#I'm trying a different workflow out

[hiraunia]

"You're such a downer sometimes"

I like to imagine that The Goat is physically much stronger than The Lamb but they're super reckless so they die more often than The Lamb. The result is a Lamb that is 110% done with The Goat's bs.

[jonnywaistcoat]

Hey, Horrormaster Sims. I have a wildly different question that barely relates to TMA (Sorry about that) but its about your own process. Please, if you could, can you tell me how your first drafts made you feel? I'm on the fence about writing my own thing (not a podcast, and again, not Magnus related, though I have a million little aus for that delightful tragedy you wrote, thank you for that!) But I'm discouraged by the collective notion that first drafts are always terrible, because there's no ... examples I can solidly use to help the dumb anxiety beast in my brain that tells me everyone who is in any way popular popped out a golden turd and not, well, you know. One of my friends said 'Oh I bet Jonathan Sims's first draft was nothing like what he wanted' and I got the bright idea to just. Send you an ask, since you're trapped on this hellsite like I am. Anyway, thanks for reading this (if you do) and if you'd rather ask it privately, I am cool with that. Alternatively, you're a hella busy man with Protocol (you and Alex are making me rabid, i hope you know) and you can just ignore this! Cheers, man, and good words.

To my mind all writing advice, especially stuff that's dispensed as truisms (like "first drafts are always garbage") are only useful inasmuch as such advice prompts you to pay attention to how you write best: what helps your workflow, what inspires you, what keeps you going through the rough bits. There are as many different ways to write (and write well) as there are people who write and so always consider this sort of thing a jumping off point to try out or keep in mind as you gradually figure out your own ways of writing.

On first drafts specifically, I think the wisdom "all first drafts are bad" is a bit of unhelpful oversimplification of the fact that, deadlines notwithstanding, no piece of writing goes out until you decide its ready, so don't get too hung up on your first draft of a thing, because a lot of writers find it much easier to edit a complete work than to try and redraft as they go. It's also important to not let perfectionism or the fact your initial draft isn't coming out exactly how you want stop you from actually finishing the thing, as it's always better to have something decent and done than to have something perfect and abandoned.

But the idea of a "first draft" is also kind of a fluid one. The "first draft" you submit to someone who's commissioned you will probably be one you've already done a bunch of tweaks and edits to, as opposed to the "first draft" you pump out in a frenzy in an over-caffeinated weekend. For my part, my first drafts tend to end up a bit more polished than most, because I'm in the habit of reading my sentences out loud as I write them (a habit picked up from years of audio writing) so I'll often write and re-write a particular sentence or paragraph a few times to get the rhythm right before moving to the next one. This means my first drafts tend to take longer, but are a bit less messy. I'm also a big-time planner and pretty good at sticking to the structures I lay out so, again, tend to front load a lot of stuff so I get a better but slower first draft.

At the end of the day, though, the important thing is to get in your head about it in a good way (How do I write best? what helps me make writing I enjoy and value? What keeps me motivated?) and not in a bad way (What if it's not good enough? What if everyone hates it? What if it doesn't make sense?) so that you actually get it done.

As for how my first drafts made me feel? Terrible, every one of 'em No idea if that's reflective of their quality, though, tbh - I hate reading my own writing until I've had a chance to forget it's mine (I can only ever see the flaws). I suppose there's theoretically a none-zero chance they were pure fragments of True Art and creative perfection, but Alex's editing notes make that seem unlikely.

[copperbadge]

ADHD and (Communications) Productivity

Recently @goodnightmoonvale hit me up by email to ask about some of my processes for keeping myself from getting snowed under when it comes to digital communication. The main question was about finding ways to ensure that you stay in touch with people and, at work, give updates in a timely manner.

I sent back a long email about the systems I use, then asked if I could post up my response publicly as well, since a couple of other people both online and in brickspace have asked me similar questions. I've cleaned it up a little and included it below -- although I feel just slightly weird about posting it since admittedly outside of work I am still not fantastic about prompt responses to email.

Still, I feel like it's good to share this stuff -- I think people take away what they can from this kind of post, and it's nice when something works. So here's what I wrote, tidied up a bit for posting.

SHORT VERSION

When I have a backlog in email or asks or similar -- as I often do -- I set aside a time, between 15 minutes and an hour depending on how I'm feeling, to do "communication rotation". I open up every inbox I need to respond to in a separate tab, and crucially these are the ONLY tabs open -- I set up a new browser window if I have to.

So I have a browser open and I have tabs within the browser -- Gmail, Tumblr Askbox, AO3 Inbox, etcetera. If you have Discord you might open the DMs in Discord to see if you have ones to respond to there. If it helps, you can create a bookmark file of "inboxes" so you can open them all at once every time. Sometimes I have multiple browsers open so that I can have multiple Gmail inboxes (personal, fandom, work) open at once.

Then I cycle through them, answering messages in one inbox until I feel like I can't anymore, and I move on to the next one. I try to set a goal -- say, five messages from each platform, or one "difficult" message that I've been putting off per platform. Or trying to get every inbox down to under 20 messages that need response, or similar.

The goal is not to answer every single message, but to attack the mountain. If you find you're skipping one inbox because only the really hard-to-respond-to messages are left, close out the other inboxes and just focus on replying to ONE hard-to-respond-to message, then get up and walk away and give yourself a treat. Maybe come back and start again in ten minutes, maybe you're done for the day. The point is to reduce the backlog little by little while still retaining enough energy to respond to new things as they come in, so they don't add to the backlog.

There may be a better way for some people -- maybe some people would do better to pick one platform each time and just deep focus on that one, for example. I always say that people need to find what works for them, but the attitude in this case is what's important -- not "Gotta do it all now" but "Little bit now helps me later". 

NOW, for the long version that's more work focused! 

LONG VERSION

Responding to people and keeping them updated are two different things, and I think there's an implicit third thing, which is "making sure I make time to respond to messages". So in sequence what you need to figure out how to do is: 

1. Set up your workflow so that you are consistently reminded to read and respond to email.

2. Respond in a timely and appropriate manner to email. 

3. Set up your workflow so that you are reminded to provide update emails as you progress in various projects. 

So for 1, only you know what will trigger you to consistently read and answer email. For me, I just constantly have my work email open on one monitor (I have two) and whenever a new email comes in I see it. Sometimes I need to use both monitors for other things, and for that reason the only email notifications I get on my phone are work email notifications*. So if I'm working on something and my phone nearby dings, I know it's probably important, and I see what it is fairly quickly.

* Reader, if you have ADHD and have not tried turning off all but the most necessary phone notifications, I do recommend trying it. For some it might be difficult or even counterproductive, but for me, it helps enormously with brain fog and executive function. The only notifications I get on my phone are text messages, work emails, and alarms. Nothing from social media, nothing from retail or game or banking apps. Zippo.

Once I'm aware I have a new email, before I read it, I decide: do I want to read and reply to this now? If not, if I'm in the groove of something else, I leave the email unread, so that it's there nagging at me when I'm done with whatever I'm doing. If I'm in a good place to break, I open the email -- but only if I have concluded that I will respond to it immediately if response is needed. 

This is a difficult habit to form. It may not work for some people. The key is to figure out what will a) draw your attention to new email, b) allow you to decide whether to read it, and c) respond if you do read it. 

2 ("respond in a timely and appropriate manner") is actually the easiest of the three steps in my opinion because you don't always have to have all the answers at once. I sometimes fall into the pit of "I can't respond unless I have a full answer or a finished assignment" and have to pull myself back out. It helps that I have become master of the "acknowledgement email" -- basically if you open an email and you can't answer the questions in it immediately, or if you can't work on the assignment that moment, you fire off a quick email just to let them know you've received the message and are working on it.

For this, I have several stock phrases such as "Thanks for the email! Let me look into this a little further and I'll get back to you" or "Sure, I can get that done in [timeframe]." Importantly, if they have not given you a deadline, it's SUPER helpful to say, "I'll have this to you by [reasonable date in your opinion] -- if you need it sooner please let me know ASAP so I can prioritize it." (or "If you need it sooner let's discuss the scope of the project, since I have a lot on my plate.") 

You then need to make sure that you do the task in the allotted time, but that's a different ballgame -- we're focusing here on responding and updating.

People, truly, just want to know that you've seen their request and are working on it, and just sending that email goes a long way towards giving the impression that you are a prompt responder and strong communicator. Also if you have any questions ("before I proceed, can I ask") now is the time to ask them since that puts responsibility back on them to provide information before you go further and possibly waste your time.

3 ("Set up your workflow so that you are reminded to provide update emails") is where I struggle, because it's not just about remembering to Do The Thing, you have to also remember to update the person on the thing. The way I do this is to use my inbox not as a temporary repository for new emails but as a to-do list. Until a task is complete, the email regarding it does not leave my inbox (see next paragraph for exceptions). If it's important I might even mark it unread (despite having replied to it) so that it "bugs" me when I look at my inbox. 

If I have replied and can't go further until I get a response, I might file the email in a folder. I make a new folder for work every month, so for example any requests from February are in the 2025-02 folder, and for big projects with multiple emails I make a folder like "2025 Holiday Cards" or "2025 Database Audit". Since there's nothing I can do until the person hits me back, it doesn't need to stay in my "to do" inbox -- when they email back it'll get moved there anyway. However, if I have replied and need a response but can work on other aspects of the task, even if I'm not going to immediately, I leave it in my inbox. That way, whenever I'm concerned I've forgotten something, I can check my inbox and see all the stuff I need to either reply to or update people on.

I also use Google Tasks to run my life, and have it open in a sidebar next to my email, so any task I should be working on is generally noted there as well, but that goes back to the "make sure you do the tasks promptly" which again is a different issue. 

CASE STUDY

So, say someone asks me for a spreadsheet on Monday. I reply "Thanks, I'll have this for you by end of day Friday, let me know if you need it sooner." They don't respond so I assume Friday is fine for my purposes. I leave the request email in my inbox and start work on the task OR I put the task in my Google Tasks with "Due Friday EOD" on it. (Sometimes I do both.)

I work on the project all week and by Wednesday I've made reasonable progress but haven't heard back from the person who asked for it. Around the end of day Wednesday, I might open the thread again and send a quick email saying "Hey, I'm making good headway on this, still on track to have it to you EOD Friday." Or I might have a question, and shoot that off. For some people, you get a feel of whether or not they need that kind of update. I don't do this for, say, my super laid-back boss, but I do for the head of Data who definitely wants status updates. 

On Friday, I open that same email thread as the original request (for consistency) and send them the finished product. At that point I know I'm done with the task so I can shift the email into my 2025-02 archive for good. All the communication is in one place, and it's neatly filed away, so I no longer have to worry about it. 

CONCLUSION

The ultimate point is that you want to develop a system for your own personal use that reminds you to check email frequently, helps you respond immediately when you read an email, and reminds you to send updates as they're needed. Maybe that's alarms instead of Google Tasks, or a calendar app, or a handwritten to-do list in place of keeping stuff in your inbox. The point is to know what will cue you to do things you wouldn't do naturally, then implement those -- and change them if they stop working. What I wrote above is my system, but it's mostly demonstrating the framework I used to build it, which is what I hope other people will also find useful.

[andhumanslovedstories]

you think often of how nurses should speak and relate to patients, and i highly appreciate knowing you put this kind of thought in and share it with other nurses. but as someone who often occupies the patient position, i'm curious if you have any thoughts on ways for patients to interact with nurses, when we are in decent enough control of our faculties to make choices about that. i would like this knowledge from both an altruistic perspective in recognizing nursing is difficult and not wanting to voluntarily make it difficulter, and a wholly self interested position of knowing nurses who like interacting with me give better care. what helps as a professional and as a person?

I'm surprised how much I had to think about this question. What do I want patients to do? I don't know. A lot of it is basic human decency, some of it is specific to my nursing workflow, but overall I find it complicated saying what patients "should" do. I cut out about 500 words of navel gazing from this post explaining why. Here are answers I've come up, in no order and not of equal importance.

--a lot of it is basic "polite interaction with another person in a professional setting." If you're asking this question, you probably care about treating people well in general. If you wouldn't say it to a barista, would you say it to your nursing tech?

--don't do joke answers to basic orientation questions like "what's your name" and "where are you right now", because it's annoying to have to clarify if you're actually confused or if you're fucking with me. I know they're annoying. Just answer correctly so we can move on.

--have some flexibility and patience. Hospitals have a lot of moving parts, and each person interacting with you has other patients that also need care. My hospital and state has mandated nursing ratios. The maximum amount of patients I've had in one assignment is five. Other hospitals have far less protection, and nurses may have six, eight, twelve other patients. Our respiratory therapists each cover multiple units. One CNA might cover the entire floor. I know if melatonin is the difference between you sleeping or not sleeping, it is very frustrating for someone to bring it late. I just ask you keep in mind that there's dozens of reasons that might happen besides someone ignoring you.

--help us help you. If you can lift your arm up for me to put a blood pressure cuff on, why are you holding your arm completely limp so it's like putting pants on a toddler than doesn't want to get dressed? If you can help roll yourself in bed, help us roll you. If your IV is beeping, hit the call light so someone can come turn it off. If you don't have urgency issues and you can tell you're going to need to go to the bathroom soon, call before it's an emergency. If your IV hurts when I give you medication at 8 pm, tell me then, not when I'm trying to give you your midnight antibiotic and all the evening staff have already gone home.

--if you don't understand how something works in the hospital (what happens when you hit the call light, how often are people going to take your vital signs, why can't I get up and walk around the room), just ask. It's really easy for people who work in a hospital every day to forget other people aren't familiar with it.

--don't treat doctors noticeably better than you treat everyone else.

--pet peeve number one: if I give you pills in a med cup, you can just use the med cup to get the pills to your mouth. You don't need to pour the pills into the palm of your hand and then pop them into your mouth. You're gonna drop the pills, and I'm gonna end up on the floor looking for a tiny tablet of dilaudid.

--bundle requests, especially low-importance ones. If you ask for crackers and you know crackers make you thirsty, just request your drink at the same time. Don't make me walk to your room, the nutrition room, and your room again ten minutes later.

--I don't expect people in the hospital to be pleasant all the time, and I don't take snappiness personally, but I always really appreciate the patients who apologize or even just acknowledge their behavior.

--I love patients who acknowledge my work. I don't need effusive praise or a thousand thank yous. It means a lot for someone to just be like "hey, thanks for your help tonight."

--have patience with repeating yourself. If you've got something important and complicated to convey, practice a quick understandable blurb that takes no brain power from you. There may be something that you've told the staff a dozen times, and it may be documented in your chart, but in the hospital you see many people who have never worked with you before and for whatever reason didn't read that info in your chart. For example, I'm a float pool nurse which means I almost never see the same patients twice. I can get sent to a different unit and a different patient load at literally any time. I can't familiarize myself with complicated documentation or read every nursing note. Especially not for patients I know I will only have for four hours. I know repeating yourself is annoying, I know it sucks to have to explain your bathroom routine or your preferred pain med or when you like to get pills or whatever every shift. And it's great when people make that information very easy to find! But if you just accept the reality you'll be repeating yourself a lot anyway, it makes doing so less frustrating.

--pet peeve number two: don't exaggerate to make a point. This is such a human thing to do, and god knows I catch myself doing it all the time, but you can raise objections in a way that's factually true. I've got a lot of concrete data that people are very often wrong when they say they're been "waiting for hours" after hitting a call light. The computer has a time stamp of the last time I was in your room. I know it was 45 minutes ago. There's a timer by the call light. I know you called twenty minutes ago. And I know it feels much longer when you are waiting for basic cares or pain control or anything pressing. Things can be unacceptable without needing to be exaggerated. When the exaggeration is the base of your complaint, it undercuts your credibility. Honestly I find it really irritating when I spend a disproportionate amount of my shift with one patient only for that patient to tell another staff member that I've been neglecting them. Just say I did a bad job, don't pretend I wasn't there at all.

--don't ask me to pull my mask down so you can see my face. like cmon dude.

--I'm not saying you have to send all your visitors out of the room when I'm there, I'm just saying have some sympathy for how nerve-wracking it can be to do your job while being intensely watched by five other deeply invested people with limited context for your actions.

--this is a nebulous and difficult one. You might have a lot of emotion that you don't know what to do with. What you shouldn't do with it is channel it into every interaction you have with a healthcare worker. If you feel guilty about how you haven't visited your mother in a while and now she's in the hospital, you gotta find ways to deal that don't involve getting extremely passive aggressive at your mother's night nurse.

[ashprince-of-bel-air]

A Late-Night Session.

A/N: I'm not gonna lie, this is purely self serving one-shot, I'm sure I dreamt about this so I wanted to write it.

Summary: You were part of the Hellfire crew and had just finished your most recent campaign, Eddie invited you over for the night after the rest of the club had left.

Warnings: reader is afab. It does include smut so 18+, both the reader and Eddie are at least 21.

Eddie slumped back into his throne with a smile, he had been in charge of this story for a while, and it had finally come to conclusion. The cheers from the rest of your party made Eddie smile enthusiastically, you could not help but look at him, you loved seeing how happy DnD made him. Eddie’s smile was intoxicating to you and was pretty much the only reason you attended the weekly Hellfire meetings at this point. Yes you had enjoyed DnD in your younger years but now all you went for was the enigmatic leader, Eddie Munson. He was so energetic and passionate, you had never met a dungeon master like him. You were almost sad that your current campaign had ended, hoping he would come up with another one so you could all play together again and you could be in his company.

You all cheered wildly at the end of the campaign, your group being victorious against Asmodeus. It was a difficult campaign, but you and your team made it through, celebrating your win thoroughly. The night of your win was a wild one by DnD standards, you all ate too much and tried not to drink yet in front of the younger players, you could do that later. The young ones spilled out of the room, leaving to catch their rides early into the night. The older ones, like Gareth and Jeff, left a little later leaving you to clean up, not that you minded. It left you and Eddie alone, this was something that you had become used to, each week everyone would have a reason why they could not stay and help clear up. You did not mind though, you enjoyed your private time with Eddie, just the two of you, it was the favourite part of your week, you both flirted with each other, but neither would be brave enough to make an actual move. There had always been a palpable chemistry between the two of you, it was obvious to everyone that saw you together, however you both seemed to tiptoe around it.

This week, Eddie told himself it would be different, he would ask you back to his place and he would finally make a move against you. It had burned up inside of him each day he saw you that he did not act upon his attraction to you, he wanted to claim you as his before anyone else had the chance to. The air was quiet as you had both started to clear the chairs and cards away, you never wanted to interrupt Eddies workflow, he had a system for how he worked, and you respected it. You both tidied up in silence for a while until Eddie’s deep voice broke the silence between you.

“So, Y/N…. You got any plans for tonight?” He rubbed the back of his neck nervously as he asked, he wanted to seem cool and confident, but his current form was betraying him, you turned to focus on him and your heart melted. He looked so cute and anxious that it made you smile.

“Eddie, I’m actually flattered that you think I have any sort of social life outside of DnD” You joke and smile softly at him. Eddie had always loved your playful nature, he had often wondered why you were not more popular than you were, you seemed so approachable and enigmatic to him, you were due to leave for college this year and he wanted to try and shoot his shot before you left and found someone whilst you were away.

“Well, I don’t know what you get up to in your spare time, Princess” You turned back around to stack the chairs away but you could almost feel the smirk that was plastered on his face, he was the only one that was allowed to call you Princess, you hated hearing the name from any of the other guys but Eddie got a free pass with it, for some reason the name coming from his lips made you blush and go warm, the way he called you it was almost as if he knew what effect he had on you.

You rolled your eyes at him playfully as you finished clearing up, you walked over to him. “Well actually, Munson, I don’t have any sordid plans tonight, why do you ask?” you chuckle at him, trying not to be distracted by those big brown eyes of his. They were your biggest weakness; he could commit any crime known to man but if he looked at you with his big brown doe eyes you would melt. Many a time you had to tell him playfully “You put those big brown eyes away mister” because you were annoyed at him and did not want him to worm his way out of a telling off.

Eddie had finished collecting up any figures and cards that were laid out on the table as he replied to you. “Well, I was just wondering if you wanted to come to mine for a drink. My uncle is away for work, so I have the trailer to myself?” He tried to seem smooth as he asked but his heart thumped wildly in his chest, he had never been this forward with you, but he wanted to try his chances with you, the moment he met you he was enthralled with you.

A soft blush crept upon your face as you responded, pretending to be interested in something else to hide it from him. “Sounds good to me chief.” You would love nothing more than to be alone with him in his trailer, you had spent time alone with him after each DnD session but being alone with him in his trailer was different, it was more intimate and was something that you had craved, you wanted a chance to be with him in an intimate setting, you were not sure what you would do but you wanted the chance nonetheless.

A smile erupted across Eddie’s face, you had actually agreed to spend time together, just you and him. His nervous sweaty palm ran through his hair trying to tame the wild curls somewhat. “I’ve got some good films we can watch whilst we have a drink, it’s completely your choice” his voice was slightly nervous as he spoke, he wanted to make sure you enjoyed your time with him. You chuckled and shook your head at him. “I was more than happy with the idea of free drinks, don’t give me the stress of choosing a movie to go with them”.

The final bits of the gathering were cleared away as Eddie chuckled, he spun his car keys in his hand and nodded his head towards the door. “C’mon then Princess, I’ve got a few beers with your name on them.” You rolled your eyes playfully at his smile, trying to hide how much it made you weak at the knees. You followed him outside and made yourself comfy in his truck, you had been in it many times, but this felt different, you felt there was a tension in the air between the both of you. The ride to his trailer was mostly uneventful, filled with pleasantries, asking how you both were and how he was doing with work and whatnot, he told you that he was adamant that he would graduate this year, 86 was going to be his year. It was not long until you pulled up outside of his trailer. The gentleman he was, Eddie made sure that he quickly walked around to open the car door for you, eliciting a playful eyeroll from you.

Eddie opened the door to his trailer, inviting you in. Giving you a playful bow before escorting you in, you had been in his trailer many times and he did that stupid bow every time. “So, you want a drink yeah?” Eddie called from the kitchen as you stood in the living room adjacent to it.

“Yeah sure thanks” You were not overly bothered about having a drink, but you just wanted an excuse to spend time alone with him. You both took a seat on the sofa an made yourself comfy, Eddie sat there, his legs wide apart and holding his beer bottle between his legs. You decide to test the waters and softly and drape your legs over his and lay down on the sofa, pretending to be nonchalant about it. Eddies eyes went wide as he felt your legs drape over his waist, his hand instinctively landed on your thigh. You were wearing criminally short shorts in Eddie’s mind; how could he resist touching you.

Eddie groaned internally as his hand rested on your bare thigh, he squeezed it softly causing a soft moan to emanate from your lips. You felt his rings dig into the flesh of your thighs and you could not help but moan against the feeling of the metal digging against your skin. The soft moan caused Eddie to grip your thigh even harder as he leant towards you with a smirk. “Are you okay, Darling?” His hand started to stroke further up your thigh and rested just beneath the hem of your shirt, his fingertips grazing the skin of your stomach, waiting for confirmation that you wanted more from him. You blushed at the fact you let the audible moan slip from your lips, it was hard to catch your breath knowing where his hands were on your body, desperately wanting them to explore further. Eddie leant towards you on the sofa, his hand ever so slight trailing up underneath your shirt, feeling his calloused palm against the soft skin of your waist.

“Cat got your tongue sweetheart?” He purred, that stupid smirk on his face caused your heart to flutter, but you would not be bested by him. You leant forward and left barely any room between his lips; he could feel your breath hot against his face. “I’m more than okay, Munson” You could sense that this was your opportunity, if you were ever going to get him then it was now, you held your composure despite your heart feeling like a jackhammer in your chest, trying not to look into those deep brown eyes that were now raking over you.

Your response and eagerness to lean closer to him was all the confirmation that Eddie needed, His free hand came swiftly to the back of your head and pulled you into him, your lips crashing together. You felt yourself moan into the kiss as his hand on your waist squeezed the delicate skin there, it felt like bliss as his hand gripped you and pulled you closer. You lost yourself in the kiss and moved closer to him, your aim to straddle yourself over his lap on the couch. An aim that Eddie did not stop you from achieving, he let out a throaty groan against your lips as he felt you move onto his lap, his hands devouring your body hungrily, he wanted to feel all of you. His lips released yours and found your neck, placing wet open-mouthed kisses along your neck and collar bone. You back arched towards him, wanting him to explore all of your body with his mouth and tongue. Your hands travelled up his arms until they reached the base of his neck, where you slowly tangled your hands into his soft curls and gripped softly, pulling yourself against him even more.

Eddie was in heaven, he had you on his lap and his mouth was exploring your body, he craved more though, he had wanted you from the day he first met you and this was not enough. His lips found your neck again and his voice vibrated against your skin. “Fuck…. I need you, Princess” His deep voice against your neck made you groan into him desperately, you needed him just as bad as he needed you. You gripped your hands tighter into his hair and kissed along his jawbone, your voice soft and breathy as you spoke. “Eddie…. please.” His eyes rolled back in his head at your breathy plea and gripped your thighs roughly. Eddie regained his composure slightly and positioned his hands under your thighs. He stood up from the sofa, lifting you with him and carried you towards his bedroom down the hall. You wrapped your legs around his waist and carried on kissing along his jaw and neck, now feeling his excitement thick against your thighs.

He dropped you roughly on his bed, resting on his forearms above you on the unkempt bed with pure lust in his eyes, he had wanted you for so long and now you were here in his bed, he would make sure that you enjoyed it and would want more from him. His plump lips found your neck again, his teeth grazing against your skin causing you to moan softly and grip his hair, spurring him on even further as he nipped his way down to your chest. You helped him swiftly remove your t shirt, laying bare chested before him. Eddie’s eyes laid on you half naked form, fuck you were beautiful to him, he needed just a moment to commit this vison to memory before his lips found your skin again. He kissed along your breasts, his teeth teasing you and nipping at your soft delicate skin. You felt him suck at your soft skin, leaving his marks upon your body, this aroused you even more, knowing that he was claiming you as his, knowing that he wanted nobody else to touch you.

The kisses along your breast and stomach were sloppy and desperate, until he reached the waistband of your shorts, you looked down and could see his beautiful eyes, asking for permission to remove them, a soft nod from you was all it took, and he quickly took them off and threw them on the floor. His teeth now grazed against your inner thigh, and you moaned desperately, he was teasing you and he knew it.

“So needy Princess, good girls wait patiently” You felt his smirk against your thigh as his tongue roamed your skin, wanting to taste every inch of you. Your hips bucked towards him involuntarily, you wanted him to relieve you of the heat that was swimming in your lower stomach, you were desperate for his touch. Finally you felt his lips upon you, you were already soaking wet for him, a fact that made him chuckle against you as you felt his tongue against your clit, moving in slow languid circles to torture you further Your soft moans were like music to his ears, whilst his hands roamed your skin, his big calloused hands finding your breasts, squeezing them causing your back to arch further into his touch.

“Eddie….” You moaned softly as he continued to tease you, you wanted to feel him and let him relieve you of the pressure building inside of you. He smiled and left one final kiss against you, lifting his head from your thighs, you could see your juices dripping from his face and thought he had never looked sexier. In one quick move he removed his t shirt and leant his body against yours, revelling in the feeling of your breasts against his bare chest now. His lips found yours again, kissing you passionately as he tried desperately to undo his jeans. You could feel his thick length against your thigh through the denim of his jeans so when you felt him bare against you, you moaned desperately. You had imagined what Eddie would feel like many a night, you craved it desperately, even pleasuring yourself over the thought, something Eddie did over the thought of you as well. Eddie steeled himself and took a deep breath, he had wanted this for so long and he would savour the moment, he held his cock in his hand and swiped it against your wet folds, chuckling to himself at your desperate moans. He loved seeing you so desperate and needy beneath him, knowing that he was the one causing you to come undone like this. He slowly pressed his throbbing tip into you, feeling you stretch around his girth, squeezing his eyes closed as he felt how good you were around him.

A deep breathy moan escaped your lips as you felt him inside of you, you had been with other people before but you were not used to this size, it was almost sinful how good he was making you feel just from pressing slowly inside of you. “Fuck…..” Eddie whispered as he felt himself stretch your cunt, you felt so good already and he wasn’t sure he would last too long at this rate. He started to thrust a slow and steady pace, one that felt torturous to you, your hips bucked against him as you wanted to feel him thick and fast against you. “Baby…. Please I can’t” He whispered against your neck, he wanted to, so badly he wanted to fulfil your desire and drill into you.

“Eddie… I’m so close… please” your voice desperate for him now, your nails digging into the skin on his back, he looked at you, your eyes almost in tears because you were so desperate for him now. His hands gripped on your hips, pulling you even closer to him, as he buried his face in the crook of your neck, he wanted to be close and hear your moans for him. He pounded into you roughly and after a few thrusts he felt your walls clench around him tightly, your moans were like heaven to him, he told himself that he would commit that sound to memory. One more thrust and he was spent, he felt himself tremble inside of you as he collapsed on top of your body, leaving soft wet kisses on your neck.

You were both laid together, sweaty and gasping, feeling the afterglow of your orgasm. Your hand softly stroked Eddie’s hair behind his ear, loving how the fringe of his hair was slick against the sweat of his forehead. You looked deep into his deep brown eyes and smiled, you both felt happy and at peace in each other’s arms.

Eddie finally rolled off the top of you, laying beside you he pulled you into his arms, stroking the soft skin of your back affectionately. You both laid there silently for a while enjoying each other’s embrace until Eddie spoke up, hooking a finger under you chin pulling your face up to look at him. “So, is this going to be a regular after session thing or not?” You rolled your eyes playfully at his smirk, answering him with a deep kiss. You knew this would be more than an after-session activity.

[friendlyloner]

So in love with stitching this. I love the color palette and the design's ability to transition through it with no confetti just excellent and deliberate color choices. Think I'll do an update when I complete each set of 10 rows. I'm such a nerd for tidy incremental progress pics.

This pattern is Phases of Change by @8pxl

Navel gazing and a backside below the cut

Thinking a lot about methodology as a stitcher this morning. Came up because the other cross stitcher in the monthly craft hang out has encouraged me to try out Pattern Keeper a few times and I've been resistant but unable to articulate why. So I've had a little think about it and my conclusion is there are two reasons, one simple and one complex that builds out from the simple.

The simple reason is I started working from PDFs of patterns before cross stitch tracking apps were widely available. I'd more or less already figured out how to make it work for me when they came along so it feels a lot like solving a problem I don't have. If it ain't broke...

The complex reason is that as a process not a product stitcher a big part of what I really enjoy about cross stitch is the little challenges of figuring out my methodology for each project. I like working on a variety of different things and have found that different pattern design styles usually work best with different styles of stitching. I like the challenge of tailoring my method of stitching to best suit the pattern. There's usually some trial and error at the beginning but when I lock in on what works the happy brain feels of finding the right workflow are intoxicating.

This also very much is why my backs end up being pretty tidy looking usually, as that is also a fun little brain teaser challenge for me.

Case in point:

All this to say, the mental work of thinking all this stuff through is a big part of what I enjoy about stitching and I don't want an app to do it for me.

If I really want to get up myself about it I would also bring in blah blah neuroplasticity blah blah societies increasing dependence on computers to think for us doom doom learned incompetence ai skynet end of civilization as we know it..

But I think we've all had enough of that.

[techav]

On Celebrating Errors

Isn't it beautiful? The lovely formatted tables of register and stack contents, the trace of function addresses and parameters, the error message ... it's the most beautiful kernel panic I have ever seen.

Why on earth would I be so excited to see a computer crash? What could possibly be beautiful about a kernel panic?

This kernel panic is well-earned. I fought hard to get it.

This kernel panic came from a current NetBSD kernel, freshly compiled and running on Wrap030, my 68030 homebrew computer. It is the result of hours upon hours of work reading through existing code, scattered documentation and notes, writing and rewriting, and endless compiling.

And it's just the start.

As I've said before, a goal of this project has always been to build something capable of running some kind of Unix-like operating system. Now that I finally have all the necessary pieces of hardware, plus a good bootloader in ROM, it's time to give it a shot. I'm not that great with this type of programming, but I have been getting better. I might just be able to brute force my way through hacking together something functional.

It is hard.

There is some documentation available. The man(9) pages are useful, and NetBSD has a great guide to setting up the build environment for cross-compiling the kernel. There are some published papers on what some people went through to port NetBSD to this system or that. But there's nothing that really explains what all these source code files are, and which parts really need to be modified to run on a different system.

I had a few false starts, but ultimately found an existing 68k architecture, cesfic, which was a bare minimum configuration that could serve well as a foundation for my purposes. I copied the cesfic source directory, changed all instances of the name to wrap030, made sure it still compiled, then set about removing everything that I didn't need. It still compiled, so now it's was time to add in what I did need.

... how ... do I ... ?

This is where things get overwhelming very quickly. There is documentation on the core functions required for a new driver, there's documentation on the autoconf system that attaches drivers to devices in the tree, and there's plenty of drivers already to reference. But where to start?

I started by trying to add the com driver for the 16550 UARTs I'm using. It doesn't compile because I'm missing dependencies. The missing functions are missing because of a breaking change to bus.h at some point; the com driver expects the new format but the cesfic port still uses the old. So I needed to pull in the missing functions from another m68k arch. Which then required more missing functions and headers to be pulled in. Eventually it compiled without error again, but that doesn't mean it will actually run. I still needed to add support for my new programmable timer, customize the startup process, update hardware addresses, make sure it was targeting 68030 instead of 68040 ...

So many parts and pieces that need to be updated. Each one requiring searching for the original function or variable declaration to confirm expected types or implementation, then searching for existing usages to figure out what it needs ... which then requires searching for more functions and variable types.

But I got something that at least appeared to have all the right parts and compiled without error. It was time to throw it on a disk, load it up, and see what happened.

Nothing happened, of course. It crashed immediately.

I have no debugging workflow I can rely on here, and at this stage there isn't even a kernel console yet. All I could do was add little print macros to the locore startup code and see where it failed. Guess, test, and revise.

I spent a week debugging the MMU initialization. If the MMU isn't properly configured, everything comes to an abrupt halt. Ultimately, I replaced the cesfic machine-specific initialization code and pmap bootstrapping code with functions from yet another m68k arch. And spent another day debugging before realizing I had missed a section that had comments suggesting it wasn't for the 68030 CPU, but turned out to be critical for operation of kernel memory allocation.

Until this point, I was able to rely on the low-level exception handling built into my bootloader if my code caused a CPU exception. But with the MMU working, that code was no longer mapped.

So then came another few hours learning how to create a minimal early console driver. An early console is used by the kernel prior to the real console getting initialized. In this case, I'm using the MC6850 on my mainboard for the early console, since that's what my bootloader uses. And finally the kernel was able to speak for itself.

It printed its own panic.

The first thing the kernel does is initialize the console. Which requires that com driver and all the machine-specific code I had to write. The kernel is failing at its step #1.

But at least it can tell me that now. And given all the work necessary to get to this point, that kernel panic data printing to the terminal is absolutely beautiful.

[sirfrogsworth]

I use AI upscaling to help with my photo restorations. And it is the one use of generative AI that I think has serious merit. I use Topaz so it is ethically trained on licensed images. It helps me preserve memories and give people photos of their loved ones with a clarity they have never seen. They get a much better sense of what their grandpa looked like when he was young.

But AI upscaling is not a push button solution. And I don't think it will be for a long time, if ever. It's part of a larger workflow. It doesn't save me time or effort. In fact, it adds quite a bit of time to the restorations.

Sometimes I have to upscale the background and people separately. Often I have to adjust the contrast and detail on people's faces so the AI renders them accurately. I have learned how to set things up for success before the AI does its thing. And sometimes there is a lot of trial and error to get a non-nightmare result. Each try can take several minutes to render. There are several algorithms to choose from, several intensity sliders, and once the upscale is at a place I am happy with, I have to use traditional techniques to make the people not look like wax figures. I use things like custom film grains and LUTs to make the pristine AI result look like an old photo again.

In other words, I care about the photos I'm restoring.

I saw people talking about restoring Star Trek: Deep Space Nine. It's a very difficult problem due to how the show was produced. The live action was captured on film—which can be re-scanned at a higher resolution. But the digital effects were all done on analog 480p video tape. Not only would they need to be re-rendered but they would also have to be recomposited. Odo's shapeshifting is especially tricky. There isn't an economical way to remaster the show. TNG was only possible because they filmed practical assets for most of the VFX. They still had to redo all the compositing and it was very costly just to do that.

AI could be the answer. But only if the studio is willing to see it as a tool to be used in conjunction with artists and not a push button solution. Every frame needs to be checked. Different scenes will need different techniques to upscale them properly. And some scenes will just need to be cleaned up manually with traditional tools.

Upscaling to 1080p or 4K is often a mistake. The more extra pixels you try to add, the harder it will be to get a natural result. I think 720p would be a happy medium to shoot for. Combined with modern TVs traditional upscaling you will get a good viewing experience.

There are already fan upscales that are decent. I would say they managed to get the equivalent detail of maybe 600p. If you remember playing games on an old CRT monitor, going from 640x480 to 800x600 is actually a decent bump in detail.

Even though the files are outputted at 720p, it doesn't look quite as sharp as native 720p video. It's complicated to explain, but the short version is... detail and pixel resolution aren't really the same thing. Even if the file is upscaled to 1080p or 4K, that doesn't mean it has equivalent detail.

Which means we use a really shitty metric to give people a sense of how much detail a video will have. Ks and Megapixels are near useless these days.

Do your 200 megapixel phone photos really look sharper than my 24 megapixel DSLR photos?

My point is... detail is complicated.

And AI is currently unable to handle all of that complication without supervision and care.

In any case, the fan upscale of DS9 is definitely superior to the DVD versions. Feel free to seek that out (use a VPN). And because fans did it, the upscales were done with great care. They didn't push the tool beyond its limits and they reviewed every episode to make sure no nightmares snuck in.

I really don't know how to prevent studios from cheaping out and just running content through an upscaler with no care or supervision. But I also don't think fans should outright reject AI as a solution. It can be done well if they let actual artists leverage the tools and do it correctly.

[ravenstargames]

✦ LOST IN LIMBO DEVLOG #17 | 04.01.2025

March has flown by! This month has been plagued with irl work, but I'm personally really happy with the progress we've made! I'm currently sick as I write this because my body always decides it's funny to get sick when my workload gets the worst; my cat has kicked me out of the bed so he can have it all to himself, and here I am! On an important note, we'll be sharing a roadmap soon with our plans for the Extended Demo release. We are still aiming for a June release, but with Raquel getting a full-time job, there are some changes that have been done to the workflow and workload of the team—more on that along with our roadmap, coming in a few days, hopefully :^)

Now let's jump into March's devlog! 💜

This month Raquel has managed to pull off two expression sets, Raeya and Envy's, and I've coded them accordingly! Now while taking the screenshots I've noticed a few things that need tweaking, but nothing major. Here you have a beautifully blushing Raeya because she deserves some love! 💜

Remember that the Layered Image Tool we use is made by the amazing, ever kind-hearted Feniks!! 💜

Also this dude.

(Maybe this gif looks like a**; it shouldn't, but pre-edit readers beware of the possibility of it happening)

(Update: The gif looked lika a**)

Airyn started working on the next background, the first you'll see in two different times of day! I'm really excited to see it finished. Sadly, we're saving the preview of those for our Kickstarter folks, so I'm afraid the public will have to wait a bit more to see them :^)

She has also polished the background you see above, which some of you might recognize from the early days! There's a bit more storytelling going on, and the lightning has been modified to better represent early morning. She's also fixed some objects, added more, and overall enhanced the River's kitchen!

Here on the writing department we (meaning I) are almost at 70k words. That's more than 20k words of extra content! Which is great!

I still am not finished. There's a whole scene for Ara left to write, a few choices to tweak, and the new prologue ending, which will lead you to the route selection. I'm also trying to implement choices people have been asking for while keeping them organic and make them work. The "I want to kill myself" choice is one of them, haha.

I want to finish everything this month so Allie can take a look at the script during May and fix my Spanish oopsies.

We have patchnotes now! We mentioned this two devlogs ago, but here's the real deal. Thanks again to Feniks who helped me figure out the code; whenever the demo (and in the future, the whole game) updates, you'll get a pop-up notification with the changes. You'll also be able to access the patch notes via a new, sparkly button added to our previous ones! :^)

Also, I programmed our Kickstarter backers' special thanks! This was three or four days of me writing these by hand because it was more comfortable than CTRL+C and CTRL+Ving. Don't ask me why, I just felt way better doing it that way! There were some folks who opted out of having their name displayed, and they get a special thank-you too if you scroll down! :^)

Our composer, Tomás, has been working on our soundtrack; for the Extended Prologue we needed two tracks and they. are. done.

Not absolutely completed as Tomás wants to check them again and actually produce the high quality, finished version, but they are sooooooo cute. Agh. Tomás is working so hard and we love the tracks so much :`)! As I'm writing this, he sent another track, haha. He's the absolute best, so please make sure to support him and his work if you can!

Also, I have been fighting with our manufacturer for some reasons (more on that on our Kickstarter update, as this concerns them the most), but everything should be alright as of now. Hopefully we'll have the definitive proof of our pins after the changes we requested!

As for our irl whereabouts, this month has been specially hard on me due to my PhD courses beginning all at once, but I'm managing! I also have had to write three papers (I'm still writing two of them) with my colleague (and friend!) with a very tight deadline, so I'm dedicating most of my time to that.

On a lighter note, this month I have been taken off my OCD meds! After a year and a half of therapy and meds, I'm finally ready to tackle things without the help of medication, which is as scary as it is exciting. I'm not quitting therapy, though! Not until I'm ready.

Raquel is also getting used to her full-time job, which she's thankfully enjoying! Things are still hectic for her as her day is basically cut in half, but she's confident with a little more time she'll be able to juggle everything efficiently. As a team, we have already talked about what this means for LiL and for Ravenstar, so more on that on our upcoming roadmap :^)

And that's it! Phew! Can't believe I've managed to pull this devlog off in a day. If there's more typos than usual, then you know why, haha. Now I've got to tackle the Kickstarter version, which includes more stuff and our merch update, so I'm off to work on that!

I hope you have enjoyed this devlog, and as always, thank you so much for your support, your kindness, and your patience. It means the world!

Let's talk soon! 💜

[dieselocelot]

Please please please I beg of you. Do you have any speedpaints or could you possibly break down your artistic process for a poor soul like me? I would love nothing more than to do a study of your art. It’s just so beautiful, I’m literally tearing my shirt off. 😫

Ok, keep your shirt on.

As much as I'd like to record my process, I'm so disorganised and inefficient it's practically impossible. I've tried to use CSP's record before, but the file size causes my computer to implode. That being said, I'll try to explain:

1. Preliminary sketch: Figure out the pose/composition/whatever and draw it badly.

2. The real sketch: Look at reference photos and draw it for real this time.

3. Values: For this drawing, I wanted the background to 'peek' through the characters, so I used a large rake brush to fill in the values. I like to try and preserve as much texture as possible for visual interest. I merge the values with my sketch, sometimes I keep an extra sketch layer for insurance. I use this merged layer as a mask down the line.

4. Colours: I wanted this one to be dark blue. There is no strict 'way' to do this, just feel out what looks best to you.

I make a mask of the value/sketch layer here, and add it to all my colour layers so I don't go outside the selection and paint over the gaps. I add local colours with a large soft brush.

5. Painting: I don't know how to go about explaining this step, so here's a small window into my process. It's not a complete timelapse but it's better than nothing (I don't like this drawing anymore, I probably won't finish it).

6. Post-processing: Typically from here it's just tweaking colours, lighting and adding effects to finish up. I haven't finished that drawing, so I'm just going to use my most recent finished drawing to give you an idea of the full process. Again, there's no real method to this, do what you think looks good.

I like to layer textures on top of each other, typically set to Subtract, Divide, Difference or Brightness. Tone curves, colour balancing, overlays, what have you. After that, I merge everything to a new layer and then add effects like chromatic aberration and sharpness (don't skimp on the crunch factor).

I know this isn't super detailed but my process seemingly changes with every drawing, I like to try new things, I do things out of order, sometimes I don't even use CSP, and my workflow isn't nearly as streamlined as this little guide would have you believe. Cheers.

[raelemond]

some simple things to help with writer's block, because it's January and winter seems to make it worse.

-change what you're writing with. if you normally type, handwrite or dictate into a recording app

-change location. if you write in your room, write in a different place. If you write at a desk, try going outside or to a coffee shop or library, or someone's house.

-change projects. this is more dependent on the kind of writer you are, of course, but it might be that you need to switch gears.

-try writing in company; write with someone who's doing also doing art, even (especially) different forms. ideally, you want compatible types of workflow - when I'm working on poetry, being with friends who do visual art and will chatter about whatever and don't mind random interjections or questions is great. when I'm working on prose I can't stand anyone speaking, but I love listening to my partner play guitar. your mileage may vary.

-take some time to do something else, ideally something that encourages dopamine building and doesn't take mental energy; walks, singing along to songs you know, stretches, chores. Don't check social media while you do this.

-do studies. go look up writing exercises from authors you admire and follow the instructions. it's not commonly discussed around here, but just like visual artists, writers can benefit from studies as well.

-shower. creative thoughts grow best there.

-change how you measure progress. if you normally count progress by words, count it by time, and tell yourself you'll write for X amount of time. (I find when my writer's block is bad, small chunks work best.)

-don't force it. some of my best ideas come while I'm in the middle of writer's block, I just can't get them written out. I just jot the idea down and move on.

[romance-club-daily]

Opinions that nobody asked for nº 649587115339:

Remember that this is just my opinion and y'all can disagree.

I really don't think that bringing one story per update has been very beneficial in the long run. We have 18 stories on the go and we'll get one more in the next update, 19 stories to read!

But you might think, "you're complaining on a full stomach", but we're starting to see the consequences of that now, at least I'm realising it. Firstly, we no longer have time to digest the new stories, because there's always something "new" in the next update that steals our attention. It's tiring to read all the stories and really take the time to like and appreciate them, especially if you're trying to experience and read them all as often as possible. You could say that "you don't need to play all the stories now" and you're right, but following the story in real time, without spoilers, is much better. In short, it's overwhelming.

Second point is the CGs, I think from now on, more than ever, you've realised the use of AI (although they'll never admit it, and let's face it, there'll never be an admission of that - but it's become even more blatant, especially with the latest Diamond Rush card), maybe they thought it would improve the workflow and they could make more CGs - and now the cards, easier (and cheaper). But the result is that stories are getting fewer CGs - especially the ones that aren't so popular, like The Parallel Universes Bureau which only has 2 CGs related to the LIs so far (and I believe it's only going to have two more - for the remaining LIs - Orion and Glim), which is a huge shame, and they're coming out very different from the base sprite of the characters. Not to mention the extra workload with the cards. I think the artists must be having a lot of trouble trying to fix the things the AI delivers.

And adding the two problems, 19 stories to produce CGs (among other things like backgrounds, minor assets and music) and always another one coming up with each update. It's a very long production cycle and the loss of quality is already showing.

I don't know, if they reduced the production of stories to every two or three updates, it would give readers a breather, not only to digest the stories that have been released, but also for the production itself, with more time to produce with quality.

[directdogman]

Hi I just wanted to say that you have inspired me a lot.

I have always wanted to write stories for a while now, I have big dreams and I hope to one day accomplish them.

Dsaf originally inspired my first oc, which to be fair I did just steal from dsaf (don't worry they are different now) it also inspired my Phone headed sona.

Your games, dsaf and dialtown are an inspiration for me, and I also was wondering if you have any advice for someone trying to write a massive project.

Sorry if I bothered you with this, have a nice day or night dogman

Ayyy, glad to hear my writing's inspired you!

To be frank, I mightn't be the best person to take writing advice from. I'm still a student in the grand scheme of things and any lesson I teach you would likely make you more like me as a writer, when you should always wanna aim past me! You should never settle for being as good as me when you can be so much better!

The only surefire creative advice I can give that might be useful to you now, which I know works because every successful artist I know has learned it, is to start small. However small you're thinking of right now, half it. Then half it again. Then half it AGAIN, and so on. Your first project should, if anything, just be a single scene. I know that might seem small, but trust me, that's always how it starts. When you're confident you've gotten the scene where you need it, then you work up from there, a few scenes, to a few more scenes, to a small game. It's better too if you don't just keep adding to the same game and start over each time for a reason I'll elaborate on now.

If you try to make a single project that's as large as the ones that inspired you, you will have a truly frustrating time. Aside from the fact that it's very difficult to organize a large project before you learn the skills that you'll pick up gradually as you make smaller projects, you also improve a lot as you start out. It's very common, especially at the very beginning of your journey, to constantly revise and remake your work as you go because every now and then, you'll improve so much that everything at the beginning is noticeably worse than what comes after.

This happens to all developers, to be clear, even ones with years of experience under their belts. It's the reason Fez took years to get out, by the developer's own admission. If your project takes a few days or even a week to make, you only have a small length of time to get better and want to scrap everything. Getting something, anything out there, getting feedback, being able to reflect on a finished product is an essential part of your creative journey and I know many developers who are more talented than me who've never gotten that far due to their tendency to set targets for themselves that they can't hit yet.

This lesson took me a much longer time for me to learn than I'd like to admit. I have about 4 long-term projects that never saw the light of day that I worked on for most of my teenage years (which I could make now), but couldn't then. If I'd made smaller projects during that time and honed specific skills, I'd likely be even better than I am now!

You'll get there if you stick with it. Learning any creative skill from scratch is an incredibly frustrating and at times, completely disheartening process. You'd be surprised how many times I almost quit doing this. But, nothing good's ever truly easy. Start tiny, work your way up! Through self reflection, feedback, added experience, you'll figure out your own style, your own workflow. And then... I am TOAST. Best of luck!

[alkcomics]

Stippling takes time, but the clean, controlled chaos is so neat to use for a soft edge in b/w effects. It gives a good static counterpoint to the directional tapered shading lines, too.

I've been experimenting with different ways to achieve this effect for a while now. I'm lazy and I ink fast, so many options just don't functionally fit in my workflow. Really wanted to use airbrush but masking is just too fiddly for me.

I was using chinamarker/colored pencil for a while, but it's just too messy. I can't be bothered to go back and erase or whiteout that much and don't have the technical skill/patience to get smooth gradients w/out drawing over lines

The reverse masking splatter technique is fun and good for general cosmic backgrounds or texture and I'll definitely be overusing it from here on out. I'll try it for a gradient edge soon but I suspect it's too messy/I'm not technical enough to get it to work as well as stippling.

It's goofy as hell that I've arrived at "stippling is the fastest, easiest option!" but honk, honk I guess 🤡

[lucabyte]

Psst. What's your process for Comics? I would like to Know (Because your ISAT comics make me a little bit feral and I would like to learn)

Okay so the cop out answer is: i basically wing it every time since im very very new to making comics and my method is still evolving. but that's not helpful and i like to yap so ill talk through My Method anyway

So first of all: Ideas.

All my ISAT shit is like. extremely dialogue heavy & mostly focused on the same like. 3 topics and philosophical concepts over and over lbr. So mostly when it comes to drafting that I'll just let my brain bash the dolls together until i notice either 1. a fucking banger line (this usually becomes a punchline i then work backwards from when writing it out) or 2. that i keep coming back to the same like 'scene' in my mind.

(I'd love to know. how to make this work for like. OCs??? But I haven't quite cracked that one yet sorry)

For the former though what usually happens there is I write things out on my phone (this happened with the bonnie-centric ones a lot?) or i'll leave a voice note for myself. Or, if i'm at my computer it goes straight into notepad, which is where everything goes before i draw it.

so these are just like. Disgustingly strewn about on my desktop. But this is how i type up the comic scripts, which I do before i put the dialogue in csp because csp's text tool sucks ass, but you can see how these end up having Some Semblance of the final formatting? Some more than others. But they don't have much consistency in how i'm tagging the dialogue LOL. (bonus: one of these i never ended up making. because i come back to the same wells SO FREQUENTLY that it gets embarrasing to retread sometimes) Then I just... screenshot the notepad file and paste it into a csp window LOL.

So I've pulled up three comics just because theyre like, recent ones? (Links to all 3 -> x, x, x) And oh yeah immediately they're rather inconsistent. But this is the level of detail i do in my thumbnails. (Hello Golf Ball Loop) MOST of my long ass comics look like the first one though, and all of them follow the same thought process.

I will take the dialogue, and then just draw a panel that i think works with it. Then move onto the next line, and the next. Basically thinking mostly in speech bubble placement rather than anything? But I'll just keep... going downwards until it is done. You can see the speech bubbles tend to include either nothing or the vaguest indicator of what's inside them.

(The third one here is an outlier because iirc I actually had this very visual idea while drawing something else and went to go quickly draw it out so the text actually went right into CSP bc there was so little of it. But it was still panelled really sequentially for what action I know I wanted in each panel.)

Overall this is probably because of my habits from learning animation? I thumbnail as if im storyboarding, if that makes any sense. Or is any different to how people usually do it, anyway.

My friends who actually read comic books have told me off already for my vile leaning-tower-of-pisa bullshit formatting. I understand their criticisms because genuinely what the fuck am I doing half of the time? I like it though lol. It's a reflection of how stream-of-conciousness my workflow tends to be, but fuck if it means the aspect ratios aren't the wooooorst LOLL

Then i resize the thumbnails to be roughly 1920px wide, aspect ratio be damned. And at this point I usually also have to draw a big grid so that i can align the comic and make it not on a weird tilt. The most thought that goes in here is that I try to avoid making panels too samey in layout from line to line, and try to keep vaguely to making panels the same-ish height but a width of the page either in halves or thirds. Making it so they aren't completely inconsistent sizes does a lot for making things not look too sloppy.

My first sketch over the thumbnail usually is neat enough to be The Final Lines because I'm impatient. EXCEPT when i realise its going to get Fucking Complicated at which point i pull out the CSP models and my beloved cubes. Then i take a billion years to pose a consistent scene (and often realise where I need to cheat angles. Like for loop reaching down to sif's face. That doesn't make sense in 3d space so I had to cheat). This is basically par for the course whenever I want to do a scene where there's Any consistency in character positioning and they aren't just Talking Heads.

THEN. After the sketch (which was done with speech bubble placements in mind back at the thumbnail stage) I will finally put in the speech bubbles. This usually means re-sketching them, then putting the text down and doing all the typesetting (VCR mono looks very ugly in CSP a lot of the time so I fuck with the spacing of individual letters a lot) and THEN redrawing the speech bubbles around them properly.

Sometimes I'll fuck myself over here and have to move stuff but ideally, if I weren't working like some kind of fucking barbarian, I'd do the speech bubbles before finalising the lineart. But I don't on account of going straight from thumbnail to final lines. You'd do this during the sketch stage if you were normal.

then it's finally panel border time. And then when I get to this stage I just make like. another few new layers above everything but the text where i just clean up. Everything that I had neglected while drawing. So any extra white lines or places where i just think things look bad and i want to redraw them entirely. I will also sometimes literally make a flattened copy of an entire panel to just move it around slightly. It's a deeply evil part of the workflow and i apologise for it. But also it's the major benefit to drawing in straight black-and-white with no tones. It means i can just overdraw anything that is unclear in the end.

(and reposting again Links to all 3 -> x, x, x for easy comparison if u want it)

ANYWAY for further reading. I know I've already stated these before somewhere on my blog but for ease of access... The major inspirations for how my comics Look are as follows:

1. tumblr user Floralmarsupial's homestuck comics found [HERE]. She did a LOT of straight up black and white comics that are ingrained deep in my brain at this point. These are always in the back of my head.

2. Leo Fox [LINK] regularly gets really strange and esoteric with overlapping panels and unorthodox layout. I stared at these a lot when i was starting to make the first couple ISAT comics even if i'm not going nearly as abstract as him

3. tumblr user the-hydroxian-artblog's comic Hangin' Out [LINK] has GORGEOUS typesetting and their art in general uses a lot of speech bubbles that convey some really funny shit by just resizing the text in funny ways. Gold standard for emotive typesetting and also their lin weight and b/w illustrations are gorgeous.

4. sonic the hedgehog idw keeps me humble and reminds me to make the speech bubbles fucking SMALLER. if im left to my own devices i make speech bubbles and fonts WAY too big so reading a cleanly formatted professional comic book for children reminds me what i should be aiming for in legibility.

anyway hope this helps? the answer really is "fuck it we ball" tho

[thydungeongal]

Sorry for another AI ask, I'm sure it's getting tiring, but I am curious on your opinion. My general concern as far as the AI vs commission discourse is that AI will most hurt independent artists. Like unless AI gets way better Disney won't suffer from the spread of AI because they can effectively always use the power of the state to ensure profit, but small independent artists can't.

I do also agree that people who can't afford commissions do deserve art. I'm just concerned we are going to miss out on a lot of great art in favor of an ocean of not very good art, like is happening on Pinterest for example.

I don't really know what the solution is though. (Aside from the obvious solution of the revolution :P)

The issue pretty much boils down to "this is business as usual under capitalism." As I stated in a response to a different ask, in a world where people have their needs met and don't need to compete against the computer program that draws anime girls this whole thing would be a non-issue.

Independent artists do deserve compensation for their work, but too often I find that "compensation for work" gets perverted into this idea that independent artists deserve to have people commission their services. Which as I have stated I don't see as any different than the corporations saying "profits that didn't manifest = stealing." Working under the logic where people simply not buying your product is stealing will serve to only pervert intellectual property law further and make things even worse for the working classes.

I do think that another person in my notes said it better than I could have though: paraphrasing, the sentiment was effectively that anyone who was going to commission independent artists before is probably not going to want to use the slop machine. And most people who like creating generative images weren't going to commission independent artists anyway.

But yeah, I know that saying "this is just business as usual under capitalism" is in and of itself not too comforting, but it's also the truth. And independent artists should realize that even as they seek to ally with big companies "against AI," those big companies are actually using generative AI increasingly in their work. The technology won't go away even if Disney and Universal win their lawsuit against Midjourney, and Disney and Universal are undoubtedly already using generative AI in their workflows. The technology itself isn't going anywhere so the choices for independent artists are to either accept that they will have to contend in a market where many people will simply choose to use the free image generation machine because they have that as an option, or they must try to work towards a future where their economic anxieties are resolved.