the-ship-maker-2

[the-ship-maker-2]

WIP INTRO - FRIEND OF THE DAMNED

STATUS: COMPLETE

Haunted by the events at the Glint Hall Hotel, Owen Rosedown writes a letter to the one person he knows will understand…

Owen is a Runner - a detective for hire - and no stranger to crime and death. He's not so familiar with spirits. When his cousin, Loretta, asks for his help, Owen doesn't hesitate. It should have been so simple to investigate the medium. But Owen's meeting with Theodora Dartmere takes a turn he couldn't have expected. And when the lights go out, the Damned will claim their feast.

Gothic horror!

Fantasy Victorian setting!

Trans man protagonist!

Diverse characters!

Written as a letter!

Ghosts!

Homoerotic hatred!

Woman's wrongs!

Dogs…?

30 pages, 6.6k words

COMING FEB 22 TO ITCHIO!

@acannibalisticswordfish @slenders1ckn3ss @that-gay-jedi @underratedcockblock769 @inbloodandtears @thebrownleathernotebook @calicohyde @bee-barnes-author @jacqueswriteblrlibrary @amielbjacobs @moremysteriesthantragedies @overdecorated-furniture @fractured-shield

@lychhiker-writes

Ask to be added to the tag list!

[the-ship-maker-2]

Hey chat I wanna introduce you to a little silly creepypasta AU i'm working on called

Mournful meadows

[ignore the fact jeff lore isn't done yet i'm still working on that 💔]

This is a big creepypasta AU that mostly resides around my own personal headcanons & reimagining of certain characters

It more of a "just for fun" thingy that i'm really enjoying

Also the reason i made certain characters as ocs is such a stupid reason LOL

[it's copyright reasons which ik is really stupid, But it's also for like association purposes where it's like "oh this is skullytotheark's Ticci Toby cuz this is his oc version of him" if u get what i mean]

Also expect more "entries" soonish

I reallyy wanna do something for ben drowned soon

[the-ship-maker-2]

Yokoyama’s thoughts on Majima’s true self

[the-ship-maker-2]

Some fanart of Majima Goro for my first post here

[the-ship-maker-2]

COMMISSIONS OPEN

will draw anything EXCEPT bestiality, csam and nsfw stuff with real people. payment via boosty. 100% prepayment. deadline 3 weeks. dm me if you interested!! REBLOGS ARE APPRECIATED

[the-ship-maker-2]

I will go fucking feral for my boyfriends slenderverse oc.

Painting by @lxcke-art <3

[the-ship-maker-2]

Opening back up my commissions, I take PayPal, venmo, and cash app! Please dm me and message me your idea and I'd be happy to discuss it!

[the-ship-maker-2]

[the-ship-maker-2]

Captain Hook vs Peter Pan!

(For a college asignment.)

[the-ship-maker-2]

How do fanfic writers feel knowing that people might have been masturbating to their work?

[the-ship-maker-2]

Fandom Problem #7594:

Fandoms everywhere need to heed the following: Strangers are not responsible for your internet experience. No one is here to be your babysitter, tagging stuff isn't a requirement it is a courtesy, and sometimes people don't feel like it. The tools for managing your online experience are always right fucking there! The exit button, the back button, the block and unfollow button, the fucking cursor moves so move it to curate what you want and don't want!

[the-ship-maker-2]

mad dog of shimano ☆

[the-ship-maker-2]

serene moment after a throwdown

[the-ship-maker-2]

snakeskin 🐍

[the-ship-maker-2]

Do you think were any kind of specific aspects of the culture, industry, economy, etc that made making cartoons in 90s / 2000s better or worse than trying to make them today?

They're literally different worlds.

As a 22 year old neurodivergent, I was able to pitch show ideas directly to executives. Part of that was because TV Animation wasn't a glamorous profession (quite yet), so the higher-ups were genuinely passionate about the medium. I earned good money for the time and was generally trusted to run my show and tend to the crew. I would periodically be handed portfolios, which I would personally review and pass on to other show runners. For the networks it was always corporate, cutthroat, and ultimately about the money, but as an artist you could still have a voice and make art while being paid a living wage.

The pay for a freelance storyboard in 2005 is almost exactly what it is today, but now you're likely to have less time and be required to do an animatic on top of it. Portfolios are online, and (beyond metrics) you'll probably never know if anyone looks at it or not.

Animation got big. Too big. The executives got "glamorous", then the talent got "glamorous". By then you probably wouldn't get a pitch meeting unless you were a celebrity or knew one willing to be connected to your project. Animation eventually got so big that it popped. And that's where we are now.

Most of the people I know from Kid's TV Animation are currently unemployed. I have been off Jellystone for over a year, and I'm starting to get genuinely worried. Like, "move away to save money" worried. Most of the employed artists I do know are on long-running legacy series, and they're concerned about their futures when/if those series end. Right now is not a fantastic time for "animation as a money-making profession". The "glamorous" part popped years ago.

That being said, there are still opportunities out there. If you're just starting out, apparently there's a planned surge in adult and pre-school animation. It's also a great time (as long as YouTube remains sane) to be crafting your own content. But I think that the time of Big Studio Patronage is over for most of the industry. It's up to the individual artist now more than ever, not only to make but to promote their own content.

Back at the height of Billy & Mandy, we mostly pulled fours and fives in the Neilsen ratings, but we occasionally got a seven. For reference, E.R. consistently got eights. It's difficult to say exactly how many people that actually was due to how those ratings work, but it was a big deal for the time. Millions. Enough people that if I had a dollar for each person that just watched that one episode, I would have been set for life. Now, nobody gets a seven. A four is huge. Back then there were maybe fifteen or twenty channels of programmed content as opposed to the streaming smorgasbord we were all just enjoying (and which now also seems to have popped). Point being, even though I wasn't paid-per-view, I was able to use those views as justification for an eventual raise. In modern times, streaming numbers are seemingly deliberately kept secret. You'll never really know how well your show was doing until it's over. Or maybe never.

In modern times, a million views on YouTube is enough to get you noticed online. It's a lower bar for entry in a way, but you've got to get there all by yourself. Once you're there (hello Hazbin) a network may indeed come and scoop you up. Even if they don't, you can probably make a decent living with numbers like that if you're savvy and willing to take the time.

I feel like I could go on all day, shaking my fist at the sky, gray-ass beard blowing in the wind. Was it better or easier making cartoons in the past? It seemed that way to me, but that was a world I knew. There was no AI to sell you out to, and the media was more of a "Wild West" than it is today. I do think that AI is going to continue to displace artists (and soon others), making it even more difficult to get anyone's eyes on anything at all.

Culturally, we lack the common cultural touchpoints that bonded our society in the 20th Century. I suspect that the media landscape will continue to become more "bubbly" and disjointed unless some powerful force swoops in to mandate a common viewpoint. Those are two very divergent, uniquely tiring futures, each presenting a different challenge for an artist's survival.

Outside of whatever our modern world is, animation was made for a century by photographing drawings. If Émile Cohl could do it in 1908, you can do it now. It's a lot of labor, but maybe that's part of what makes it special.

[the-ship-maker-2]

just because someone can articulate their point better doesn’t make them right, it makes them articulated. 

[the-ship-maker-2]

Trash street dog