode 8. In this theory, I will be analyzing the potential role The Principal plays in DBDA, especially where our beloved Niko Sasaki is concerned.

A connection between The Principal and Niko is undoubtable to me for two reasons: the first reason being that they intentionally focused the camera on The Principal zero-ing in on Niko's case card, and she has a visible emotional reaction to seeing Niko's name.

The second being that, before departing, she quotes what Tragic Mick told Niko before the face-off with Esther which ultimately resulted in her death.

One popular theory I saw floating around in the first few weeks after DBDA released was that The Principal is Niko herself, and while this is a fun concept I can't get behind it because, well, Niko is "alive" at the end of the season. Yuyu has confirmed that she's the one in the igloo with the sprites, and Steve has confirmed that Niko is not dead/off the show as well. While we have no clue where the igloo is for certain, or what state Niko is in, it's safe to say that Niko has not moved on to her afterlife, so she can't be the Night Nurses' superior in the Lost and Found Department.

My theory doesn't reinvent the wheel, but I personally think The Principal could be Niko's mother.

From a non-storyline standpoint, The Principal looks to be a perfectly appropriate age to have a 16 year old daughter. From a casting standpoint, Yuyu and Tamlyn also are a convincing mother/daughter pair. I think their mannerisms (body language and expressions) are even a bit similar:

But most importantly, from a writing and storyline standpoint, Niko's mother is mentioned multiple times throughout the season but we never actually see her or hear from her - not in a phone call, a voicemail, or even in a picture in Niko's meticulously decorated, aesthetic bedroom. This is what leads me to believe that the persistent mention of Niko's mom is an example of Chekhov's gun being fired.

Emphasis here on: "If it's not going to be fired, it shouldn't be hanging there."

From the persistent plotline surrounding...

Niko's grief not just with her father's death but also with her mother who sent her to school across the world literally the day after her father's funeral to "escape the sadness,"

to the pile of letters from her mother that she couldn't bring herself to respond to,

to the response letter she finally writes to her mom but we don't learn the fate of,

to Niko telling Crystal that her mom would always say "A mother's intuition is very strong," (which could be why The Principal reacted to Niko's case card in the way she did...)

to even Jenny mentioning Niko's mom in the finale

... and so on, the writers seem to mention her as often as they can, even up to the very end. This makes Niko's mom a sort of looming figure in the narrative, a thought persistently brought back in a "Hey, remember this?" kind of way to the viewer, and that kind of intentional presence needs to serve a purpose or have some kind of payoff later. After all - if it's not going to be fired, it shouldn't be hanging there... if we aren't going to get some kind of closure regarding Niko's family, especially her mother who is still alive, it shouldn't be brought to the viewer's attention again and again.

Also, The Principal being Niko's mother would make Niko at least half supernatural being (we don't know much about her father, but considering the fact that he's dead we can assume he was likely fully human). Niko being half supernatural-being would explain a few allusive plotlines such as:

Why Angie the fish does not try to tempt Niko into the water.

Why Crystal tells Niko that she should stay behind and not fight Esther because Niko is "Just a human."

Why we don't see Niko's spirit separate from her body at any point, nor do we get Death's blue light.

How the Principal knows Tragic Mick's last words to Niko and why she quotes them to the boys who were not even present at the moment the sentiment was delivered the first time.

Starting with Angie, it's obvious why the boys are not affected by her call: Charles and Edwin are incorporeal spirits, they have no physical body and Angie's call is sent out with the goal of finding food to eat, plain and simple. Niko not hearing Angie's call, considering the fact that she's flesh and bone just like Crystal, is noteworthy to say the least. After all, we can safely assume Angie's call can beckon more than one person at a time because the group is worried about the populated kite festival becoming an all-you-can-eat buffet, essentially. They need to figure out the case and only have 24 hours to do so before area is filled with bodies for Angie to tempt into the water, that's the whole time-constraint conflict that adds pressure to an already delicate situation. The first time Crystal hears the call she is with Charles at the top of the lighthouse with Niko nowhere near Angie, but the second time Crystal hears Angie she and Niko are standing literally right next to each other. Niko then confirms that there's "No voice" coming from the water after they save Crystal, but considering how Niko's grief surrounding the death of her father is such a huge part of her characterization - in the same way Crystal not remembering her parents is critical to hers - it makes no sense that Angie wouldn't try to lure in Niko as well by using the voice of her deceased father.

But let's consider what we learn from the Night Nurse: trans-dimensional beings don't die when they're swallowed by a giant fish, so they do not satiate Angie's desire for food. This is why everyone assumes Kashi is not human because he, like The Night Nurse, is alive inside the stomach of a fish. So if Niko's mother is like The Night Nurse, a trans-dimensional being, that would explain why Angie's call would not effect Niko, because Angie just wants to eat... and ghosts and immortal beings (even if only semi-immortal) do not count as food.

As for Crystal telling Niko to stay behind because she's human: this line felt so... strange to me the first time I watched the series. After thinking about it though, I couldn't help but compare it to Charles' line in the pilot episode right before they enter Esther's house. He tells Crystal that "She still has a life to lose" and they want to "Protect it while they can," and while the sentiment is the same, the dialogue feels vastly more natural and understandable being delivered from the mouth of a ghost - a dead 16 year old boy - to an alive 16 year old girl. On the contrary, Crystal citing Niko being a human when she is also alive and very much a human just as capable of dying as Niko is, feels out of place. There's simply no need for Crystal to clarify that Niko is a human as the audience has already assumed that and been given no reason to believe otherwise. It's a small detail, but the only way for this line to make any sense is if it serves an ulterior motive - perhaps with the intention of getting the audience's gears turning and/or serving as the framework for a future plotline. Again, if Niko is related to The Principal, this would make her half supernatural at least... so, ironically, less human that Crystal is and less likely to face a typical human death...

which also might explain the "Outlook not so good" on the Magic 8-Ball. It's not the worst response you can get, it's not a critical failure or natural 1 in DnD so to speak... but it's also not great. Niko's not alive, but she's likely not as she once was either (but that's an entirely different can of worms).

As far as explaining how The Principal would know what Tragic Mick told Niko, I feel like an infinite trans-dimensional being who works as a higher up in the afterlife's Lost and Found Department would have no issue accessing their own child's file. We know the Lost and Found Department is nothing if not rigid, specific, and detail-oriented, and the files they have include the details of every child's death - it isn't so far-fetched to believe that Niko's file (and all the files, really) would also include insight on what Niko's last day on Earth (interactions and such) were like. Not to mention the fact that The Principal tells the boys she can pretty much do "Whatever she likes..." so she's powerful, she has resources and abilities that might even surpass those of the Night Nurse (who can literally dig around in people's minds and choke people with a snap of her fingers). If she is Niko's mother and she just lost her child and husband in a short amount of time, it would make sense for her to allow Charles and Edwin to keep doing what they do because they are helping people like her daughter, and maybe they could help her daughter again.

Lastly, I can't help but acknowledge how there is some kind of recognition, spark, or tenderness on The Principal's end when she first appears before the boys. I've seen other people say they feel similarly, almost like she seems disappointed or a bit taken aback when they ask who she is. She especially lingers on Edwin for a beat, and we all know how important Edwin was to Niko! Again, this is all just my own theory, but if The Principal is Niko's mother, her sparing the boys of being taken by the Lost and Found Department with the tenderness she does - by using Tragic Mick's words, the ones offered alongside a good luck charm (the last kind act toward Niko before she died) at the boys who loved her daughter and saved her once and could very well save her again - feels tear-jerkingly poetic to me. The Principal seems choked up before she goes, almost as if she's repaying them a favor they didn't know they were owed - the boys saved Niko once, and now that good fortune is coming back around to them.

So what would that all mean for next season? Where might Niko be? Who knows for sure! Perhaps she is imbued with Dandelion Sprite magic, or is currently an "Undead," a zombie, like the kind mentioned in the Night Nurse's book in Episode 6... but whatever she is, I have a feeling the boys and Crystal will find her again.

But all this to say, whether The Principal is Niko's mother, a reincarnation of Niko's father, an estranged aunt or family member we haven't met yet, a complete rando with invested special interest in Niko's case, or shit - even Niko herself somehow - I can confidently say that episode 8 won't be the last time we see The Principal, and that we're meant to draw a connection between her and Niko.

Now we just need a season 2 so we can get some answers @netflix!!!!!

[thealexchen]

thoughts on LIS: Double Exposure?

This is probably gonna be my hottest take in awhile, but: I deeply dislike the idea of an official LiS1 direct sequel game existing. Excluding all my thoughts on the gameplay, story, Max's character, etc. I don't think a game like Double Exposure is necessary.

This isn't a new take either; back in 2020 I made a Reddit post saying I was glad we never got a continuation of Max and Chloe's story, because in order to have a plot, you have to have conflict. And to have conflict means your characters are forced to change or struggle in some way, and I simply wasn't interested in seeing that again. I never even read the comics. As long as Max and Chloe's future existed only in the fanbase's collective imagination and not in an officially licensed game, Pricefield could be as happy as I wanted and I wouldn't have to witness DN or D9's version of canon.

A lot of fans, including myself, are also confused and upset as to where Chloe could be in Double Exposure. Even if Chloe winds up having a surprise role, it would likely be too logistically difficult to write Chloe into one version of the story and not the other. Either way, DE is strongly pointing to Chloe no longer being the deuteragonist. If D9 was going to make a direct sequel with Max and Chloe, I could at least be intrigued by how they might write their dynamic and how they'd use Max's power in new and interesting ways. But instead there's... none of that. Chloe's nowhere to be seen and Max can't time travel anymore.

On a narrative level, Max and Chloe are the heart of the original Life is Strange. They represent the game's central relationship, and their very first interaction (Max saving Chloe's life) kicks off the entire story. Throughout the story, their dynamic advances the plot and mutually motivates their character arcs. You can't have LiS1 without either Max or Chloe; the story simply wouldn't exist without them. Now in DE, they don't even seem to be in each other's lives anymore. It's true, this series is meant to reflect universal feelings and experiences, which could include breakups, but the romantic catharsis of Pricefield as canon soulmates who defied time and space itself to stay together forever is something you can only get from the beauty of fiction. To jab DE's story with a dose of reality and go, "Eh, they grew apart. Shit happens," totally undermines everything the Bae ending stood for.

On a technical level, Max's rewind was an objectively brilliant game mechanic. LiS1 arrived onto the scene after Telltale had paved the way for the resurgence of choice-based, episodic games, but LiS1 totally reinvented the wheel by giving the player the option to go back and weigh each option before continuing, essentially save-scumming in-game. But the right choice was never that easy to determine, and Rewind brilliantly complemented Max's character arc of overcoming her indecision and learning to live with her choices. Not to mention, you could also use Rewind to solve puzzles, instead of the endless fetch quests the later games had. No other LiS game since then has given the player that kind of agency and interactivity. LiS2 had telekinesis, but the player couldn't use it, only Daniel. D9 tried with Backtalk and Empathy, but Max's Rewind was truly the narrative and gameplay jackpot that they haven't been able to recreate since.

So if you take away one half of the central relationship that made the first game so memorable, and the supernatural power/game mechanic that made it so fun to play... why even bring Max back at all? It just feels like D9 threw away their golden opportunity to build upon the major selling points of the first game and are only relying on name recognition of the Life is Strange "brand" and Max Caulfield.

What upsets me most of all about a direct sequel existing is that it proves that Life is Strange, as a series, now stands more for profits than originality. Life is Strange will always be an IP meant to make money for Square, I know that, but back when LiS1 was just a brand new episodic game, it stood out for how different it dared to be. In a landscape saturated with shooters, sexualized female characters, and casual misogyny, LiS1 instead featured a teenage girl in a contemporary setting that took her seriously and made her the hero of her story. Before it was a franchise, LiS wasn't concerned with the bottom dollar; it was a piece of art that just wanted to tell a thoughtful, unique story.

Whether you love it or hate it, Life is Strange 2 was an insanely risky follow-up to Life is Strange that refused to rely on the convenience of a direct sequel because Dontnod stuck to their artistic vision. Meanwhile, all of Deck Nine's games have leaned on the first game's following to generate interest (BtS being a direct prequel, TC bringing back Steph, and Wavelengths expanding on Steph's connection to Chloe, Rachel, and Arcadia Bay). In other words, all of the subsequent LiS games by D9 have played it very, very safe. It's worked like a damn charm because there are still elements I love about each game, but the basic principle is nostalgia-baiting fans. It's just that now, Double Exposure isn't hiding that nostalgia bait at all anymore and prioritizing profits over telling a unique story. It's sad to see that LiS has strayed so far from its risky, daring, original, and unique artistic beginnings.

Before I end, I'll say that I can't be too cynical about it all, nor do I want to be. Because I can't deny how much joy this whole series has brought me, too. LiS was what got me into narrative adventure games and pushed the boundaries of what a video game could be. If nothing else, I am truly thrilled that Hannah Telle got the chance to play Max again. D9's always been great at maintaining relationships with their actors, and the casts of their games always have consistently great chemistry. Getting recognized by Erika Mori on my own blog is still unbelievable and speaks to the amazing community that LiS has built. As you can see, I'm still posting and reblogging stuff about Double Exposure. And while I don't see myself buying or playing this game for myself, I know it'll keep all of us talking for awhile, and I still live for a good discussion.

Thank you for asking! And thank you for reading.

[definitelynotafurinasimp]

Chiori and Yae with a reader that tries to slack off all the time

characters: Chiori / Yae Miko x gn!reader (separate)

a/n: Chiori is such an asshole and I absolutely adore her. She’s like if they gave Stannis Baratheon hair and a second sword.

(I wrote this like... 2 months ago and finally finished it. A total henry move to write 90% of smth and then let it rot in my WIP folder for months, if you ask me.)

Anyway, hope you enjoy!

Chiori

While the two of you matched when it came to radiating calm energy, the way they came out in quite contrasting ways. Where the Seamstress worked hard at following her passions, you were easygoing, where she was direct and brutally honest, you were charming and always said what the other party wanted to hear. Where she was Chiori, you were you.

So when you once again found yourself in her Boutique, chatting away with customers and somehow managing to make them spend more than they had planned, only to up and vanish from one moment to the next, Chiori couldn’t help but feel like she had an inkling of an idea to as were she would find you.

“What are you doing here?”, Chiori’s voice suddenly rang out, waking you from your slumber as you slowly looked up at her, your eyes still half closed and yet still managing to make out the vexed look on her face.

“I was taking a small break. Do you need me for something, Chiori?” you asked in a completely innocent tone, an unwavering smile plastered on your face as she stared you down before signaling to the once locked door.

“And where did you get the keys for the room?”

“They were in the door, so I let myself in. Oh- Was I not supposed to go here?” You realized with widened eyes, glancing between her and the door before shooting her an apologetic smile.

“Yeah no, don’t do that again. The next time you want to take a nap, do it at home”, came her response almost immediately.

Putting the whole “sneaking off and going into a locked room to take a nap away from people” situation aside, what annoyed Chiori even more was how impossible to read you were. If she was sure you were lying to her, she’d have thrown you out long ago. Were you really clueless enough to let yourself into a room or were you simply playing dumb? 

“Ugh. If you want to stand around and do nothing, come with me. I’m in need of a model right now.”

Yae Miko

While you were certainly far from being as lethargic as a certain ninja-girl loitering around the shrine every so often, you had your moments of supreme languidness. And while there were times she felt the urge to help you out by giving you a bit of motivation to get your day started, more often than not, Yae found herself amused by the lengths you took to go unnoticed by your superiors.

“Oh my, you look exhausted. You must have been working hard to get all of this paperwork finished. I do hope I’m not being a nuisance right now”, Yae observed as she entered the room, her voice both soft in nature while masking her mischievous intentions, letting herself into your office only to see you half-slumped over your desk with finished paperwork surrounding you.

That being said, Yae had no doubt it didn’t take you as long as your dramatic rendition of an exhausted warrior would suggest, considering the clever ways you found to make your work easier. So often had you inadvertently impressed her with your way of working that she wouldn’t put it past you to reinvent the wheel if it could shave off a few seconds from your work.

“No, I just now finished my work”, you were quick to soothe her worries, and yet by the way you rubbed your eyes awake, the Kitsune couldn’t help but doubt your words.

As expected, you had learned from your mistakes. The last time you were caught finishing early, you got a few sentences of praise and an extra load of work, the way your self-satisfied smile turned into one barely holding on as you tried to mask whatever emotions washed over you on the inside, being exactly the kind of subtle reactions she loved to watch people go through.

“You should know that you are truly a commendable employee. So, to reward you for your hard work, I should give you a promotion”, Yae spoke before shooting you a small smile as if to praise you, and yet by the time her words registered in your brain, your mouth was left hanging wide open.

“Thank you, but that’s really not necessary. I can think of a dozen people more suited than me-”

“You’re selling yourself short. I’m confident you’re more than qualified for the position”, Yae quickly cut you off, her expression unchanging as she slowly turned around. “Or… Is it that you do not want more work?” She added as her smile grew wider, barely hiding her enjoyment anymore.

“No… thank you”, you responded with a meek sigh, realizing the futility of fighting it.

Once you’d take a closer look at your new privileges and responsibilities, you’d surely realize that she made sure most of your new workload wouldn’t take nearly as long as your current one if handled in an intelligent manner, and yet, when she saw your current reaction, a part of her found herself hoping you wouldn’t realize anytime soon.

By the time Yae reached the door however, she found herself halting in her tracks, quietly humming to herself as she seemed to think about something before finally turning to face you once again.

“I do suppose you did work well today. Take the rest of the day off.”

[sabertoothwalrus]

How did you get so good at drawing such expressive bodies/faces??? tell me your secrets!! (But srsly your skills are amazing)

AAAA THANK YOU!!

I think my initial inspiration was about 10-11 years ago watching Adventure Time and finding Rebecca Sugar’s boards. Sometimes I get a little frustrated because she gets so much more notoriety than the other very very amazing AT boarders, but….. her expressions man…. she was always able to convey so much with SO LITTLE. (SU’s expressions are on another level of course, but I think AT’s are just so impressive to me because they’re dot eyes)

But the thing is!! I’m also a fan of deadpan. Which AT also does very well. It’s tempting to want to do BIG, extreme expressions at every moment, especially in comedic comics, but you really don’t need to. I find that characters often feel more expressive if you reel it in more often. That way, when you DO have bigger expressions, they FEEL bigger!

for example, a panel where the contrast between big and subtle expressions sells the contrast:

I don’t really,,,, know exactly what I do that works, ?? I kind of just like, think of the emotion I wanna convey, make the expression, think about what my face feels feels like, and try to convey that. Using a mirror helps!! You’ll feel a little stupid but it’s funny.

some misc expression tips:

Definitely prioritize eyebrows, eyes, and mouths!

Noses aren’t as important BUT flared nostril can totally sell an expression, so it depends!

Remember that your upper jaw is stationary, and your lower jaw can move, and then your lips and cheeks can move all around that!

Just subtly changing the placement of eyelids and location/size of irises can completely change an expression

Don’t be afraid to make your characters look weird or stupid.

Don’t reinvent the wheel! Take reference from different media you like that stylize expressions in different ways, and find what works for you. I take a lot of inspiration from AtLA

Again, NUANCE! Like, when most people are sad, they do their very best to try NOT to cry. People hold things in. Sometimes what characters don’t say can speak louder than what they do.

some expressions I’ve done that have varying levels of nuance:

Also framing!! You can use the composition to help project how the character feels:

As for body language!

Having a better sense of three-dimensional form and anatomy isn’t necessary, but it sure helps a lot

Hands!! I have adhd and my family is italian so I use my hands a lot when I talk. But even still, most people don’t just leave their hands hanging loosely by their sides. People cross their arms and fidget with their zippers and put their hands in pockets.

Head, neck, and shoulders. If you can master the foreshortening of these overlapping shapes at most angles, you will be very powerful

Hips & feet!!!!! People RARELY stand straight with both feet flat on the ground with even balance. Most people will shift their weight to one hip, leaving one leg looser and at an angle. It also helps to practice perspective, because people also rarely stand with their heels lined up side by side. One leg may get kicked foreward or loosely bent backwards. I sometimes cross my legs when I stand.

Ultimately, if you want more lifelike expressions and poses, study from life!! Don’t worry about your drawing being “good” or “bad”, instead think about what can make it successful. Ask yourself, “is this conveying the expression I want to convey?” and if it’s not, figure out what you need to change to get it there.

[genericpuff]

Webtoons Is Making Moves - So Should You.

We all saw it coming ages ago and now it's finally here. There's no more beating around the bush or doubting if anyone is "reading into it too much", Webtoons' use of AI in its more recent webtoons is not an accident, not an oversight, but by design, it always has been. And I guaran-fucking-tee you that the work that already exists on the platform won't be safe from Webtoons' upcoming AI integration through scraping and data mining. Sure, they can say they're not gonna replace human creators, but that doesn't change the fact that AI tools, in their current form, can't feasibly exist without stealing from pre-existing content.

Plus, as someone who's tested their AI coloring tools specifically... they're a long, LONG way away from actually being useful. Like, good luck using them for any comic style that isn't Korean manwha featuring predominantly white characters with small heads and comically long legs. And if they do manage to get their AI tools to incorporate more art styles and wider ranges of character identities... again, what do you think it's been trained on?

Also, as an added bit that I found very funny:

Um, I'm sorry, what fucking year is it? Because platforms like WT and Tapas have both been saying this for years but we're obviously seeing them backpedal on that now with the implementation of in-house publishing programs like Unscrolled which have reinvented the wheel of taking digital webtoons and going gasp physical! It's almost like the platform has learned that there's no sustainable profit to be had in digital comics alone without the help of supplementary streams of income and is now trying to act like they've invented physical book publishing!

"The future of comic publishing, including manga, will be digital"??? My brother in christ, Shonen Jump has been exclusively digital since 2012! What rock have the WT's staff been living under that they're trying to sell digital comics as the "future" to North Americans as if we haven't already been living in that future for over ten years now?? We've had an entire generation of children raised on that same digital media since then! This isn't the selling point you think it is LMAO If anything, the digital media market here in NA is dying thanks to the enshittification of digital content platorms like Netflix, Disney+, and mainstream social media platforms! That "future" is not only already both the past and present, but is swiftly on its way out! Pack it up and go home, you missed the bus!

Literally so much of WT's IPO pitch is just a deadass grift full of corporate buzzwords and empty promises. They're trying so hard to convince people that their business model is infinitely profitable... but if it were, why do they need the public's money? And where are all those profits for the creators who are being exploited day after day to fill their platform with content? Why are so many creators still struggling to pay their bills if the company has this much potential for profit?

Ultimately even their promised AI tools don't ensure profit, they ensure cutting expenses. The extra money they hope to make isn't gonna come from their content generating income, it's gonna come from normal people forking over their money in the hopes that it'll be turned around, and from Webtoons cheapening the medium even further until it's nothing but conveyer belt gruel. Sure, "making more than you spend" is the base definition of "profit", but can we really call it that when it's through the means of gutting features, retiring support programs, letting go editing staff, and limiting resources for their own hired freelancers who are the only reason they even have content to begin with? That's not sustainable profit or growth, that's fighting the tide which can and will carry them away at any moment.

I'm low key calling it now, a year or two from today we're gonna be seeing massive lawsuits and calls to action from the people who invested their money into WT and subsequently lost it into the black hole that is WT's "business model". This is a company that's been operating in the red for years, what about becoming an IPO is gonna make them "profitable"? Let alone profitable enough to pay back their investors in the spades they're expecting? The platform and its app are already shit and they're about to become even worse, we are literally watching this company circle the drain in the modern day's ever-ongoing race to the bottom, enshittification in motion, but they're trying to convince us all the same that they're "innovating".

Webtoons doesn't want to invest in its creators. We as creators need to stop investing in them.

[mkpersephone]

I saw this on Qura about Professor X's character assassination in modern days comics and it fits perfectly:

it's pure character assassination. They've played with this idea before where Xavier's suppressed desires run amok for a while making him evil, or like Onslaught, the writers use the first excuse to make him an outright villain and plot device for "Heroes Reborn". Even Wolverine renaming the school the "Jean Grey School for Higher Learning" is one of the methods of trying to replace Xavier or rewrite his place in the hierarchy or question who is more 'saintly'. But when push came to shove the wheel would turn back because what actually sells (and is popular) is the classic, wheelchair-bound, parental, wise, and caring Professor Charles Xavier. I think they do this in these comics now because comics are dying, and the current writer wants these classic characters parroting their own thoughts and beliefs... even if it becomes the character's epitaph.

Honestly, modern writers DO NOT know how to try to build up a character or idea without tearing something down. And Xavier is always an awesome target because the ideal he stood for when originally created, (just like you pointed out in your answer) is one that ideologically is being opposed by today's progressives. There is no fight for equality, there is only ever varying levels of power and the struggle to have more. Having a straight white male who is a benevolent father figure to the wayward lost souls and moral center to an adoptive family unit is out of the question for modern writers. If you want to destabilize and re-write something in your own image, you attack the root, and Professor Charles Xavier is the root of the X-Men.

This whole story is WAY out of character for Xavier, but in their defense, I would say ever since Krakoa, each writer writes the characters as how they want to interpret the character. And this isn't the first character they've assassinated, including Moira McTaggert. Today, there is no Jim Shooter anymore trying to wrangle the whole bullpen and fighting the writers on bad ideas. (And to be fair, not all of his ideas were good and the writers fought him plenty, but the writers at the time were outstanding pros with long track records of great stories, not twitter account holders on their first comic who were given a job based on their race or sexuality).

When you stop knowing how to make great new characters, (heroes and villains alike), then you're stuck trying to reinvent the characters you have. That's been X-Men's problem for almost the last 20 years; when they make new characters, they're not really good and no one really cares. That leaves using the current stable... over and over and over again.

[rosemallowss]

some thoughts

Obviously, people have probably analyzed the hell out of this poem already, or it's incredibly obvious, but I just cannot get over the parallels between Bill Cipher and Stanley here so here are my ramblings for myself when I originally read the poem.

As we learn more of Bill's backstory, the hatred he has for Stan goes deeper, not just because Bill is upset that a "lower life form" has defeated him, but because he's deeply envious that the both of them "always dragged his family down", "couldn't outrun life's regrets", and yet only one of them got a happy ending: reunited with a family who loves him despite his mistakes, able to reverse one of his own deepest regrets, ie. pushing Ford through the portal after just getting him back. Bill likely always dragged his family down with his ability to see the third dimension, as the book and website implies that no one in Euclydia were exactly fond of his abilities, nor did they take him seriously, and they tried to quell his power. (He's basically like Viktor from The Umbrella Academy, but I digress I have not seen the new season). "One mistake, disowned, denied", their paths differ here, but Stan's mistake- ruining Ford's school project accidentally, and Bill's- massacring an entire dimension in the process of attempting to get them all to see what he sees.

We know Stanley's whole life of hiding and changing his identity. Bill goes to "reinvent, retry, reload" throughout dimensions.

"A girdle, eyepatch, fathers fez, / 'I'm a new man!' so he says,": With new info from the website, we can also guess that Bill's top hat, where he keeps the molecules of Euclydia in, once belonged to his father. They both "couldn't outrun life's regrets," and both are con mans in their own right of course, Bill is sketchy and makes deals to manipulate people. He’s a new man once he takes his dad’s top hat!

"When you've lost track of your lies / When the poison starts to rise / When the walls are closing in / When its clear you cannot win / When your actions make it worse / When they see you as a curse," sheesh, Bill is really projecting here. Even his lies are lies. It's funny how Bill really sees himself in both of the Stan twins. With Stanley he seems to project what he hates most about himself onto him in terms of mistakes, failures, and permanently altering his and his loved ones' lives forever, again showing why he despises Stan the most. Despite all of that, Stan got the life that Bill couldn't get back. With Ford, they both have a genetic abnormality, and level of genius and personality that no one else could relate to, making them both outcasts.

"You think you left the past behind / But trust me / I'm still on your mind." By the way, if Bill was still in his mind while his memories were getting erased, and Stan is getting those memories back, that implies that Bill can reform whole again, right? But anyway, these last few lines don't seem to apply to Stan as much as it does to Bill. His dead universe is always on his mind no matter what. Bill's story is so fascinating to me. He's been my favorite villain since I was eleven, so to expand upon him feels awesome. Book of Bill coming out has made me feel like a giddy little kid again who was screaming when she found out that there was a secret flashing of an image once the GF intro ended.

Stanley Pines, the conman clown,

Always dragged his family down.

One mistake, disowned, denied,

Only thing to do was hide.

One way out: the open road.

Reinvent, retry, reload.

A girdle, eyepatch, fathers fez,

"I'm a new man!" so he says

Couldn't outrun life's regrets,

Just kept placing bigger bets.

Changed his haircut, switched hotels-

Truth is just whatever sells.

When you've lost track of your lies,

When the poison starts to rise,

When the walls are closing in,

When its clear you cannot win,

When your actions make it worse,

When they see you as a curse,

Give the wheel one last spin,

Take your chips and go all in,

And Lucky Stan- the roll's on black,

He got his life and family back.

His big break, it finally came,

Redemption from a life of shame.

You really think you won the day.

You packed your bags and sailed away.

You think you left the past behind.

But trust me

I'm still on your mind.

[drarryspecificrecs]

2023.12 ~ Top 5 longest fics posted on AO3

1. The Man Who Forgot by @slightweasel [E, 250k]

►After ten years of marriage, Harry forgets. The more things change, the more Draco Malfoy is still up to something.

2. Conjuring Cupid by @sugarplum-senpai [M, 89k]

►Two decades after Hogwarts, Harry's toy shop is ready for the busiest season of the year. Bolstered with an ever-growing work list, plenty of tea, and a sentient puppet always looking for mischief, his life is full. Still, at the end of the day, he’s lonely, and as the boy who lived his search looking for a match is disastrous. When his friends register him for an anonymous dating service, he’s unconvinced. Then again, maybe not knowing each other’s faces right away might just give him everything he’s longing for.

3. City of Quartz by ladygoodman [M, 57k]

►[...] It's 2012, and the granddaughter of Celestina Warbeck is pronounced dead at her home in Los Angeles. Auror Harry Potter finds the case file a little too familiar with other celebrity deaths cropping up all over the UK. The Dark Mark is making an appearance on young witches and wizards as well. There are only a few former Death Eaters who haven't been locked away in Azkaban, and Draco Malfoy is one of them. On that suspicion, Harry follows his tracks all the way to sunny Los Angeles, where he's faced with an entirely new caliber of celebrity culture. Who is Caelum West? How is he mixed in with all of this? And why does he look exactly like Draco Malfoy?

4. Nervous? by @invisible-nerd-girl [T, 46k]

►Harry gets drunk at a party, only to remember a game he over heard muggles talking about. He ends up playing with Draco who doesn't back down. Much to his surprise, it doesn't end there.

5. If I win, lose, or draw, there’s a winner in us all by MystMelody [E, 41k]

►Sixteen years ago, Harry and his England team suffered World Cup heartbreak following an agonisingly close loss at the hands of a single, incorrect umpiring decision. Many years and two World Cup victories later, and Harry is (mostly) sure that he has moved on. As Harry’s final tournament before retirement looms, he is confident that his team have what it takes to lift the trophy a third time - no matter what anyone else might say. Especially Malfoy, who has reinvented himself as a successful Quidditch reporter and seems determined to write as many awful things about the team as possible. [...]

—

※ Word count: 1k ~ 15k

※ Word count: 15k ~ 40k

The Lost Boy by @youhavemyswordandmybow [M, 17k]

Dark Artistry by @sightedkarma [E, 26k]

The infallibility of unicorn hair by mindor [E, 18k]

Just Exist by Kendra_Storm [T, 32k]

More than a Legend by @romaine2424 [M, 17k]

New Beginnings Taste Sweet (Daffodils) by corazon_san [T, 18k]

O Come, All Ye Faithful by toomuchplor [E, 19k]

Secrets Undone (the Lightning Order) by @xx-thedarklord-xx [M, 39k]

Spoils of War by instead_of_sleeping [E, 30k]

What happened at Christmases by ProseMary [?, 15k]

You're Scrooged, Draco Malfoy by @fencer-x [M, 27k]

—

Ongoing Fest/Exchange

※ Fics would be listed elsewhere.

25 Days of Draco and Harry 2023 | @slythindor100

Frottage Cottage FFF

H/D Erised 2023 | @hd-erised

Harry/Draco Owlpost 2023 | @hdowlpost

Wheel of Drarry Mini-Exchange Secret Santa 2023 | @drarrymicrofic

Dark Festivus Gift Exchange 2023 | @harrypotterfesthub

Fanatical Fam Fic Exchange 2023

HP Festival of Stars 2023 | @hpfestofstars

HP Soulmates Secret Santa 2023 | @hp-soulmates-secret-santa

HP Yuletide Bliss 2023 | @hp-yuletide-bliss​

Yuletide and Mulled Wine Fest 2023 | @yuletide-and-mulled-wine

2023 Harry Potter Trans Comfort Fest | @magicaltrans

[just-antithings]

I know “puriteen” is a controversial term but I think a really good example of what that behavior actually entails is seeing a 15 year old trying to tell an autistic adult who made a meme about being sexy to "stop sexualizing autism" when in reality autistic adults are already treated like (adult) infants who can't possibly know their own feelings or emotions

It's ableist as hell and already a commonly held belief, especially by conservative groups, but here, this 15 year old/9th grader was likely assuming they were fighting against the “fetishization” of a group

Or as another example, there’s a different case where the poster was also 15 and who called out a physically disabled artist for daring to try sexually empowering himself through art in a way that made them uncomfortable, which resulted in the artist being bullied by thousands and shamed off of social media.

Just the act of combining sexuality with a minority group becomes a heinous act of “fetishization”, even if the person is from said group. They think they're being helpful when in reality they're pushing regressive and abusive anti-sex ideas they don't understand on strangers

So here you have middle- and or highschoolers harassing adults about their own sexuality when they shouldn't be talking to them about those things at all, and at the same time they’re spreading harmful attitudes and misinformation amongst themselves while thinking they're the good guys

That's why it's so harmful, and why so many people are making a stink about it. It's not safe for either party, only contributes to abuse, and should not be happening at all

Also this behavior basically works to turn the predator narrative on it's head: “This marginalized person who was minding their business was fetishizing themselves so THEY'RE the predator who's abusive and dangerous to others; not me for directing a hate mob their way.”

That's why this behavior is so dangerous to people who are either queer/LGBTQIA+, disabled, neurodivergent, sexual survivors, or mentally ill etc. because those people are already disproportionately abused and framed as predators for simply existing as themselves.

This behavior does nothing to challenge or topple abusive institutions but actually upholds them by offering nothing new; just reinventing the wheel of oppression and abuse in the name of “they don't know what's best for themselves, I know what's best for them“

👆👆👆👆

[madfantom]

OLD - NEW I wanted to continue the comic "7 march 1984". It's funny, but I decided to look at what day of the week March 7, 1984, and missed by one day, because at the beginning the events take place on Thursday, and in monochrome part. Fritz remember what happened on Wednesday So the comic now named "8 march 1984" I had markings on what should be next in the plot and I wrote the text, but did not make a sketch and therefore looked the comic to remember how I drew the Bullies and the missing kids. As a result… well…it looked too bad, so I decided to redraw this squalor. There are too many mistakes in anatomy and this background…uh…colors too strange and dead awful. And I've already redraw the first frame with new coloring way. I also changed Sofia's dress because this strange orange with a green stripe initially seemed strange. I decided not to reinvent the wheel and will return to the classic colors for Chica and her humanizations

Old- New But now she looks like Susie because of polka dot. But this is the 80s. The polka dot pattern should be in fashion...?

I'll continue with the rest later... Uhhh Fritz and Jeremy looks so bad at coloring page. Basically, the problem is that the first pages are a scan from a sketchbook where I made line and in order not to waste time, I just cleaned and painted in digital. So we will have to redo some of them to a greater extent, some to a lesser extent. Also, I started a sketch of the next block of the comic . There will be more of Michael. William will appear after the block with Michael, so it won't be soon. For those who reading all this, I will say that Sofia weaves friendship bracelets and the one that Jeremy's hand is her gift. Gabriel also has one and Fritz has one on his backpack. And I changed the pillow on which she lies simply because the reference to the DJ does not make any sense yet because the Circus animatronics does not exist yet. And she took this pillow from Fritz. Fritz bought it in the prize corner for the tickets that Michael pulled out of the arcade machine with his father's key. One stolen key from father's desk and they are the kings of tickets

[askagamedev]

How much code is reused from game demos sent to publishers? Since developers don't have much time to create a good architecture at first and have to rush things, do they have to rewrite things from scratch once it gets in production?

The most common answer in all of game dev is always "it depends". Most game development falls along a spectrum with one extreme end being "well-oiled machine" (i.e. a project where almost everything is already well-established) and the opposing end being "no idea where they're going and holding on for dear life" (i.e. everything is new and vision/direction is constantly changing). Qualities like clarity of vision, team leadership, and total team experience will determine where on this spectrum each project falls.

If the development process is disciplined and things are proceeding to plan, the demos we show to the executives are not far removed from the final versions we release to the public because things are proceeding as expected. The better-established the game and its feature set, the easier it often is to develop. Franchise games like Madden, COD, or Assassin's Creed, or long-running games like World of Warcraft have a well-established formula, very experienced teams, and a deep tool chest that allow games and game content to be built very quickly and efficiently. They are well-oiled machines that don't often have to reinvent the wheel because they've been using and improving on that process for many years already. They know exactly what they are building and are very good at delivering it. Any demo they build to show off work in progress will be very close to what will be shown in the final version of the game. Very little work will need to be redone.

If development is troubled and the team is having difficulty hitting their goals and milestones on time for whatever various reasons, then the demos will reflect that. Most troubled development executive demos tend to be smoke and mirrors, with a lot of hacks and demo-exclusive assets that are held together by bubblegum and a prayer. These kind of demos can cause the team to enter into a death spiral because cobbling a bunch of hacks together for a demo actually puts the team even further behind schedule because we can't use those kind of hacks in real production. This means that these teams need to build almost everything twice (at least) - a hacky rushed way for the demo and then the "real" way. They constantly need to "catch up", but the hacks they put in place often cause instabilities and [technical debt] that must be addressed later on, which puts them further and further behind. This is commonly known as development hell.

These are, of course, the two extreme ends of a single spectrum. Most game development projects fall somewhere along that spectrum. More experienced and established franchises lean towards the "well-oiled machine" side because they've had all the bad practices beaten out of them over the years. Most new IP and experimental gameplay tends to lean more towards the wild-and-crazy side of the spectrum, because there are too many [unknown unknowns] on projects like that. If you ever find yourself repeatedly behind the 8-ball crunching to put together many demos in a row with lots of hacks, you may wish to consider parlaying the firefighting skills you've learned into a job elsewhere.

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[mbta-unofficial]

So you want to fix ya City, do ya?

Local activism works better and faster than any other kind, because you don’t need to go as far to get results.

If you want to understand how to make change, here are some steps.

1. Pick a Lane

Your energy is finite. One issue that gets the lions share of it will make way more difference than a lot of blogging and not a lot else about everything. Whatever your lane is, try to pick it thoughtfully and stick with it. A local issue will be way more moveable than a remote one, but the internet can be used to raise money for anything so it doesn’t need to be next door.

You’re gonna worry about other stuff. That’s ok. Let someone else handle it.

2. Lay of the Land

You are not the first person to look at this problem. Organizations exist to take this on, and the knowledge they have is indispensable to your goals. Your first step should be to be to find them: you don’t have to reinvent the wheel here. If you have a local newspaper, read it. If you don’t, go to your city’s reddit page and see where they get their info.

All Cities have an MPO or Metropolitan Planning organization. These are non-profits (usually) who advise the government on a variety of issues. Sign up for their newsletter. Find out when their next meeting is. Go.

Your issue will probably have an activist council, such as the MBTA ROC for transit advocates. Sign up for their newsletter. Find out when their next meeting is. Go.

Your city will likely have public meetings on the subject you are interested in. Find out when they are. Go.

If these aren’t relevant to your issue, you can go find other sources of information but you should try to find

a) a place where you can be in a real room with real people, or at least a zoom room. Watching videos and posting doesn’t count. Twitch streams are borderline, more than 200 or so viewers is just noise.

b) A place with a variety of ages. Old folks know things. they’ve been around the block. Young people have fresh perspectives and lots of energy. A room with just one is unlikely to produce a good plan of action

c) A place with racial and gender diversity. Boys’ clubs are common in politics, as are white only conversations about politics. The city is for everyone, and if you don’t have a diverse movement you will inevitably cater to the interests of your most powerful ally instead of helping everyone.

If you can’t find a meeting that meets these criteria, see if you can change the meeting that exists before starting your own. Institutional weight is invaluable and starting from scratch is possible but a challenge.

When you are at these meetings, do not worry about not understanding technical language. Take notes (or don’t) and google later. You are there to see, and also to be seen, because if you consistently attend public meetings you will recognize the same people there, and they will recognize you. Ask questions if you are given the opportunity but remember that you don’t need to understand everything right away and you will learn more by listening than by guessing.

You are there to make friends and learn, because you can’t do it alone.

3. Planning an action

If you have an idea for something that would help your cause, write it down. Then find out if someone else has already done it. (They almost certainly have.)

Make a list of steps. Ask your new friends about the steps. Revise your list of steps based on that feedback. You should do this at least once, no first draft is perfect. Assess how feasible the steps are. Replace any step that is impossible with an possible alternative. Give yourself twice as much time, money, and help as you think you’ll need. Review your steps.

Start stepping.

Be prepared to throw the steps out, but know that if you do because you had to, you will still have the time, money, and support that you budgeted. If you have to throw the steps out, make new ones. Keep going.

4. Post-op

You did it! You made it to the end of your steps. Get your friends to assess your work for you, and weigh their answers seriously. The problem is probably not gone, but it should be better. More importantly, you have built a system of people capable of carrying out an action. You know more, you are better connected. Go back to step 2. There is always more to learn, and that’s beautiful.