#which means coming up with a pose or scene to draw them in is very hard

[mayordea]

hibiki koto is pretty so i drew her and thats it

[minamorsart]

Character sheets for an upcoming mini comic!!! Introducing new outfits, including Celeborn ✨

Explanation of design choices below!! Galadriel will not be wielding a sword in the comic, I just wanted to draw her in a cool pose :P

To start, I am definitely not as comfortable with drawing medieval armor/clothing as I am sci-fi, at least not yet! Much research needed! ✊😤 And though I am most certainly still a novice when it comes to character design, I tried to approach this from an animation standpoint and opt for more simplistic designs, as beautiful as the intricate wardrobes are in TROP.

For Sauron, I took inspiration from the armor he is shown wearing in the exposition scene at the beginning of S1E1, as well as his outfit in the S2 finale. He's properly converted back to the dark aesthetic, but hasn't quite reached cape level yet! So instead of a cape I gave him a drapey tunic similar to the red one he wears with his Númenor armor as Halbrand. And the gold accents could be seen as symbolizing his vanity, but at their foundation represent his ties to Galadriel and him coveting her light.

For Galadriel I was inspired by her silver outfit in season 2, as well as Legolas's outfit in The Two Towers. I wanted to bulk her up with the shoulder armor, while still hopefully maintaining her femininity. I'm keeping the silver aesthetic because I think it really suits her, but I also added darker colors to her clothes to indicate that she is being more and more influenced and tempted by the darkness. So we can see that with the golds on Sauron and the dark grays on Galadriel, they are always on each other's minds ;)

Lastly, for Celeborn there was a lot more planning needed for his design! The most important thing was that, purely from a character design standpoint, I didn't want him to look like Sauron. Though Sauron is fair and beautiful, to me he should still have rugged features because of his apprenticeship with Aulë and his skills as a blacksmith. He's a Maia who works with his hands, and I wanted that to come through in his design. This means a more square and sharper face (to hopefully match Charlie Vickers' face shape), tanner skin, and a bulkier build.

In contrast, though I don't know much about Celeborn, I do know that he is a prince, which probably means he doesn't have the need to labor or work with his hands. Therefore I gave him paler skin, longer hair, and a slender build, as well as a longer and pointier face to lean into the Elf aesthetic. I don't want him to look extremely identical to Galadriel, either, so I gave him even blonder hair, almost white compared to her gold. And though I want him to look differently enough from Galadriel so that they don't look like siblings, I'm also fine with them sharing some similar characteristics. This shows that on the surface they would appear to have a lot in common and therefore are perfect for each other, being a prince and princess and all, but of course we know that that is actually a very different story ;)

[arliedraws]

I've seen your posts about AI. I also know it's a pretty polarizing topic and what the majority opinion is, especially in regards to art and writing. And being an artist myself, I totally agree that it sucks, like you have to pay attention and all, but.... I hardly dare to say this because I know how emotional the discourse around AI is, especially on a platform like tumblr, which sometimes seems so strong that I don't participate in a discussion about this topic at all because I feel like people here would hound me for it, but I still use different AI software, but not in the way that I use it to create something that I can publish and pretend that I spent hours creating it myself. I think it can be really helpful.

If I need information about something quickly, it's more efficient than spending a lot of time searching different websites for a particular piece of information.

I also like to think of it as a group member when I'm working on projects. That doesn't mean that I get the ideas from it and then just copy them. In the same way that group work is beneficial, you pass the ball to each other with the AI and exchange ideas that you can then develop further. Or it can help you if you're looking for another word to describe something better, like a dictionary. And I still know how to use real dictionaries or do proper research, because I know that AI can make mistakes and you shouldn't believe everything. Just like it is with information from the internet in general. Anyway, now I come to the actual “confession”, which is that I also use it, not to let the AI create the art, but as a tool to help myself creating it. I usually use reference images for drawings to help me get the scene itself or the anatomy correct etc. Andy capture it properly. But sometimes I have a very specific scene in mind and can't find a suitable reference, and it can take me hours to find something that fits. So I like to use AI to create that reference for me, because unfortunately I don't have people modeling for me and personally it helps me extremely to have examples to work from.

Idk where exactly I'm going with this. But since the general opinion on generative ai seems very clear here, I wanted to finally get this off my chest because I always kept my moth shut being afraid of how others might react, even though I think that my methods are still quite legitimate, as I still do the real work myself. Anyway, I'm looking forward to your opinion.

Ahhhh okay, well, thanks for the vulnerability here.

You know my opinion on AI. I’m not going to tell you you’re a terrible person or anything for using it, but I’m also not going to justify your personal decisions. Instead, I invite you to change your perspective.

My opinion is this—and it’s more of a question: why are you creating the art? I’m going to hit a few of your main points and just pose questions because I think this gets to be more philosophical than a cut-and-dry “if you use AI, you are a bad guy.” Because I don’t think that—I also don’t think you should use it.

The reason I don’t blame people for being attracted to using AI is because as human beings, we’re designed to find the most efficient way to do things. Thinking and using creativity is a huge caloric expenditure. Right? Naturally, we’re attracted to ways that things can be done FOR us and reduce our cognitive load. Your brain is working as it was designed! But this is also a really cool way to take away your voice and mold you into someone who cannot think for themself.

(This is also what you’re doing by “confessing” to me. You’re unloading your cognitive/emotional burden so you can keep on doing the thing you know is probably a bit shady.)

First of all, I don’t know you, so I don’t know what your art training is. However, you need to train your brain to start coming up with stuff on your own. I am really sorry, but I don’t buy the “I don’t have enough references.” When there are free resources like Unsplash.com and even just looking at buildings around you, the furniture in your house, etc, you DO have the references. But you need to learn how to use them. This is a tool.

Second thing, if the reference isn’t exactly what you need, then you need to start learning volume and shapes. You need to study anatomy. Eventually, you will be able to look at a reference and understand how perspective works and be able to transform a reference in your head to what you need. OR - start combining references. If I’m doing a full scene, I probably have about 5-6 reference photos I’m working from. This is a tool.

Third, start taking photos of yourself for reference images. If you can’t find what you need, do that. I periodically have to go into my camera roll to delete the god-awful reference poses for myself. This is a tool.

Fourth, start a collection of things that “strike you.” Start a reference blog. Have a folder filled with images that intrigue you. Personally, I take an insane number of photos when I’m traveling. For example, I went to a mansion for a tour and took photos of all the early 20th century objects and rooms so I would have these in my arsenal. This is a tool.

My fundamental question is this—why are you having an algorithm create what’s in your head for you? Why not learn how to do these things instead? Your imagination is so cool. The process of creating is making happy mistakes. What do you think Bob Ross would say to you? When you use AI, you’re just copying. The imaginative part has been done for you. You’re just a tool of the robot.

We do so much to avoid frustration, but frustration is the part of creating. When we can see the skills we need to learn, that’s how we know we’re improving. It means you’re trying, and when you press through that discomfort, that’s when you grow. Stop seeing this as a block to your end goal but as an opportunity to continue your infinite journey as an artist. Celebrate that there are so many beautiful things to learn.

Additionally, please don’t see AI as a group project. A group project indicates that all parties involved consent to participate, and I know most artists do not want their art to be used in this way. Imagine if you learned to do all the things I’ve described above and taken time/years/frustration/love to develop these skills, and someone years later then took your work and said “It’s okay - we ALL contributed to this.” It’s just not true.

The artists you see online don’t simply sit down and draw a bunch of cool stuff without practice. I watch Youtube videos of professionals. I draw a gazillion sketches of just MOUTHS or hands so I can create my own references in my mind. Why would you deprive yourself of this?

Look, I think it comes down to this: if you’re looking for efficiency and ‘getting it done’ quickly, then why are you doing it? Are you enjoying the process? If you aren’t, why are you even doing it?

If you need a robot to imagine something for you, then you don’t actually want to do it.

[dreamerwriternstargazer]

So Oct 3rd is coming up :D spoilers for Oct 3rd below

As I was lying in bed debating whether to get up I realised I very badly want to make a piece for Oct 3rd, I’ve wanted to for ages but I’ve been hesitant and unsure

1. It means so so much to me, I want to do the scene justice

2. There’s just so much to do for that one scene you know? So many different ways to portray it I have loads and no ideas all at once

3. I don’t draw faces so portraying the anguish of the scene is a challenge, a welcome challenge! But a challenge nonetheless

So first, debate on what aspect I want to present, what is my focus. Of course I want to depict Mina’s anguish and pain, I think there’s not very many artworks that have her at the centre of the scene, it’s her and Jonathan. But I also want to do that too!! I want to show the comfort and support she has

Depending on whether I focus purely on Mina, or Jonmina together, want to be able to portray it so that in looking at the piece you feel a scream in your chest and can almost hear hers.

But can that be done in combining the ideas, having Jonathan present in a painting that has her anguish at the focus?

One of my friends suggested a wonderful idea to get around the issue of the face, *illustrate the scene through her reflection on a cracked mirror*

Which I think is stunning especially because oooh the mirror crack’d references there could be (though it’s a long time since I read that poem I’d better reread it and see if it’s relevant)

Also vampires, mirrors, the fact she’s obscured suggests her impending transformation

Also “foul bauble of man’s vanity” reference, nice visual parallel with Jonathan and losing his mirror.

The options as it stands:

1. Mina alone and reflected in the mirror, a piece highlighting her pain and fear and anguish as a victim and allegory for SA

2. Mina in the same pose, kneeling, blood spattered, shattered mirror reflection, but with Jonathan holding her tight from behind. I like this idea very much but how does it influence the message and idea? It must be said though she’s a victim she’s not *alone* in her victimhood, on two counts. Jonathan has suffered at the hands of the Count too, albeit to a different degree and it was because she didn’t want him to be hurt again that she didn’t scream out during the assault, and also even if he hadn’t been through it, he would still not let her feel alone. None of them do, none of them for even a second blame her.

3. Make a separate piece of Jonmina as well as the Mina alone piece

This option I’m considering because I can’t decide whether it would be better to have them in separate pieces or not. I like the idea of keeping Jonathan in the main one about Mina, but is that messy, does that detract from the pain and fear I want to portray? It’s supposed to be her perception

Or does it make it better and more complex, I can portray the actual scene, he is holding her she is not alone, but the mirror sort of represents her skewed perspective, so we have both pain and hope, loneliness and companionship in one

If it were two different pieces though then I feel like separate, the message for both only heightens. To combine I worry muddies them both, I don’t do justice to either the significance of his comfort or her pain. Which is why I could do a separate piece of him holding her after the others leave, lying down on the bed, alongside the first one of her reflected in the mirror.

(I feel like I would then need a third piece to make a triptych and complete a series but that’s a whole other discussion~)

Anyway, fellow Dracula/artist/both fans advise!! What to do what to do…

[jbuffyangel]

Hot and Cold: Arrow 1x22 Review (Darkness of the Edge of Town)

There is no episode that exemplifies the disjointed nature of Season 1 more than “Darkness on the Edge of Town.”  We have Exhibit A: an OTA field op and the smoaking hot chemistry of Stephen Amell and Emily Bett Rickards igniting in an elevator shaft of all places.

And Exhibit B: the other show. A frigid black hole I feared we’d never escape from.

Let’s dig in…

Olicity and OTA

Let’s start with the positive since there is soooooo much freaking positive! It can take time for a television series to find its footing in the first season.  Unfortunately, nowadays if the audience isn’t binging the entire season in 24 hours, the show gets canceled. But blessedly, this was 2013. Network TV was still the supreme ruler, and Arrow was pulling big enough numbers for the CW to allow for some leeway.

Twenty two episodes of leeway. Arrow finally found its groove and latched on to the mystical “it factor” that keeps an audience watching - Oliver, Felicity and Diggle. The chemistry and dynamic between these characters and the actors who play them is undeniable and it creates an action packed, laughing out loud, and sizzling hot episode. The writers are having FUN in “Darkness on the Edge of Town" and it shows, which means we get to have fun too.

Oliver decides to question his mother regarding the Undertaking, but she refuses to confess. So, Oliver and Diggle take a more brutal approach. The Hood kidnaps them both and beats the crap out of Oliver until she coughs up the information. It’s always hilarious when this show acts like David Ramsey can fit in Stephen Amell’s suit.

The burgeoning relationship between Oliver and Felicity is very much in its infancy. Oliver is fully in denial about feeling any type of way toward his IT girl. Never is that more apparent then when Oliver and Diggle return from the confrontation with Moira. Diggle gets a few solid whacks in, which I’m sure felt amazing given the absolute jackass Oliver was being the past few episodes.

Felicity has a much harder time concealing her feelings towards Oliver and it’s clear she worries about him. She is always the first to ask if he’s okay, offer a supportive ear to listen or shoulder to cry on. However, Oliver seems to draw a line in this episode when Felicity reaches to touch the bruise on his face. That small step was too much. He physically keeps her at arm’s length because the intimacy of Felicity’s concerned touch is not something Oliver is ready for. There is still a very big wall hiding all that pain, regret and unworthiness.

Source: @lyricalarrow

Admitting he remembers the exact day they met, however, is absolutely no problem. We shall come to discover just how much Oliver remembers about that day in later seasons. I have a lot of male friends and I guarantee you I don’t remember the day we met. However, the day I met my husband is burned into my memory.

The team determines the only way to stop Merlyn from leveling the Glades with a man-made earthquake machine is to find the location of the device. Unfortunately, Felicity is unable to hack Merlyn’s system so she needs direct access to his mainframe inside Merlyn Global Headquarters. LET'S DO CRIMES!

Oliver makes an appointment with Tommy (more on that later) while Felicity continues to up her adorability factor by dressing up as Big Belly Burger employee delivering lunch to a security guard otherwise known as John Diggle.

The burger is laced with benzodiazepine, so it knocks out the other security guard and gives John free reign to control the elevator & cameras. Do we know how Diggle is able to pose as a security guard? No. Do we care? Nope. Let the hijinks commence!

Oliver and Felicity make their way to the elevator, but not until Oliver unloads an unwelcomed dudebro hitting on Felicity.

Jealousy looks so good on him. The way Stephen Amell plays this scene, with his nails-on-a-chalkboard look at the word “sweetie” to robotically knocking the papers out of the elevator, is physical comedy at its best. Something Amell rarely gets to do, but he’s great at it.  

The mainframe is on the twenty fifth floor, but the elevator only goes up to the nineteenth, so Oliver and Felicity have some climbing to do. It seems Felicity is thinking of a certain kind of climbing as well and really who can blame her?

Source: @lyricalarrow

Oliver lifts her WITH ONE ARM out of the elevator, which is so freaking hot I cannot.

Then, very gently, bends down to wrap his arm around Felicity’s waist and loop her arm around his neck. Oliver is moving with the precision of a jungle cat, but it also feels like an incredibly elaborate way to grab hold of someone. It has a very superhero sweep-her-into-my-arms sensuality to it. The mission is giving Oliver plenty of reasons to touch Felicity and he doesn’t seem unhappy about it, particularly when he softly tells her, "Hold onto me tight."

Is it warm in here? Holy Moses, Oliver Queen. Get control. This man is a god to women, so he clearly understands the connotations of, “Hold onto me tight.” There’s a thousand different ways to say that platonically, but nope! Oliver charges headlong into the blinking neon lights of SEXUAL INNNUENDO.

Felicity’s Freudian slip didn’t feel so Freudian either. She knew exactly what she was saying and leveled her full meaning in a single look. I thought the elevator was going to combust from all the heat. If you are looking for the text book definition of undressing someone with your eyes than look no further than these two. They way they hold the gaze. WOW. Can we have all the nakedness now?!!! It’s a sin against science for Oliver and Felicity not to bang regularly BECAUSE THE CHEMISTRY.

THIS IS NOT THE BEHAVIOR OF A MAN MADLY IN LOVE WITH LAUREL LANCE.

This scene has the classic Superman and Lois Lane feel to it.

Source: @olicitygifs

Oliver is doing his vigilante thing, but his partner in crime isn’t the leading lady of Arrow. It’s a supporting character who’s feeling less and less supporting with each episode.

Unfortunately, Felicity is about to be discovered while Oliver is held up by Malcolm Merlyn, Thea and Roy Harper. This is a very popular day to visit Merlyn Global. Oliver’s frustration under his cool and calm exterior builds the tension nicely and we do wonder how Felicity is getting out of this jam. Never fear! It’s John Diggle to the rescue. Top notch comedy from both Rickards and Ramsey.

Source: @olicitygifs

Their first official team mission outside of the bunker is a wild success. Felicity still has to search through all of Merlyn’s data to determine the location of the device. Despite all the heat, hilarity and hijinks on this side of the show, Oliver makes an abrupt decision regarding the other side of the show that makes absolutely no sense.

Lauriver and Merlance

Still feeling warm friends? Well don’t worry. I have a nice bucket of ice cold water to dump on you.

As predicted, Oliver’s love confession messes with Laurel’s mind and obliterates any clear path back to Tommy. He drops this bomb on her and they have not spoken for a WEEK. Of course, this is all Laurel has thought about and she makes a rather elaborate speech admitting she has feelings for Oliver too.

Yeah, none of this is a surprise. Tommy knew Laurel had feelings for Oliver. We knew Laurel had feelings for Oliver. Hell, even Oliver knew. The only one who wasn’t admitting it was Laurel, so at least she’s finally being honest about things. You don’t get a love triangle if the central figure in the love triangle doesn’t have feelings for two people. The issue is who does Laurel love MORE.

Laurel: Maybe Tommy was right. Maybe he and I weren’t meant to be.

She had a clear answer last week. It was Tommy. She absolutely wanted to get back together with him, but Oliver decided honesty was the best policy on this one subject only. This line enrages me because Oliver has distracted Laurel from the man she is truly meant to be with. I will die on this hill, friends. DIE. ON. THIS. MERLANCE. HILL.

Laurel: Tommy’s a good guy. Are you?

Oliver: I didn’t have an agenda. I didn’t mean to make it more difficult to fix things with Tommy.

Oh for fucks sake. Yes, you did Oliver. That’s exactly why you said it. This is just a straight up lie. Oliver absolutely wanted to confuse Laurel. He just doesn’t want to look like the bad guy for doing it. This is some A+ Ollie behavior.

After Laurel makes a wonderfully impassioned and heartfelt speech about her feelings for Oliver, after probably obsessing about it for seven days straight, Oliver dumps her. AGAIN.

Oliver: Nothing’s changed. My life hasn’t changed. I haven’t changed.

I am infuriated on Laurel’s behalf with this flip flopping back and forth. The time to make this speech was last week in the hospital hallway. That was the moment to let her go and put Laurel on the plane with the man she belongs with, but Oliver couldn’t do it because it was too damn hard. It was just cruel and horribly unfair to both Tommy and Laurel because Oliver has absolutely no intention of being with her. But now it’s too late. The information is out there. You can’t put the toothpaste back in the tube, my dude.

Laurel pays her father a visit to basically get his permission to date Oliver again. Yeah, let’s make the man who lost his daughter to Oliver’s selfishness sign off on banging his other daughter again. This show.

Quentin’s speech is equally as empty as any speech Laurel’s made about seeing the change in Oliver because we, the audience, have not been privy to those moments. We’re just supposed to take their word for it even though the last time Quentin saw Oliver Queen he was trying to arrest him for drug trafficking. But sure, Quentin thinks he’s “changed.”

In order to make this storyline work, you have to give proper attention to the Lance family interacting with Oliver and the writers do not seem interested in doing that. All the important emotional growth takes place off screen and we’re supposed to accept it as fact because the characters tell us.

Meanwhile, they are organically growing the relationship Oliver has with Diggle, Felicity, hell even Roy! So we know the writers are capable of SHOWING these moments of character evolution. They just choose not to when it comes to the Lance family. It’s why the show feels so completely disjointed.

Oliver pays Tommy a visit and wants to have a chat.

Source: @queensarrow

So it's safe to say Tommy is still pissed.

Oliver encourages him to work things out with Laurel – kind of?

Oliver: Lord knows, I am guilty of a lot of things between us, but not you are her.

What’s infuriating about this conversation is that Oliver still refuses to accept any kind of responsibility in their break up. Oliver pretends to be a friend to the all feminists and touts Laurel’s independence and free will. She makes her own choices and she chose Tommy.

Tommy’s point is clear, even if it is self pitying; Laurel is not dealing with all the information. If she did have all the information then she would choose Oliver. From Oliver’s standpoint, it doesn’t matter because he can’t be with her.

That’s not reassuring to Tommy nor is it supposed to be. If the elements keeping Oliver and Laurel apart were removed (the Hood) then Oliver wouldn’t think twice about making a move on Laurel. And Tommy knows this. These are not the actions of a best friend, which is why he’s so pissed.

Now, Tommy’s big mistake was throwing in the towel too early. He should have NEVER given Oliver an opening with Laurel, but he did and it set them on this path. No we have to watch it play out.

Oliver: I promised myself that when I crossed all of these names off the list, I’d be done, but taking down these people, it doesn’t honor him. I was just treating the symptoms while the disease festered. I stop the Undertaking… I wipe out the disease.

Diggle: What are you saying Oliver? You would hang up the Hood?

Oliver: Merlyn’s plan is what I returned from the island to stop.

Does anyone else have whiplash? Oliver does a complete about face and determines he can be with Laurel since he only needs to cross one name off the list instead of dozens. He’s just missing one step, gee what could it be? Oh! I know. OLIVER STILL HAS TO CROSS MERLYN’S NAME OFF THE LIST AND STOP THE UNDERTAKING. Talk about counting your chickens before their hatched.

A hero’s journey is a very specific type of story. Joseph Campbell outline seventeen stages in 1949 and Christopher Vogler created an updated version in 2007 for screenwriting. I’m not going through all seventeen steps, but we can skip to the very last one regarding this storyline.

Freedom to Live/Return with the Elixir – meaning the hero has faced their internal and external struggles, has conquered the demons around them and earned the right to live as they choose. From a spiritual sense, the hero lives without fear of death.

It’s similar with Vogler’s elixir stage. From a community perspective, the hero has found the magical way to heal their wounded land. They are bringing hope, life and freedom back to their loved ones. In doing so, it gives the hero a personal victory. They’ve earned the right to experience peace and joy, which can be represented in a wide variety of narratives.

Oliver is hero. Arrow has made his endgame very clear - save Starling City. Has he saved the city? Has he stopped Malcolm Merlyn? NO. So why is his leather clad ass running all the way back to Laurel Lance to enjoy the fruits an elixir he has yet to procure? If Laurel is endgame, this makes absolutely no sense. This is too fast. It’s too abrupt. It doesn’t feel earned because it hasn’t been earned.

Clearly, the initial plan was to put Oliver (Green Arrow) and Laurel (Black Canary) on parallel, if not intersecting, paths. I’m not saying Oliver cannot be with Laurel as they evolve into superheroes together. But this is the first freaking season you guys! He hasn’t done a damn thing yet! Neither has she. And yet, here Oliver is, knocking on Laurel’s door, looking for some fruit.

Oliver: Ever since I’ve been back, we’ve been doing this dance. We come together and then I pull away.  Something pulls me away, but I think finally that something might be over.

Laurel: What are you are trying saying?

Oliver: That you know me better than anyone. And that you are more important to me than anyone. I just hope I didn’t wait too long to say it.

If Laurel has no clue Oliver is the Hood then can he really claim she knows him best? It sounds good to say, and probably what Laurel is dying to hear, but it rings hollow because there’s no evidence of this anywhere on the show. Laurel was wrong about who Oliver is all season. We are just supposed to accept some verbal acknowledgment of change, that she knows him better than anyone, but without any television scenes to back it up. That’s not how storytelling works, Arrow writers.

Sorry to beat a dead horse, but I warned you I wasn’t done with this topic - Oliver is still lying to Laurel. There should be more talking. What are those things pulling you away, Oliver? Why are they over? Are you a hooded, crime fighting, serial killer who has been mysteriously stalking me all year? Those are just some ideas off the top of my head. There is no person on this planet that Oliver needs an honest conversation with more than Laurel Lance, but nope. They jump straight to sex.  

Let’s talk about the sex. This has been built up all season. These two characters belong together. They are bulldozing over Tommy Merlyn to be together because they are this passionate romance that time cannot quell. It should be like the fourth of July in Laurel’s apartment right now.

Source: laurelscanary

Instead, of heat we get frigid. Fish have hotter sex.

I’m willing to acknowledge "Radioactive" was the hit song of 2013 and every show on the CW was using it. It has a very sexy beat and big crescendo. It sounds like a good song to use during a sex scene.

Except for the fact that it’s called RADIOACTIVE with lyrics like, “This is it, the apocalypse.” This is not the romance your Plan A couple usually requires in a scene like this. They had Blake Neely for a composer. Where’s Oliver and Laurel’s love theme? We'll probably get it in the season finale but anything would be better than "Radioactive."

Source: laurelscanary

Next issue. Black socks and jean shorts?  Wardrobe – what were you thinking? Nobody felt the need to tell Katie to take off the sox? Details matter!!

Source: laurelscanary

Stephen Amell and Katie Cassidy kissing are like watching two pieces of flat cardboard trying to hump each other. Can they choose a direction? Are we biting or no biting? Are we using tongue or no tongue? Can Oliver unbutton his shirt or does Laurel need to help? Is Oliver going to drop Laurel while trying to get her sweatshirt off? It was just so awkward from start to finish. ZERO SPARKS.

Source: habibialkaysani

And for the coup de grace, they leave the curtains pulled wide open, so Tommy can see them screwing from the street. The look of utter devastation on his face is heartbreaking and that’s the final image they leave us with as their love scene fades to black. Oliver and Laurel reuniting are not framed as a good thing. It’s framed as a betrayal, because that’s exactly what it is.

Source: @queensarrow

Even worse, Felicity finds the device while Oliver and Laurel are asleep and HE LEAVES. No note. No, honey I have to run out and save the city real quick, but I’ll be back for round two later. Nothing. But please, tell me again how much Ollie has changed.

When I watched this episode live I was horribly disappointed the big reunion with Laurel and Oliver fell flat. This was really my last gasp trying to be a Lauriver shipper. And I use the term “trying” loosely. I was more or less looking for any redeeming qualities in this love story, but after this hypothermic love scene I was officially out. I could not ship these two. I could never forgive them for betraying Tommy. But I feared Arrow would never move on from Oliver and Laurel.  

Of course, their real intention becomes all too clear later. Arrow was trying to blow them up to make way for something infinitely better.

 Theroy

Speaking of flipping back and forth, these two break up every other week. Roy is clearly committed to finding the Vigilante, which leads them to Merlyn Global and a run in with Oliver, the disapproving older brother. Again, Stephen Amell’s acting is superb.

I loved the way he said “What” to Thea and the firm alpha male handshake he gives Roy, warning him to stay away.

Obviously, Roy accomplished his goal. He found the Vigilante. Roy just doesn’t know it. He thinks Oliver Queen is too much of a wimp to ever consider him as the man in the hood. Thea was good and ticked off with that “wimp” remark. Enough to dump Roy. She will not tolerate any slander of her brother. #QUEENSIBILINGSFOREVER

But this is like the fifth time these two broke up, so it’s losing the impact. This isn’t all about the Hood’s identity and thanking him for saving Roy’s life. He wants to BE the Hood, so Roy can protect the people he loves and never lose anyone again. The question is – who did Roy lose? Unfortunately, Thea storms out before we get an answer, but hopefully one is coming in the season finale. (No I do not remember who).

Long story short, yes I like these two, but the faster the Arrow writers move the characters into the Hood storyline the better. Otherwise they are just marooned on their own show like Laurel Lance Island.

Stray Thoughts

Yao Fei died! It’s so sad and traumatic. I forgot he’s shot in the head. Really didn’t need to see that twice.

Fyers is shooting down a commercial airliner to destabilize the Chinese economy. It’s always about money for these assholes.

Walter wants a divorce and I would say their differences are irreconcilable. Moira is getting what she deserves. You can’t kidnap your husband for six months and then offer him tea and crumpets when he comes home.

"Who the hell is Felicity Smoak?" Uh oh. Quentin has Felicity’s name. That ain’t good.

“Is the other archer working for Merlyn?” Please don’t make Diggle look this dumb again.

Merlyn versus Oliver battle was EPIC! The fight scenes this season are so stellar.

“Psychopaths are color coding themselves. That’s helpful.” HA!

Listen to the Watchover podcast reaction to 1x22!!!

If you’d like to support the blog, please buy me a cup of tea!

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me!

[iztea]

How do you get the ideas for your backgrounds?

mmm ideas.... sometimes i draw the background directly from a photo reference (the happy case) so there's not a lot for me to change and i can have a rather peaceful painting process

othertimes, the BG is tied to the subject/concept/scene I'm thinking of, so it only makes sense that i have that as the background

for example, for this fem skk art, i knew i wanted to have chuu kneeling in a crater after destroying a city so drawing that background was just a logical follow-up because i already had the entire idea in mind

Here, I wanted to have Akiangel sit on a building, watching over the city. The ominous sign with "the day of salvation" and crow came later after I found this picture on Pinterest, so they helped further develop the concept, but the main idea was there and so on

The third background option happens when my painting doesn't depict a certain irl scene or landscape, nor do i have any particular references i can use. In that situation, I first and foremost think about the general composition, the shapes, how they flow with each other, how I can tie them to my main theme and what sort of symbolism or little easter eggs i can throw in there just to keep it fresh and interesting for the viewer ( aka the person reading this aha ;;) :-* )

For this piece, i started with a big circle for the background, and then I started breaking it up in pleasing, cloud-like shapes and swirls that constantly keep your eye moving around the picture (i mean hopefully lol). The composition was inspired by a) Dazai's Mayoi card ofc, that trad Eastern illustration style with the circle and then branches of trees, and also .. kazuha's splash art ok i admit it bshsj

for this one, the roses came much, much later. Again, I added that sort of golden arcade to better frame the focal point or the main subject of the scene which was ofc her face and/or outfit. Then, since it still felt rather empty, awkward, and directionless, I tried finding a pleasing, spiral line that would compliment the already existing shapes and that would, again, move your eye all around the composition. I figured since her outfit already had those small roses stuffed in her belt, those curvy lines could become some bloody, spikey roses and boom! here are the theme and elements for you: blacks-roses-blood-deadly-sharp-gold etc. I then had her crush some of those roses in her right (ik it's the left hand shut up) hand to balance out the busier left side

and a last example, sometimes I draw multiple character poses in one piece and they sort of become my background. Yet I still have some blank spaces left so i gotta figure out a way to fill them out. Here, since the pose where he's all curled up was inspired by the TDIPUD light novel, i drew him as a "corpse" in a pool of blood, and contrasted it with some nice flowery-ish patterns and swirls that sort of come from within that bloody mess ( someone also mentioned it looks like a womb which I found very interesting as well ). The cats also helped fill out the space. On the left side, i added that swirly black sun that drips into three squares that gradually fill up with straight blackness and raindrops falling below inspired by the "a conviction that the sun will never rise again" line. I don't think I should go into detail with the symbolism cause it's pretty obvious and not that deep so i won't but yeah, and that's my BG all filled up!

I do this with most of my BGs, it's mostly just abstract shapes; I'm very fixated on making the overall composition look okay and for the piece to send a message ( most of the time ), so i don't think of backgrounds as a separate entity, they are part of an already existing idea, generally speaking.

This kinda turned into a composition discussion midway......... sorry about that....... To be completely honest with you, I have plenty of BG ideas, they kinda just spawn in my brain so i'm not exactly lacking in that department. Having to draw them and finding refs is the hard part for me

[straycalamities]

so for some Reasons, the same reasons zombinoslayer is on indefinite hiatus, i have a question on like. Say there is a Truffula Flu-oriented plot, story. Y'know a narrative. Coming up, but the way it's being made is basically prose-based, how would you prefer to see that formatted onto a tumblr askblog/archive thing?

it does deal with two characters and two characters only (so far?)

rp-style is out of the question because of editing reblogs being killed

but...i have a few thoughts, but i'm not sure which one people would like to read and digest the most

for more clarity on what i mean with terms/styles: click under the readmore

when i say "prose-style" i mean it's written like a novel. it's 3rd-person limited and past tense.

The sun was baring down hard on Mikey's back as he trudged down the sidewalk. He drug his feet, pose hunched. Why did he have to run out of eggs on the hottest day of the year?

when i say "script-style" i mean that it's written how you would read the script for a show or a play. this is how i treated zombinoslayer's big scenes. it'd have progressive images for each action/dialogue, wherever i deemed an image needed/important

Mikey: [The sun is bright and harsh. He is walking down the sidewalk. He looks exhausted.] Why did I have to run out of eggs on the hottest day of the year?!

and when i say comic, well, that's obvious. i'd do my best to translate everything as well as i can into something that is heavily image and dialogue based that has comic frames and such.

pros and cons of all these being:

prose pros (lol): it keeps all of the character's inner feelings, struggles, and thoughts and even some motives out and easier to see, which with these scenes and with how these characters are, might be important or even very enlightening for people i also don't have to draw as much because i would only be illustrating significant parts and to make the posts look more appealing/interesting. thus updates would happen more frequently. easier to plug into a translator if english isn't your first language the images would be illustrations i'd actually put effort into since there would be so few of them

prose cons: it'll be a lot more reading overall less left to interpretation, i guess? less pretty pictures? it takes a lot more cerebral energy in some cases to take in prose and turn it around in your mind i just get that for some people, they don't like walls of text. like i, for one, have gotten very bad at reading so i get it

script pros: more pictures to look at then prose-style scenes move by more quickly and smoothly, everything focuses more on actions and interactions so maybe things are easier to digest than prose-style still translator-friendly updates still more frequent than comic-style, but less frequent than prose-style most likely full-color images. may or may not have a bg in every image (just think zombino-slayer style? but i might not render every time either like i did there because that was..phew..that took a lot out of me)

script cons: more images to draw for me the format might be wonky to some none of those inner thoughts/monologues, a lot of depth and inner feelings/struggles/references made in the characters heads are left out. it all focuses on the external with hints to the internal left to expression, body language, and dialogue and the reader's own bias/experience

comic pros: ALL THE PICTURES YOU COULD WANT! everything's images! if you're most comfy with reading comics or manga already, you'd dig this (obviously) the least reading and it's all together in one image (well multiple) very easy to soar through and take everything in since the focus is on images and dialogue Only (maybe narrative notes or thought boxes when really important) easiest to share i'd think? and easiest to get a feel for what's going on in a scene without having to study and/or think too hard about it

comic cons: oh my god all that drawing...updates would be slow as molasses tbqh.. unless i decided to do manga-style aka B&W or limited grayscale/monochrome. even then though again, everything internal would be left to the hints you'd get from the external i could give with imagery, panel-shape, dialogue, and such not translator-friendly (i know there's the google image translator, but i'd be handwriting the text (i just like how it looks best) and it's not always friendly to handwriting)

--

as far as specifics for each style, we'd work that out once one is picked

other notes: i do think i'm a pretty strong prose-writer, but i also think i'm a pretty strong comicsmith. so i don't think it's really up to what i'd, personally, be able to pull off best with the skills i own :3 (and i mean script-style is the most simple of the three. and i've already done it. it'd be almost identical to zombinoslayer. and it'd be most similar to Camp Entre's rp-style i think? even though Camp Entre was much more dialogue-based than anything else

i know i haven't uploaded too much of either, especially my writing, but trust...i'm pretty good at it. at least that's what people tell me.

[whatever-letmebe]

Sex is Not for Everyone, Actually

Playboyy is a show all about sex. Half of the characters are horny, gay college students, the other half are equally horny, equally gay (former) sex workers. At first glance, Zouey is an outlier. He is a quiet art student who likes to watch hentai but has never had sex with another person. He’s the only virgin in his friend group and gets teased for it. His friends are so invested in “helping” Zouey lose his virginity that they hire a prostitute for his 21st birthday, despite Zouey making it very clear that he doesn’t want that. [Virginity is a harmful construct and I’m using the term here deliberately btw.]  Zouey's 21st birthday is where episode one of Playboyy begins, aptly titled “Sex is for Everyone”. 

So Jump, the guy who Zouey’s friends hired, shows up and tries to do his job but it doesn’t go well because Zouey is anxious and uncomfortable and Jump is pressed for time and inpatient. [Side note: I don’t know much about allosexuals but I’m pretty sure that many of them would not be excited about having sex with a stranger while handcuffed and with no time to prepare for it. But in Playboyy, all the other characters would totally be down for that, which makes Zouey the odd one out. This is also the first “fantasy crashing with reality” scene, which is a main theme of the show. I’ve pointed out two more examples of it here.] Zouey tries several times to gain some control over the situation and lead it in a direction that’s actually comfortable and pleasurable for him. They sort of get there, in the end. Jump agrees to pose for Zouey and then Zouey starts jerking off, but their time runs out before Zouey can finish. Jump leaves in frustration that he didn't make Zouey come (which normally means he won't get paid) and Zouey is left with the experience of his personal boundaries being crossed and his sexual fantasy being ridiculed.  

It has nothing to do with you. If I hadn’t escaped to jerk off, that policeman would have raped me. - Come on, you’re exaggerating. - I am not. I told you that I’m not into this.  

I know I’m not the only ace person who watched that first episode of Playyboyy and felt very seen. The way Zouey is treated by others throughout this episode - the othering and invalidation he encounters when he talks about his (dis)interest in (specific ways of having) sex as well as the pressure that’s placed on him to conform, is something many of us are painfully familiar with. 

You didn’t want to have sex with me but you wanted to draw. You’re sick. 

Jump shames him. Captain says he doesn’t get why Zouey “won’t have sex with anyone or jerk off to humans”. And Teena assumes it’s about Zouey feeling insecure so he offers words of encouragement.   

You know, the first time I had sex, I came before I put it in. Noone is good right off the bat. [..] You need to practice. [...] It’s okay. Take it slow. 

Many aces have heard similar things and gone through similar experiences especially as teenagers and young adults. It can seem like everybody around us is obsessed with sex. Not just their own sex life but also the sex life of everybody else. When we get asked who we find hot or when we will finally have sex, “nobody” and “maybe never” are not accepted as answers. Not having sex is weirder than gay sex or BDSM or smelling underwear because sex is for everybody, it is a universal need and a sign of maturity, or so we are told. That’s what compulsory sexuality is. It sucks and it especially sucks for us aces who will never “grow up” and meet the expectation of sexuality that people have of us. It’s perfectly fine to go through your life without ever having sex with anybody but it can be hard to believe that when we have internalized the idea that not having sex means there is something fundamentally wrong and broken about us. 

Do you know the concept of epistemological injustice? My mind was kinda blown when I first learned about it. Epistemological injustice describes the injustice of 1) not having access to knowledge about your own experiences, which includes the fact that certain experiences are not being researched and 2) the knowledge you have about yourself and the world not being  believed or trusted. Knowledge is power, after all, so controlling and limiting knowledge is a way to limit and control power. How can we as aces even begin to understand ourselves, how can we recognize and challenge compulsory sexuality, when we don’t learn about the existence of asexuality and don’t hear about the lived experience of other aces? 

Noone in Playboyy ever suggests to Zouey that he could be ace - most likely because noone  knows about asexuality - and when Zouey says that he doesn’t think sex is for him, he is not taken seriously. That is epistemological injustice. It would be very hard for Zouey to figure out if he is on the ace spectrum because he doesn’t have the knowledge, the vocabulary, to understand himself in these terms and he is (implicitly) told by others that he cannot trust his own thoughts and feelings around his sexuality. In Zouey’s case, a lot of his hang-ups around sex seem to stem from anxiety, self-consciousness and possibly a negative past experience, so the advice he receives from Teena is actually relevant. For an ace person who doesn’t want to have sex, though, the same advice would not be helpful at all and could even reinforce the self-shame and self-doubt many have dealt with at some point in their life.

[mega-ringsandthings-world]

Okay, I said I was going to get into some supermarket wine and do this, I'm sans the wine but lets still do it. to be fair this is something I cooked up for my lougetown au but it works for canon mihawk too So, rough outline of my backstory for Mihawk (things will be altered from time to time) consists of him being more a less closely related to Imu (yes that one) due to some fuckery the WG was doing, think proto-seraphim project, and having been spirited away as a baby after the project was voided to save him. He was taken to and hidden away on some nowhere island where his caretakers/parents surrendered him to the care of a religious order stationed there in order to cover any trace of their association with him, but kept watching over him in secret. Officially he was a orphan the church took in, and he was raised there for the first few years of his life. Given his rather obvious physical likeness to Imu (the eyes) he was mostly kept away from the island's population as a child to prevent anyone looking for him from recognizing him, hereby meaning he was sent to watch sheep and water tulips on a mountainside with a stack of books for company when he wasn't napping in the monastery, weeding the gardens, or being a consummate atheist on main, thus leading to the introvert-cottagecore aesthetic he has going on in the future. When he was very young he witnessed a swordfight (the swordfight was on his account but he was too young to understand what was going on) and ever since then he was fascinated by the art of the blade. That, combined with him being a precocious child and being influenced by the books he was reading (he took a further interest in sword-fighting from some stories he read) he'd sneak off his mountainside from time to time to steal a sword and pick fights in the town below, and subsequently get his ass beat/get bullied by other kids in the town, because he was the defacto quiet kid and kids are assholes and thought he was witch. Or something. The town kids were also the ones who coined the name Hawkeyes. After almost getting killed and almost killing someone else at one point, his secret caretaker/parent, who up until this point had been posing as the local blacksmith, stepped in to train in him, since as he was getting bigger and drawing attention to himself, (and potentially drawing dangerous attention) he needed to learn to defend himself. Of course, actively training him in sword-fighting encouraged Mihawk's obsession in swordsmanship and led to him getting faster stronger better in the blink of an eye after a few bumps in the road, he had all the town bullies in a chokehold a year in and was constantly getting into arguments with the brothers/priests for trying to practice inside the church. Sometime later his caretaker/parents had reason to believe that the WG was not looking for him anymore and decided with the brothers/priests to allow him some more freedom, said freedom led to him killing a marine who challenged him when he was fifteen. (it was also due to the marines threatening the town) When he was told that the marines might come to hunt him down for that, Mihawk decided to hunt them down instead. Before leaving the island, he had the blacksmith make him a sword and his kogatana, which he designed to honor the church that raised him. Before he left, the blacksmith also encouraged him to seek out Yoru, in the hopes that looking for it would distract Mihawk from gaining a large profile. It did not work, and Mihawk quickly gained the title of the marine hunter. After Mihawk left, the caretakers/parents took a risk and reached out the WG and made a deal to ensure Mihawk's safety going forward, something that led to Mihawk being offered a warlord commission in the future. What Imu thinks of him is mystery, but Mihawk was allowed to roam free. For the time being.

Present-day Mihawk is blissfully unaware of anything going on behind the scenes of his life. He takes his past at face value and doesn't care to try to find anything out about it.

[fairykery]

If not canon, then why flashy?

Eyesex and a smile?

The guy that hates physical contact is smiling as kohaku hugged him? Not only that but he also looked into her eyes tenderly? LIKE? The other girl going "it wasn't that type of hug" was just referring to the fact that they aren't gf and bf because technically THEY AREN'T and the one girl still assumed that they were. So when they got touch- feely and the girl covered her eyes thinking they were a couple(thanks to the kiss situation) the other girl calmed her down saying they weren't really a couple sharing a hug; but two people that care about each other hugging. While Senku did not return the hug because he is never/and has never been forward about that type of situation, Kohaku is the first he's smiles at, lets hug, and has had people wonder the state of their relationship when being hugged by. She is also the only girl he is close with, that has been hinted at having feelings for him.

The KISS

Sorry, No I get it. It was too soon for this to be a romantic moment. I get it. It was for the sake of comic relief. But if you pay attention. The context of the scene didn't necessarily have to be written romantically, NOT EVEN for the sake of the plot. Cause them kissing had nothing to do with the situation; BUT the mangaka STILL specifically chose to go THAT route with the scene. He, HIMSELF, chose to use a romantic excuse(even if a comical one) as a plot device to move the story forward. And on top of that made them kiss(even if they were both uncomfortable by it still at this point in the manga). With that, making Kohaku the girl he's closest to who he has had the most physical contact with and even shared a kiss with(even if it was just a chin kiss and they both were practically uncomfortable for being forced to do.). No but seriously, the mangaka using SenHaku as a plot device to move the story forward WHEN it is NOT needed should provide some insight of what he thinks of the pairing. Which is that: "it is fun to write about" and "he likes to write about it".

NO TIME?

I like how he reponds with something that implies. "Maybe i'll blush later....not rn we gotta find a way out of here". Can we also take a moment to realize the mangaka/writter interrupted this moment before Senku could respond to the: "and the way i see it that is so very-" from kohaku? Subtle behavior on his part. Is there something on Senku's mind he doesn't want fans to know for the sake of avoiding ship wars? I wouldn't be surprised if this was what was stopping him from making the ship more explicit. Cause shippers get kind of crazy with the wars and MOST mangakas KNOW this and dont want that to affect the sales.

BRIDE STYLE?

He specifically chose one of the most romantic tropes to draw them In? Sorry no. This has nothing to do with their dynamic; but he still drew them like this? In THIS pose? Mangaka definitely shipped them.

Nah; but like never have i ever seen him so touchy feeling with anyone?

idk idk they remain sus. Especially with all of his guy friends hoping him to experince romantic love.

SenHaku also kinda parallel His adoptive dad and his lover(maybe not in the sense of dynamic; but in color aesthetic and how they are portrayed in the covers)

[also look at them being bride style like the senhaku cover lol]

I don't know why people say this ship is impossible because Senku says he isn't interested in romance. Like he also hinted at the fact that he has sex drive, just not a crazy active one where he would attack a female for, especially one stronger than him.

And if you ACTUALLY pay attention every time that topic of romance comes up is not that he COMPLETELY dismisses it. It is more because he does not prioritize it or care to look for it, especially considering that he is so goal-driven. At the same time, it is already revealed that not everything he says(especially when it comes to relationships/bonds)does he mean. He only, like i said, likes to remain goal-oriented and doesn't want anything to distract him.

He also acted pretty detached towards his own father and rejected his overly affections of love. So much so, that Byakuya tried to adapt to his own love language of science. But at the end of the day,it is not that Senku is 100% against those concepts(of romanticized bonds) it is just that he finds them to be waste of time. But despite that, he is still human. He still feels despite how much he doesn't allow himself to do so:

And Riri herself pointed how Senku only acts tough and detached when it comes to relationships/bonds(when talking about his care for the village) but a part of him does care. This is because she is the only one whose seen him cry at his father grave, despite how detached he acted about his father dying at the beginning. But again, he remembered that he had a goal, and wiped his tears; because for him "there's no time for that". It's all about prioritizing his goals, especially when about science.

And there's ALOT of emphasis on THAT.

Even so, so many characters in shounen have ended up marrying/having feelings despite saying/or there being no indicator that they are interested in romance. It is a common trope of it. So even if it were because Senku is not into romance it wouldn't sink the ship. I mean look at Sasuke(another goal-oritented character) said that romance had no place in his revolution; but at the end of the day married sakura and even gave her a ring to ward off insects

[note: is important to note that sasuke was not rejecting sakura here. More like trying to convince kakashi that romance had no place in his revolution. Because he was goal oriented, like Senku(that and the fact that he was still struggling with his darkness). In fact Sakura said that she wanted things to go back to the way they used to be and he assumed that was romance, without anyone saying anything of that sort. And Sakura had already left it clear that she wanted team 7 back; but then sasuke mentioned romance lol]

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

Something else worth mentioning is the fact that Senku hates clingy overly-romantic girls or the girls that fall in love too fast with him, as we've seen him cringe or act annoyed with those type of acts. But still, he was able to manage to say something about a type, despite his dismissive behavior. Even tho it was just to brush the conversation off, the fact that he answered his type of girl with "someone that could bring him materials" and then calls Kohaku a lioness, and him as a scientist knows that usually a lioness is one to provide their mates with food from hunting. I don't know. It seemed like a sweet nickname to give her. Especially when in his time period, that type of nickname is considered flirtatious. What is more, is that he initially brought Taiju back because of his usefulness in strength(and the fact he knew he could trust him) & Senku himself noticed the exact same quality in Kohaku.

So someone that could fit his description of his type would definitely be kohaku and seeing that she is the girl who he is the closest, and HAS brought him materials before so i dont see why not. I mean he was already pretty impressed with her first meeting her. Even after having worked with her, he was still impressed by her strength, and doesn't stop talking about it:

There's also people who always dismiss Kohaku's feelings. I mean i think it's already pretty clear

His physical aspect she seems pleased with

And well he already fits the EXACT description of her EXACT type. So it is 100% safe to say that she has feelings for him. It may not be explicitly stated but it was just the right amount of sublte. Similar to Mikasa Ackerman/Touka Kirishima, whose feelings were never explicitly stated; but were always quite obvious. That was the type of subtlety the mangaka was aiming at. And i think there's a reason for that.

Because Senku hates fast paced relationships/love at first sight/mushy girls. Building Kohaku's feelings in a slowburn manner makes Kohaku stand out from all the other girls that have feelings for him/have flirted with him/felt attracted to him. Because, as i said, he doesn't like that kind of stuff. And since he is still sciency I don't think he would ever fall for a romantic type of girl; but rather a useful one that can serve as his partner. The way I see them happening would be by Kohaku being accepting of his anti-romantic nature, and Senku seeing her as worthy Mate that he could reproduce with so that the sciene can live on and keep developing. While he did teach Chrome alot, Chrome also says he wants Senku to live. I think he also meant it in a metaphorical way. Chrome, next to his other male friends kept pushing for or looking for an indicator of him feeling attraction for a girl/or at least want him to understand romantic love so that he doesn't keep downplaying the feelings that they have towards their crushes. Even Gen seemed pretty excited at the thought of him kissing a girl lol. So it's safe to say that the mangaka writing this was him rooting for the same thing for Senku; but not in the way that we exepect.

Again, if he ever did develop a relationsip with kohaku to another level. I dont think he would confess/or admit his physical attraction to her, if he did feel any. I think he would find himself content that he has found a useful girl, that can bring him materials, and doesn't ask much of him(in a romantic light). This would push Senku to allow Kohaku as his partner. I don't think Kohaku would mind it either as long as she knows Senku is willing to reciprocate in terms of just the right amount of romantic gestures/or sexual entanglement(when senku finds the time for her)

Because as he has stated he does not NOT have a sex drive(just not active) nor is he COMPLETELY against chivalry (which is rooted in romance).

So i think if he did develop feelings for Kohaku he will not do much to figure out the why and would instead only try to rationalize it by saying Kohaku is the perfect partner. He would agree to a wedding for the sake of his friends and act like he was peer pressured to doing it, and would probably ONLY compliment Kohaku's looks by saying something like "You know, according to the symmetrical proportions of your face, you'd be considered to be living up to the beauty standards of my time" and Kohaku would be fine with that thanks to the reassurance of her sister about how "he is not the type of guy to be completely against the tradition of bonds/feelings. He just doesn't prioritize them". So kohaku would be fine with that. Especially because she herself has been swayed by his way of living.

As long as she knows that Senku considers her his mate, partner, and important person, I think she'd be okay with that. Especially since Senku is logical enough to understand that he needs to put effort into the relationship with his mate. So he'd do soft gestures for her that will keep her happy in order to maintain their relationship, even if she doesn't ask for it. And that will be enough because by the end of the day that's what most relationships are, Senku just doesn't feel the need to romanticize them, unless it's for the sake of following through with a logical situation. And well him maintaining his relationship with Kohaku would be logical as it would avoid conflict and prevent him from seeking a mate elsewhere. We all know Senku doesn't like to bother with those things. He just goes with the flow of whatever is convenient.

I also think that even though he doesn't like physical contact he'd probably do soft things like touch her hand in reassurance,(he's held her hand), smile at her(as he has done so before), look tenderly at her with pride(has looked and felt proud of her) and lean on her when he is tired(they have leaned on each other metaphorically). Those would be indicators.of him caring for her, but he won't ever stop to think about them, even if his heart rate actually does start to raise he will only rationalize it with talks about "dopamine/serotonin" and Kohaku being his chosen partner; but overall, he'd be most ecstatic about having a partner by his side, and the fact that he cares for such partner. Kohaku won't ask for more and will come to understand that she has what any other girl has(when it comes to romantic relationships), and she SIMPLY has a partner that tends to rationalize everything and dislikes romance; but is willing to do it for the sake of logic.

[quibbs126]

So I’ve been drawing this today

It’s a redraw of this picture I made a good 3 or so years ago

Funny enough, this isn't technically the origin of the picture either, as I made a pose base for it that I just ended up reusing with these two, which was originally taken from a Pokémon anime screenshot that featured Jesse and Steven in wedding outfits (I don't think I have a picture of that original)

Anyways, so I made this because I was drawing these guys again, as you already know, and I just wanted to redraw this piece, seeing as how I was already redesigning them. This also gave me a good time to figure out Rasmus' green design

Also note I ended up asking my friend for ideas with the trio's new names, and she suggested Cinder for Rasmus. The name fits his theme, but I don't know if I'm personally sold yet. Personally, I like Cedar but upon looking it up, cedar isn't really a dark brown color, if anything it's more red, so

I did end up changing his colors to a more yellowish hue, which made me think of olives. So I think I might make his birth name Olive

I feel like Olive is seen as a more feminine name, while Basil would be more masculine, when it's the opposite here. Ah well

I tried to give them more "western" style outfits, but I really did end up just making something up. I think it turned out fine though

The flower in Periwinkle's hair is supposed to be like a rose, but I don't actually know how to draw roses, and can only vaguely remember how a super cartoony rose I saw was drawn, so have a flower that's kind of just...something

Also, she doesn't normally wear a flower in her hair, but the depicted scene is supposed to be when they got married, so it's a special occasion. They eloped to be together, so their marriage wasn't really much of anything other than paperwork and a nice dinner, but it was still a very happy day for them

I was originally going to give them the normal colored outlines I give characters, but I got this dark blue and was like "screw it, make that the whole outline color" and so I did. Gives me a blue ballpoint feel and I like it. I did do Olive's horns a different color, but I usually draw those horns like that, it just doesn't look right with normal line colors

And I just realized I forgot their tails. They do have them, but I keep forgetting they exist when I draw them. I mean I suppose they aren't that important, but still

Also, while I wasn't able to portray it, Olive is supposed to be very fluffy. It didn't feel entirely right to have his chest fur be out so you can see it, and I was struggling with giving the characters chin fur prior, so I didn't put that. I do have to come up with a solution to that. Also, while Olive was fluffy and soft, after his transformation his fur basically singed off and he hasn't been able to grow any more than short, rough fur. It is something he mourns but isn't that pressing in the grand scheme of the disaster he found himself in

Also while we're here, I might as well explain some backstory between these two

So Periwinkle comes from a rich, aristocratic family while Olive came from a somewhat poor one, where he and his mother worked at the local tavern. Olive's parents had him young and on accident, and a few years in his dad dipped due to his rising music career (though he did regularly send them some of his earnings), and Basil's pretty bitter about the whole situation

Anyways, so Perri and Olive eventually met and fell in love. However, Perri's family disapproved of their romance due to Olive's status, and Basil disapproved because this was exactly how she got into her situation (it wasn't exact, the two couples had very different relationships, but it was close enough for Basil to see their relationship as rubbish). So they eventually decided to run away so they could be together, with some help coming from Perri's sisters, who thought that Olive's status also didn't matter and they knew he was a good guy

Things would end up going horribly for them, but at least for a couple years, they were happy together

And yeah, that's this. Legit, I'm really proud of how this redraw came out, and I like looking at the clear improvement

[thefloatingstone]

How do I give my anime designs more character? I don’t want them to look bland, especially not the girls!

I had a whole different argument here and suddenly realised I was answering a question you didn't ask. I'm sick at the moment so my brain isn't working the best so forgive me if my answers seems a bit all over the place.

Most importantly, and something i think a LOT of modern anime does badly these days, is to not be afraid to PUSH the expressions of your anime girls.

if you'll forgive the mini-rant; modern anime has a really bad habit of not allowing female characters to have "ugly" expressions. Or when they do, they make them simplified emojis or make the one second of extreme emotion SO extreme it becomes completely off putting. Especially as there will be a tendency to only push an extreme expression in one single episode during a "dramatic scene".

This results in most girls in modern anime looking more like the limited expression range of a Vtuber than actual characters. There ARE exceptions, but this is a MASSIVE issue which was not the case in the 80s or 90s and only really started becoming more common around the mid 2000s.

Comparison examples! (you know I love those). I am using still images instead of gifs so the animation doesn't mask the drawing. But I'll show some animated gifs later in this ask

This extends beyond just facial expressions tho. Or rather... it doesn't.

Most modern anime shows will have the characters pull expressions in their face, but have their bodies relatively static, even in extreme emotions. If you compare the two screenshots above, the more modern example has a more extreme push to her eyes, but in the Dirty pair screenshot, not only is Kei's mouth open very wide, but her head is tilted backwards and to the side, her shoulders are drawn up, and she gives the impression even in a still image that she is in the middle of a physical reaction to something which annoyed her. Similarly, Yuri down there is also annoyed, and even though we only really see her eyes, you can tell she's hunched over and seething. In the modern anime screenshot she's just.... got the default "these are my angry eyes!" face with nothing really happening elsewhere.

Her shoulders I guess are kind of drawn up but so barely you wouldn't be blamed to think they always look like that.

And this comes to the second point.

DRAW FROM LIFE AND/OR PHOTOS.

There is NOTHING wrong using a pose doll to figure out a challenging pose. I have used pose dolls when I am unsure how a certain pose looks from a specific angle. But looking at real life, whether photos or if you can, life drawing, will be your biggest tool in figuring out how to breathe more life into your poses and art.

Now, to answer the ACTUAL question you asked about design;

I have to admit that character design is not a strength of mine. I have little to no practice with it myself and when I design OCs I end up not liking them or not enjoying their designs. I feel someone far more skilled at the design part of design might have better input, but I can tell you what I know just from observation;

The first BIG advice is; do not confuse interesting design with clutter.

This doesn't mean strip down your character design to look like a Y/N drawing, but more have every element you introduce into your design be there with some kind of thought in mind as to how it applies to the character and who they are as a person. This is a mistake I often see made with characters both OCs as well as professionally. Where character designers seem to think adding MORE to a design will make a character more interesting to look at. (PreCure has this problem a LOT)

Giving your character too many details without some kind of larger unification or idea, makes them harder to envision for people, because there's too much visual noise.

If I tell you to think of Link from Legend of Zelda, it doesn't matter WHICH Link you picture 9although at the moment it's most likely TotK or BotW Link), Link has unified design elements which means regardless of how detailed or cluttered his outfit becomes, we all know what Link looks like;

1: Blonde hair on the longer side usually, with fringe and side bangs 2: blue diamond shaped eyes, pointed ears, light skin 3: wears some variation of green. Can dress in other colours but Green is an identifying colour. Even in ToTK and BotW where he is most often shown in blue, Green is still the vast majority of the outfits and gear he will wear 4: boots and light coloured tights/pants 5: Twink

You don't need to look at a picture of Link to know this is what Link looks like. Other details like his earring, belts, gloves, bracers, undershirt etc are all there and enhance these elements and distinguish one Link from another exist, but they are not the unifying elements to Link's character design.

On top of this, all of Link's character design make SENSE for his character, what he does, where he comes from etc.

He is a Hylian so he has pointed ears and is generally elf-like in appearance. He spends most of his time in European forests so he dresses in green. When he wears other colours it usually corresponds to where he is currently traveling. He carries a sword and shield so he has a belt with scabbard. He carries an entire pantry worth of food with him, so he has various satchels and bags on his person (but not too many or the design becomes cluttered). He wears light protective gear to show he gets into fights but they are usually not heavy in nature because Link is nimble and relies heavily on movement.

This doesn't tell us anything about his personality because Link doesn't really have one, but it's a very strong character design all the same and informs us what kind of character he is and what sort of life he leads as well as what sort of background he might have (He is a skilled adventurer. Not a rich sheltered boy who has never been outside of a city before or something of the like).

Now I'm gonna compare him to the character design of a Mass Effect character which I don't THINK you'd have played since your profile says you're a teen and the game is rated M 👀 (or you might have, idk I'm not your mom) but ANYWAY! Looking at a character design which tells us about their PERSONALITY as well as way of living.

I'm not going to use any of the aliens as examples because then you have to bring in the subject of alien species into the equation and how they stand apart from the various other members of their species and etc etc. So we'll talk about a human character.

So... this is Jack

Although you may think her tattoos make her design cluttered, they don't because you don't really need to know what every individual tattoo looks like. You just know "Jack is covered in Tattoos".

So just looking at her, you can pretty much instantly pin down her personality. That being; she will most likely fucking stab you if you say one thing to annoy her.

She's like a punk on steroids. Shaved head, heavy make up, COVERED in tattoos, both ears capped in some futuristic piercings, some or other heavy duty uniform except she decided she'd rather walk around fucking topless and boots that could crush a man's skull.

Everything about her design screams "don't fuck with me I am VERY unhinged and will kill a man for less than the $4 in his pocket".

Jacks' entire personality is on display in her design. And the design as a whole present a single concept of who she is as a person, while ALSO tying into her backstory and lifestyle. (escaped prisoner from high security facility, still wearing the prison uniform, has been in an unknown number of gangs, has an extremely casual approach to sex and sexuality, uses her intimidation as a first line of defense to prevent people from getting close to her indicating a painful past)

And then you compare her to her design in the following game

This is a great design because it not only informs you on Jack's personality, but also her GROWTH AS A CHARACTER.

Her design is, at least compared to her first appearance, softer. She's grown her hair long enough to tie it into a ponytail, making her appear more feminine. But she still shaves the sides so you know she can still shank you if she wants.

Her outfit is still VERY revealing but she's also dressed borderline decently. She is not as defensive any more and could probably even walk around in normal society without getting a ticket (and then shooting the cop in response).

However even covered up, she's wearing a leather studded jacket, and she is still displaying her tattoos on her chest and hands proudly. She's still the same person... just less likely to murder you (although the option is still there if needed).

Now compare these character designs to some others which I would count as being "too busy" and tell me if these designs tell you ANYTHING about what kind of personalities these characters might have, what kind of lifestyle to they live, what do their environments and world looks like, or what it says about them

Fun fact; that last one is NOT a magical girl, but is in fact an alchemist who is living in a slowly dying world whose resources are being depleted and the future looks grim and hopeless as humanity tries to navigate this slow apocalypse.

I have no idea if any of that made sense or is useful in any way, but hopefully you get what I mean?

Look at real life. Don't rely on just referencing other anime and pose dolls. Don't clutter a character design with details that don't mean anything. make the parts of your character design you use have meaning or purpose. Even if that purpose is just "to give them a silhouette different to the other characters so she's easy to identify by sight"

[faintprojection]

Darth KOTOR Post Mortem

While they're still being posted, I finished drawing @darthkotorcomic a little over a week ago. While it might not look like it, this was a deceptively challenging project for me and I find myself wanting to talk about it. So... here we go.

The comic was a challenge I set myself because I was finding the experience of a dark side play through of KOTOR 1... unpleasant. But mixed with these odd moments where the game didn't feel like it was reacting appropriately to the things it let your character do. I wanted to see how it worked out, but I needed a reason to push through. Making short comics riffing on the experience ended up being that reason. But there were a few non-obvious obstacles here.

First, color blindness. I've got some moderate red/green color blindness. At the very start I'd planned to stick to black and white to dodge this, but very quickly decided that wasn't going to work. I tried to compensate by using a color picker to get colors from screenshots, but that had its own challenges. I assume there's probably some color weirdness in the result. Not much for it.

The second is I'm one of those people who can't really picture things in their head. Which means I struggle to picture what it is I'm trying to draw. Even trying to draw a character or scene from reference the moment my eyes leave the reference it just tumbles out.

Third, I am both untrained and unpracticed. I've fiddled with programs like GIMP and Inkscape off and on over the years, but I basically haven't tried to draw since I was a teenager, and even back then I wasn't drawing much.

And finally, I have a habit of getting caught in revision loops with anything creative.

With those in mind, here are the strategies I used to get this done.

First, breaking big problems into smaller and smaller problems until a big, unmanageable task became a lot of small manageable tasks. In this case, that meant making drawing characters, drawing scenes, and posing characters in scenes separate problems. There are probably better tools out there, but I knew I could do this with some very basic vector graphics tools so that's what I did. Hence, the character template.

Inkscape doesn't do character skeletons so no arms or legs to fiddle with. Also no mouths or eyebrows. I figured I could do a decent range of expressions by manipulating the hidden rectangle you can see in the color block version, which ended up being mostly true. I never did find a good way to convey an eye roll.

The second thing I had to do was time boxing every task. I didn't use a rigid timer or anything, but if I spent more than a few hours working on any individual character or scene I'd stop, look at what I had so far, and if it at least vaguely looked like the thing I was trying to make I'd stop and move on. I just accepted that this was going to be a bit of a sloppy project. The goal was for a thing to exist, not for that thing to be perfect, or even good.

With that in mind, I also didn't spend much time writing any individual comic. I'd play the game until I had 3ish events pop out at me and spend a little time riffing on those moments before making whatever I'd come up with. Then repeat the cycle.

The last thing was actually sharing the comics here. Making them public forced them to be done. Which helped maintain forward momentum.

The result of all this is... fine. I ended up making 45 comics in 35ish days, heavily weighted towards the end. I don't know that I got much better at drawing in that time, but I did get a lot faster. Some are more amusing than others. Some characters never looked quite right. I need to work on posing (especially eye lines since Player is slightly shorter than everyone else). If I could go back I'd probably find a different way to do the dialog bubbles. And I have mixed feelings on the early choice to have Player and Bastila speak in different fonts than everyone else.

But at the end of the day, goal achieved! A thing exists. I hope it amuses you.

[gay-trashcan-cat]

how the fuck do you infuse so much personality into your doodles. are you pulling a fnaf and putting human souls in them?? if so, could you tell me how to do it?

ok first off, THANK YOU? got me going teehee blink blink face. Didn't expect to have an art question but I'm very glad, it's my first one so I'll answer to the best I can!

When it comes to personality in drawings (assuming your talking about characters), I often like to think about my characters as friends or someone you know. Often times I'm just saying to myself, "OH! Character would definitely react like this or say this!" (like how you would say your friend would do something unique only to them in a silly situation) Stepping into you characters' shoes or viewing them as a buddy can help you apply and do a bunch!

Though I do understand that you can know a ton about a character but still struggle on what to apply to a drawing with them in it!

There are a few things I tend to do and add when it comes to drawings!

First off is expression, putting some extra thought into expressions can really help add more to your character. Especially pushing expression! (Won't go too deep with expression because that's a whole other can of beans)

My silly goofy cat is a real happy and loud guy, so a simple smile won't always cut it! Really pushing that joy and loudness helps add more to him as a character!

Another thing you may have noticed in the drawing is how I added some (very silly looking) arms to the surface he was near! This moves on to the next thing I often do. Body language! (Which could also be seen as, gesture/posing)

Though relatively the same expression (note the eyes size difference makes the first doodle look more aware/awake, that just shows expression can change even with the slightest difference, this was accidental though), the change of the pose adds story to the character. The first drawing comes off as a more plain hello, while the second drawing adds more excitement and characterization to the goofy guy! As we see how he waves his hand quickly with joy while his left foot taps up with energy, most likely meeting up with a friend! All this movement also makes your characters look less stiff and lifeless.

I also like to add my own stylistic ways of movement or little reaction marks, I'm not too sure what to call them exactly tho (what I mean are the extra colored bits around the character below, they dont always need color though).

This is just a nice way to add more flavor to a drawing! And you can always experiment, or mix and match to see what you like.

Another thing I do is try to imagine scenarios or scenes that would work well with what I have in mind. To get to that point I'm often writing it down or doing thumbnails and lil roughs before I actually make my sketches that I post (insider secrets right here!).

(Here's an example of my drafting process with poses and expressions for this ask I did a while ago, yes it is cursed so read at ur own cost❤ )

Another thing would be textures, you often see me switching colors and brushes, even software's as I draw! that's why every doodle feels a little different, which I feel helps give off different ideas and emotions (or laziness who knows).

Some other factors that play into the "personality" of my drawings is the reactions, with cause and effect. Which has actions that make a new reaction for each character (or even object) that is exaggerated. Like someone making a disgusted face to someone vomiting, even a cat knocking a cup over, or a cat getting scared by a glass breaking (this could also just be a continuation of the last statement). Possibly even the IRS coming for you after evading your taxes and you having to jump out the window.

I mainly use this for comics! But you could do this in a single drawing, I like to have a moment kind of frozen in place either after or in the middle of an action (sorta lets your brain imagine the in-betweens). Though when it comes to exaggerating your reactions or causes, it takes some practice and imagination, so don't be discouraged if it takes some trial and error to get the hand of it! Honestly I'm still practicing too.

Other things that help me put some more life into my drawings is well... life itself! lots of interactions, faces, and poses are based on things I've seen in real life, from watching people (while in the bushes).

Though that isn't the only thing! I also use what I see in media, or photos! even some shows and movies, since there are so many good scenes or frames that can be used as great inspiration!

lastly, yes I do put human souls in my drawings, as well as sacrifice some squirrels here and there to my Elmo shrine, but thats not tooo important right?

[astrangeavenue]

decided to share some of my thought process for these designs! for any of you behind-the-scenes nerds interested

warning for spoilers of like. all of isat. and twohats. also implied self harm

i feel like i should preface this by saying these designs are moreso inspired by the general sadness enemies/bosses than mal du pays (kind of obvious). i love mdp its such a good encounter. atmosphere is impeccable. however i wanted my sadness designs to be goopy and weird and follow the one-word-name trend. so no inverted party members for you! like i said in tags this is like character analysis in the form of creature design

ok on to specifics

ENVIE (siffrin) you may be thinking 'damn you named it envy? thats a bit harsh' and Yeah its a cognate but i chose it for other meanings!! such as: longing, yearning, craving, desire, wish, and hangnail design wise i heavily referenced the nostalgie sadness in the game for its relation to wish craft, hence all the sharp straight edges. however that also means no hair sorry sif (though the darker outline around the brim of the hat is meant to seem a bit like his dyed ends). its claw shape is based on the shape of siffrins dagger. the closed eye is that of a tragedy theatre mask (matching epuisements comedy), and its tears are black because i noticed all the boss sadnesses had black tears and thought it was fitting to include for sifs (and loops) sadness. powerful and all that. also just a good contrast cause its almost all white. its pose is supposed to be somewhat dramatic, and it nearly forms a circle. one hand is against its neck because well you know how it is with daggers

ÉCHEC (mirabelle) name wise i likely wouldve chosen anxiety, but that was already taken so i chose failure instead! based on how worried mira can get about failing this design probably fought me the most of any of them... it bears the most resemblance to that of the tristesse sadnesses which i think is appropriate. i also snuck some of anxietes spikes onto its back. its eyes are pretty unsettling and contrast miras lovely dark ones pretty well! rings for the change belief of course. the bow made of tears was something i came up with randomly and i didnt hate it so i kept it... theres probably some symbolism to it that i cant put into words right now. its hands are in different signs to represent miras cool dual typing of course (scissors on top cause that represents her resistances/weaknesses), and are in front of where her mouth would be to mirror that portrait of her with her hands over her mouth in shock

COUARDISE (isabeau) name choice is pretty obvious... cowardice is a big part of isabeaus story! huge fists come together to block its face as a way to visually represent how isabeau hides himself behind this big strong personality. if i were to draw a hurt sprite of it, i would probably make just one terrified eye visible. a kneeling pose just feels appropriate. making it look like the king wasnt intentional but theres something there! honestly most of this design speaks for itself i feel

ALIÉNATION (odile) lack of belonging you know how it is. i think the fact that the word is nearly the same in both english and french fits quite well too; it stands out from the other french words itd be weird to draw it not standing odile is such a stander. it needs a very dignified and neat pose. the chunks missing reference how odile feels like some parts of her are missing. its hands are positioned as if to hold a book, but are distinctly empty. its supposed to be ambiguous to whether its a closed eye or glasses frames; either way, a pupil is not visible to suggest a lack of perception

INUTILITÉ (bonnie) name translates to 'uselessness'! i know bonnie tries to be useful so badly. 'helplessness' is also a good one but uselessness translated better this design is pretty simple and small but i think it works very well. bonnie tries very hard to be big and brave and loud and helpful, and hates being helpless. this sadness looks like a small, scared child. the hat is meant to look like a sort of shell in this case, something to hide under. having the left eye hidden wasnt an originally intended detail but it works nonetheless

ÉPUISEMENT (loop) exhaustion! i dont think i need to say more similarly to envie, this design is very sharp and pointed. the tears are black for the same reason envies are, and one eye is the eye of a comedy theatre mask to correspond with envies tragedy. its open eye's shaky pupil has a vague star shape in it. its arms twist into an infinity sign, hands in scissors signs meeting over the eye to form a diamond-or star-shape (i dont think loop technically has a craft type when you fight them but they have slicey attacks and make the scissors sign in their just attack portrait so their sadness is scissors now). the negative space between its crossed legs make a similar shape. some of the stars bleed because im sure you know why. the pose is exaggerated and nearly manic to contrast with envies calm somberness. i nearly made its bottom half like tree roots but decided against it. anyways isnt it so cool that loops sadness looks remarkably like normal loop? isnt it so cool guys? im sure loop can be very healthy about this

bonus: the pattern i DID make the bg pattern myself by hand. it took me way longer than it needed to. but i wanted to include all the partys Signature Shapes so we have circles (within circles), squares, rhombuses, and four-pointed stars! shoutout to the clever one for helping me get a baseline idea

anyways thats about it. there may be things i dont mention specifically here that you might notice and find symbolism in. theyre not mentioned because i either forgot or theyre unintentional but i hope you enjoy them nonetheless!

drew some totally normal sadnesses

blank bg and individuals below the cut

[hello-eeveev]

1, 27, 54!

“Get to know your fic writer” ask game!

1. Do you prefer writing one-shots or multi-chaptered fics?

I definitely like both, but I think for fanfic I lean towards one-shots! my ideas for fics are rarely sprawling; they’re mostly moments in time. they tend to be low-conflict, soft, and introspective, and I think one-shots carry those narratives better than multi-chapter fics. even How to Rest, my most chaptered fic, is structured as a series of vignettes lol

27. What is your most and least favorite part of writing?

Least Favorite: language is, at its base components, linear. you read the words in the order they appear, and the order matters. you must be—if not deliberate, at least aware—of each word’s placement within the phrase, within the sentence, within the paragraph, within the story, and so on. it is daunting and finicky and awesome, but it also means that I can’t vaguely sketch out a shape that gives a sense of the whole like I can when I’m drawing. most of that granularity is happening on the subconscious level, especially on a first pass, but it is part of the process nonetheless. the writing itself is built from its smallest components up. I cannot sketch a paragraph without sentences the way I can sketch a pose without drawing each individual body part, for example. it can be very frustrating for me because I have all these thoughts and ideas and I can’t just splat the rough shape of them down all at once. it takes time and structure, and I can get lost in the sauce pretty easily, even in the process of trying to outline.

other than that, transitions. connecting scenes and moments together is the woooorssssttt. like trying to draw a circle around a cylinder but you can’t get the endpoints to line up. it’s miserable.

Favorite: when I look back at the whole and realize that it all fits. the structure, the pacing, the word choice—it’s all working together to build the story I wanted to tell and which made itself known in the process of writing it. writing, for me, more so than any other creative process, is a series of struggles. you have to figure out your goal, and then you have to find the moments that lead to the goal, but be careful! the moments are nebulous and language is an imperfect tool, and by the time you wrestle them in to tangibility, you may find out they’re leading you in a different direction, and you have to decide if you’re going to course correct or if you will follow it and adjust the rest accordingly. repeat with each smaller component. it is hard, complex work! so when it all comes together in a way you’re proud of? ooooooh, there’s nothing like it.

54. What’s your favorite part about the fanfiction writing process?

I like sharing it! it’s like I’m bringing my specialest dish to the potluck and we’re all enjoying it together. it is an extremely gratifying way of interacting with the community.

I’m a performer at heart, so I like knowing that my work can impact people and that the choices I made in the production of that work—both intentional and accidental—stirred up feeling in someone else. because i’m probably feeling the same! and fanfic and fandom make sharing that work and having people engage with it much easier. I don’t have to work so hard to sell someone on it because we’re both entering this space as fans of the same source material.