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goldenraeofsun · 4 years ago

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Good Ideas

1.5k of canon-divergence fluff, now on AO3!

Dean is almost finished with his standard gun cleaning (once a week whether they need it or not) when footsteps approach from outside his bedroom door. Heavier than Eileen but lighter than Sam - must be Cas.

“What an awful day,” Cas sighs as he practically throws himself onto Dean’s prized memory foam mattress. He doesn’t even take his shoes off first, like an animal.

“Hello to you, babe,” Dean says, amused. He raises his head to fully look at Cas, now face planted into his pillow. Dean would like to say it’s unusual to see Cas this drained and frustrated after another shift at the Gas n Sip, but it’s become pretty much standard. And, because not-that-deep-down Dean’s a shitty person who lucked out and got a (fallen) angel to fall for him, he can’t entirely squash the pleased feeling in his gut that flares up every time Cas comes home to him, no matter the circumstances.

“Hello, Dean,” or that’s what Dean assumes Cas is saying, based on their past million and a half conversations over more than a decade.

Dean carefully sets down his colt and pads over to the bed. He takes a seat near Cas’s shins, the mattress slowly but surely dipping as it remembers Dean’s distinctive ass print. “What happened?”

“Humanity is stupid.”

Dean snorts. “Don’t have to tell me twice. What’d humanity do this time?”

Cas turns his head so he can glare balefully down at Dean with one brilliant blue eye. “Todd refilled the soda machine incorrectly. We had to reimburse ten customers who poured the wrong drinks despite the clear signs indicating the buttons were temporarily incorrect.”

“What a disaster,” Dean deadpans.

Cas groans a stream of indistinguishable words that might not even be English - knowing him, he’s probably insulting Todd’s mother ancient Aramaic or something - before he concludes, “It was a very uncomfortable situation. Todd is an imbecile.”

“Want me to kill him for you?” Dean asks casually.

Cas’s whole torso inflates with the depth of his sigh. “No,” he says, but the word is muffled and has zero conviction behind it.

“Come on,” Dean pokes Cas in the thigh. “You were the one who wanted this job in the first place. All the ‘human dignity’ you could choke down and all that crap.”

“I must’ve been mistaken.”

“Whatever you say, man,” Dean says, grinning as Cas rolls over so he’s lying normally on Dean’s bed. “Y’know, you could always do something else. Quit the Gas n Sip.”

“Like what?” Cas asks as he frowns up at the ceiling. “I don’t have much experience except in inventory management and customer service.”

“What about all your angel stuff?”

“I can hardly list ‘former Angel of the Lord’ on my resume,” Cas grumbles.

“You’ve got all those languages crammed in your brain, serious hand-to-hand skills - I could teach you all I know about cars, and you can add that.”

Cas gives a considering grunt.

“Look,” Dean says as he scoots further up the bed so he’s more aligned with Cas’s chest than his knees. “You were the one who was all gung-ho about getting a job to interact with normal people.”

“I needed a better baseline now I’m human because you and Sam are not ‘normal’ by any definition of the word,” Cas sniffs.

“Rude. Anyway, I told you to take things slow. So your first stab back at slumming it with regular folks isn’t going so great. Sometimes these things take a while to settle down,” Dean says, uncomfortably reminded of the time he had to comfort Sammy after three piano lessons didn’t turn him into the next Geoff Nicholls - or Elton John, as Dean had to amend after Sammy shot him a look of complete incomprehension.

“You don’t have to throw yourself into anything,” Dean adds gently to Cas. “We’ve got no big bad waiting out in the wings. It’s okay to take things one step at a time.”

“Because you provide such an excellent model of restraint and forethought,” Cas mutters.

Dean rolls his eyes. “Obviously. You don’t see me jumping back into Leave it to Beaver.”

“Because that’s not what you want,” Cas says, his eyes narrowing. “You said civilian life isn’t for you.”

Dean swallows. He pulls at a wrinkle in the sheets. “You so sure about that?”

Cas props himself up on his elbows, intrigued. “You’re truly considering retiring from hunting?”

Dean glances over at his guns, disassembled and gleaming on his desk. “I’ve been thinking about it. Sammy doesn’t go on many hunts anymore, says it’s more important to teach the next generation of fighters than handling everything by ourselves.”

“A wise thing to say, considering the limitations of the average human lifespan.”

“And you wonder why we never bring you to parties,” Dean says as Cas scowls in return, really only proving Dean’s point. “I’ve been looking into other stuff to do.”

“Like what?”

“Not sure,” he admits. “Sam’s got his Hunter Hogwarts thing going on - I could help Sam out, but the thought of reading and assignments makes me want to throw myself out a window.”

“You do like to be more hands-on,” Cas says diplomatically.

Dean sighs, wistful. “If the Roadhouse was still around, I would’ve kicked ass there. Talking with veterans in the business, passing along intel, throwing out the occasional brawler.”

Cas cocks his head. “Why don’t you rebuild one?”

“What?”

“Another Roadhouse,” Cas says like it’s obvious. “Those hunters Sam is teaching, they will need another meeting point once they’ve completed their training.”

Dean gapes at him, trying not to get his hopes up. He can picture it with alarming clarity, him behind the bar, Cas sitting off to the side, pouring over the books or a translation for one of Sam’s kids.

But this thing with Cas is so new - rescuing Cas from the Empty, telling him haltingly and not in so many words Cas could have what he wanted after all, doing their weird not-dating thing that works for them. Dean can’t be sure they’re on the same page about this.

Cas is technically human, but so many parts of him are still pretty out there in terms of fitting in with normal people stuff. Dean suggested they go on an honest to God date about two weeks after that went down - dinner at a fancy place in Salina. He even looked it up on Yelp. But, naturally, Cas had to ask ahead of time what usually happened on a date - a real date, Dean, because Metatron’s pop culture dump gave me many false impressions of what is normal or healthy for humans.

When Dean embarrassingly couldn’t think of a single thing people did on dates except eat and have sex, Cas went to Sam because apparently there are zero boundaries when it comes to Team Free Will. And Sam, like a total Samantha, said most people talked about their feelings and life goals.

To which Cas turned back to Dean, said those big, I love you, words like they’re nothing and everything, and added his life goal was not dying before spending the rest of his human life with Dean.

The fucker even looked pleased Dean didn’t have to shell out the dough for a fancy steak.

“You have enough connections in the community to round up a decent clientele base,” Cas continues. “Not to mention your reputation, which would go a long way towards drawing hunters you personally haven’t met before.”

Dean clears his throat. “You really think I could do something like that?”

Cas narrows his eyes. “I think you could do anything you set your mind to,” he says with that patented-Cas sincerity that Dean would call bullshit with anyone else. Cas continues, “Twenty-seven percent of restaurants fail in their first year, but I have every confidence in you beating the odds.”

Dean snorts. Even Cas’s Beautiful Mind statistics aren’t enough to bring his mood down.

“And if you need help…” Cas drifts off sheepishly, “I do have requisite experience managing inventory. I cut down on unsellable food by fifteen percent two weeks ago.”

“You’re a goddamn genius,” Dean breathes as he bends over Cas.

Cas smiles up at him. “Would you want to?”

“Would I - ?” Dean breaks off incredulously to kiss him. “Of couse I fucking want to. But you really think it’s a good idea?”

Cas purses his lips. “It was my suggestion in the first place.”

“But maybe you were just spitballing,” Dean hedges. “So if you really think restarting the Roadhouse would be a bad idea, I can take it.”

Cas wraps a hand around the back of Dean’s neck, pulling him closer. “I don’t have bad ideas, Dean,” he murmurs.

That is so blatantly untrue, Dean almost bursts out laughing. But before he can make a sound, Cas’s other hand slides underneath his shirt, his fingers tapping lightly against the buckle of Dean’s belt. Dean raises his head to catch sight of Cas's face, and Cas’s eyes are dark with want.

Alright, so in times like these, Dean can admit Cas can have a good idea or two.

#destiel #destiel ficlet #ficlet #rae writes fic #profoundnet #established relationship #canon divergence

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gamebunny-advance · 4 years ago

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NSR Sketches

Haven’t done too much new stuff lately, but I feel like I should post something… It’s just been a painful couple of days~

Anyway, notes under the cut.

There’s a lot of talking about a very specific headcanon, so if you care about that stuff, you should read the notes for number 5 first so there’s better context for number 2 and 3.

1) “Headphones”: This is the closest one to being finished, but I dunno, I just don’t think this kinda style works for me. Besides that, I don’t know how to draw people from the back, so it’s already starting really wonky XP. I’d like to come back to this idea when I’m just a little more skilled (or at least better at drawing people’s backsides)~

2) “Substitute”: If a Unit becomes inoperable for more than 24 hours while in “Public Mode”, it’s the Leader’s responsibility to fill-in for them until they're fixed. The Leader can only fill-in for one at a time, so missing halves of a pair (Red & Blue or Yellow & Green) are prioritized to maintain the personality balance, otherwise the next in command is prioritized. Ex) If Red, Blue and Yellow were to all become inoperable, the Leader would prioritize replacing Yellow so Green still has a foil, but if only Blue and Yellow were inoperable, he would prioritize replacing Blue. In the case of a total party wipe, he wouldn’t change at all because he’d be too depressed to do anything.

3) Initial concept for Substitute: If the Leader becomes inoperable for more than 24 hours while in “Battle Mode”, the next in command will automatically become “the Leader” and turn off their “personality core” until the designated Leader is fixed. The role can be trickled down all the way to Green (the last in command), but he’d still just be subject to the Captain since there’s no one else beneath Green to command. In effect, his personality core would just be turned off to simplify his decision-making capabilities since him being the leader under any circumstance means that something has gone terribly wrong with their unit.

4) “Mascots”: Just thinking if 1010 had little mascots of themselves like some other K-pop groups do.

White: Seagull

Red: Shark

Blue: Dolphin

Yellow: Sea Otter

Green: Octopus

I wanna think of some non-white animals for White though so his cheeks will stand out more (white on white doesn’t work too well, but I can’t make the seagull gray and have it still easily recognized as a seagull). A sea turtle maybe?

5) This is a panel from an old scrapped comic, but I'm using it to talk about a headcanon since it’s kinda relevant to a couple of the other sketches:

The color 1010s are all “branches” of White: They’re all derivative of his base programming with an extra “personality core” to set them apart. Being the “Leader” is just a mode that any of the 1010s can turn on or off, but since White doesn’t have his own core (or rather his personality core is indistinct from the base program), he’s actually the most expendable of the group despite having the most powerful role.

Technically NJ shouldn’t be a part of the tree since they don’t directly “inherit” anything from him, but if you wanna define the tree as being who lead to the creation of who, then it goes:

Neon J. designed and programmed White (the base 1010), making NJ White’s dad/creator.

The others are derivative of White’s programming, making White their dad/superclass (and NJ their grandpa).

Red & Blue were introduced during Mark II, making them the 2nd generation/subclass A.

Yellow & Green were introduced during Mark III, making them the 3rd generation/subclass B.

Despite their titles in their program language, it’s not indicative of their social relationship with each other. They’re peers first and foremost and their programmed age is static without any real distinction between the generations, but they do joke about it from time to time, calling NJ “gramps” on occasion, or the younger ones sarcastically calling White “dad” when they’re being lectured by him (much to White’s annoyance).

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mybrothershands · 4 years ago

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MBH/Dumpling 2

second installment, same art because otherwise you'll be waiting on it all day tomorrow. Characters by myself and @diddlesanddoodles and editing by @thundering-susurrus

The giant pinched up his face as if he smelled something bad. He then prodded the lump in his chest-pocket. "Get up, you lazy fool."

Several emotions crossed Yale face all at once, from anger to confusion to relief. Now that he knew where to look, Yale could see a distinctive lump in the man’s front pocket and heard the smaller voice emanating from within. Well, if he had a human companion of his own, that was a welcome relief. But he still kept his hand on Nenani. Grinning, he jerked his head to indicate the lump on Ka's shirt. “Ah, well I suppose that answers that. He yer assistant then?”

"Parasite, more like," he said, fishing around in his pocket until he caught the man by the shirt and pulled his shoulders over the lip of the pocket.

"Why you little two-ton son of a hog-bellied cob, I ought to--" The human smacked the hand away.

A nervous laugh escaped the giant, and he clasped his hand over the smaller man's mouth. "Er, this is my brother. He took care of me when I was small," said Ka.

Yale had been watching Ka fish around in his pocket and smirked at the human’s grouchy reply. The human’s snark immediately reminded him of Farris, but upon hearing Ka call him his brother, Yale gave pause. His curiosity was piqued.

“Wha –? Really? Can’t say I’ve ever heard ‘a that. That must be one hell of a story,” he said and jerked his head towards Ka. “Ye must’ve had a time of it keepin’ ‘im fed and clothed proper.”

The giant paused, then seemed to draw back within himself and looked away. Cairo, however, had no such loss for words. "Got that right. Ungrateful, too. You should see the spot in my side where he--" The massive hand clamped over his mouth again.

"I, erm," Ka cleared his throat, worry painted on his face. "I was old enough to work when he took me in. I cleared land for a human farmer in exchange for food. Cairo paid for my clothes and gave me a place to stay."

Polly then decided to use his leg as a scratching post and began rubbing her face up and down the side of his pants, leaning into him. "Woah, hey!" Ka said as he was knocked off balance. Once he found his feet, he pulled her bridle back over her ear and straightened her forelock. "But yes, I'm," he waved his hand in a circle, "I can work with humans just fine. They just need to let me know they're there and keep away from my feet."

“Ah, well no worries there,” Yale said with a light laugh as he pulled his apron aside to reveal Nenani at his hip. “You know better than to be underfoot, ain’t that right Dumplin’?”

Nenani nodded while she observed the new giant and silently marveled at his height. Despite the way in which he towered over them, he had a kind face, and she was not afraid.

“Farris doesn’t like it if I’m on the floor,” she explained. “He doesn’t trust the footmen to keep a look out.”

Ka's expression softened. She was a little thing, even for her kind, with auburn hair that shone in the sunlight. Somehow she met his gaze without fear, and it gave him pause. "H-hello there," he said quietly. "I am Ka. It's nice to meet you, miss."

It took the giant a moment to realize that the young man must have been hiding her, and why he had questioned him so. Come to think of it, he had not seen a single small person, nor chest pocket since he had entered this town. Pieces began to fall into place, and he decided he should not stay here for long. Not with Cairo. Absently, his hand found its way to his pocket.

“Hi. I’m Nenani,” she replied back, trying to look friendly. He looked so nervous, she thought. Yale easily scooped her up and sat her on his leg. After getting comfortable, she gestured up at the cook and said, “And he didn’t say so, but this is Yale.”

Looking confused, Yale looked down at her. “I didn’t introduce myself at all did I?”

“Nope,” she replied. “That was very rude. Lolly would swat you.”

“Ah, well,” he said, giving Ka and Cairo an apologetic shrug. “She wouldn’t be too pleased with me bringin’ the lil’un on this errand either. So there’s that.”

Cairo grumbled as Ka fawned over this little girl. She seemed unafraid and even kind towards his brother, which he respected. Still, he regarded Yale with a critical eye. Hooking his elbow over the frayed lip of the pocket, the human raised his voice. "What kind of kitchen is this anyway, boy? It's a bit late in the day to be fetchin stuff. What are you doing out here now?"

“Best kitchen in Vhasshal,” Yale fired back with a smug grin. He pointed over his shoulder towards the castle behind them. “That being the royal kitchen.”

“But Gjerk didn’t clean the chimney and it ruined the luncheon roasts,” Nenani supplied with a frankness that made light of the true disaster. “Almost caught the whole kitchen on fire.”

Yale frowned and, blushing just a bit, agreed with a muted nod. “Aye. Well, even the best kitchen in Vhasshal can fall victim to inattentive tenderfoots. So we’re needin’ to shuffle things ‘round a bit. Headin’ to a merchant who raises and sells field rocs.”

Ka's face became a smiling mask with a blank stare. Royal kitchen? Was this boy not worried that some stranger picked off the street could poison someone Important? Even the king himself? What if something went wrong and he was blamed for it and put in prison? Even he himself was not sure he deserved such trust, and yet kept his mouth shut in hopes that there was something he did not know.

Cairo, meanwhile, looked the man up and down, and then the girl in turn. They seemed easygoing and honest, if not a bit frank. At last he nodded. "We will accept your offer."

The giant balked. "Cairo, I'm not sure--"

"Shut up," he said, waving a hand. "Your belly's been a'growling all day, and I'll have no more of it. This is an easy job, and you're gonna take it," Cairo barked.

Ka paused, a hint of frustration on his face. Still, this was Cairo. The giant seemed to let go of his worries and nodded. "Just tell me what to do," he said, fixing Yale in his gaze, "and I'll help as much as I can."

He seemed eager enough, Yale thought. And even if his kitchen skills were minimal, so long as he could hold a knife, he could find something for him to do. Ka’s human companion was clearly the more dominant of the two, which Yale found to be quite amusing. And even a bit refreshing. He was so used to humans reacting to him with fear or at the very least nervous suspicion. Not that they did not have a valid reason of course.

He decided he liked Cairo.

“Well, first we gotta go collect them rocs and scurry on back,” Yale said with a grin. “So if we just wanna follow along we’ll go get that done and we can get ye to work.” He paused as he considered Ka. “And get ye somethin’ t’eat. Farris might gripe at me fer it, but believe me. He’s gonna be thankful fer yer help. Even he don’t show it. Or say it. Or yells at ye.”

Yale flicked the reins to usher Polly forward, bringing a hand up to hold onto Nenani when she almost fell off his lap.

“Ah!”

“Oh, sorry there, Dumplin’.”

"Oh," said Ka as he backed away and let the animal slip past until he could walk beside the cab. This Farris fellow seemed a bit crotchety. "Thank you," he said above the creaking wheels. The mention of food set his mouth to watering. They had had so many good things down at the market, maybe now he could get his hands on something. "I can pay you, but I'm afraid my coin may just be trinkets to you."

From his pocket, Cairo squinted one eye, adjusting his position to better watch the small giant. "Why you call her 'dumpling,' anyhow?"

“It was a joke,” Nenani explained with a flat look. “Wasn’t a very funny one.”

“I dunno, I thought it was a pretty good one,” Yale replied with a knowing grin. He poked her belly and the girl squealed and laughed, batting at his fingers. She lost her balance and almost fell back off his lap, but Yale was quick enough to catch her and place her safely down on the bench beside him. He ruffled her hair into a bushy mess. “Anyway, I caught this one here after she’d nicked some fruit. And right in the middle of the King’s weddin’ feast too. Don’t think I’ve ever been that stressed in my life.”

“He threatened to eat me...” Nenani said with the same flat expression.

As lovely as he found the girl's laugh, Ka's smile quickly faded as the girl voiced the joke. He made a sound half way between a choke and a quack. "Hmm?"

Cairo looked more surprised at the noise his brother made than Nenani's admittance. "Oh he did, did he?" He sat up, eyeing Yale. "He looks like a pansy to me."

Yale could not help the smirk of satisfaction at seeing the way Ka reacted. But his focus drew to the man’s pocket and the human within. Leaning towards them and planting his hand on the other side of where Nenani sat, he grinned at the human man.

“Big words fer a fella who travels by pocket,” he challenged. “Why not come on outta there and I’ll show ye how much of a pansy I am.”

Nenani glared up at Yale and grabbed onto his sleeve and gave it a firm tug. “No fighting.”

Cairo merely laughed at the girl's reaction. "I ain't stupid. Think I'll stay in the pocket, eh?" He slapped Ka's chest.

The giant rolled his eyes. He kept pace with the cart fairly easily, even as the Svaldifari trotted. He cleared his throat. "Keep acting like that and I may just let him have you."

"What!" he exclaimed, clutching a hand over his heart. "He might skin me, don't you think? You brute, you should protect your poor old brother."

Ka sighed, plodding along. "You can take care of yourself just fine."

“Smart man, your brother,” Yale said to Ka. “With him taggin’ along, ye might just survive a day in Farris’s kitchen.”

There was something very comforting about watching Cairo and Ka banter. It was all too easy for Yale to be drawn back to the horrible memories of the war and the way it seemed to him at the time that the bloodletting would never cease. Yet before him was a man who openly and easily called a human his brother.

“As fer skinnin’: nah. Too much of a hassle. Much easier to just toss ye into the stew and pop the lid on.”

Beside him, Nenani rolled her eyes. She had become nearly desensitized to all staff’s banter about eating and cooking people. Cairo didn’t seem like the sort to take Yale seriously. But Ka, she observed, seemed to not care for the jokes at all.

Ka lolled his head back, exasperated, then clamped his hand back over Cairo's mouth. "Ne- Nena-nani, er..." he chewed on his tongue for a moment, still trying to decide how many syllables the girl's name had. "Nenani," he said decisively. "He... Yale. He said he found you stealing?" said the giant, desperate to change the subject.

There were a few shoves and knocks on his hand before there at last came a double-tap and Cairo's mouth was freed. However, he kept his mouth shut for once and watched the road ahead. The mare seemed to need a bit of guiding, unused to going this way, but Yale was not quite paying attention. He peered ahead. Was this the way they had come before? Where was the market?

“Oh. Yeah,” she replied as she fiddled with the hem of her skirt in slight embarrassment. “But it’s not like what Farris and they all thought at first. I’m not from the Hill Tribe, I’m from the Southlands. They were loading a bunch of carts near the docks and I tried to sneak in and grab a persimmon before anyone noticed, but the basket was really big and I just...kind of fell in. And got stuck.”

Yale stifled a snicker as he corrected Polly’s path. She whinnied at him in annoyance. “I remember all them peels, lil’un. It was certainly more than one.”

“I was in there for three days,” she said and stuck her tongue out at Yale. “What else was I gonna eat? The basket?” When Yale only shrugged at her, she continued. “I grew up being told stories about Vhasshal and I was really scared. So as soon as the caravan stopped, I tried to run.”

“Caught her tryin’ to make a run fer it,” Yale added lightly pinching her arm. “Didn’t get all that far. Like...a half a dozen yards maybe before I got ‘er.”

Ka frowned. He did not like the way that last bit sounded. He steered away as they passed another cart on the road. He wanted to ask the stories about Vhasshal, and why she had been so frightened, but the girl had not seemed a bit embarrassed about that point in her past. Come to think of it, maybe he did not want to know. "Persimmons... have peels?"

The edge of the village was approaching, and Yale could hear the sound of the rocs long before their pens came into view. Their destination was a handsome little cottage just at the end of the tight clusters of row homes. Though was an older building and had but a thatched roof, it was well maintained and clean. Behind it were the roc pens. There were a dozen or so of the birds loose in the larger space, and Yale felt relieved. He was only going to need ten for the luncheon service, and he’d be able to get a few extra just in case anything else went horribly wrong today.

“Well, I think they’re actually husks,” she was saying. “They’re from overseas somewhere. But you’re not supposed to eat the outsides because it’ll make you sick.”

“Ye did get sick though. Just not from eatin’ fruit,” Yale pointed out. His eyes trailed after the other cart as they passed, having seen the way they had been gawking at Ka. Poor guy must get that a lot.

“Yeah, I had the red reap,” Nenani said. “It was terrible. But Farris took care of me and gave me medicine and watched me all night while I had the fever.”

Ka blinked, trying to make sense of this new information. He had no idea what red reap was, but then again, he was not familiar with most diseases. "It sounds terrible," he said, worry on his brow. The way she had explained it, it sounded deadly. He could not imagine having to care for someone through the night, not knowing if the little thing would make it.

Though he had not yet met the man, Ka found himself reconsidering this Farris guy. If he was the type to yell at someone new, it seemed a bit backwards that he would worry over a thief. He shook the thought away. He had not met him yet. Maybe he would understand later.

It was then he heard some bird-like squabbling, and looked up to find a pen with some frighteningly large feathery beasts. "What... are those?" He felt a bit stupid for asking, but then again, nothing was familiar to him here. Nothing at all.

"What, you never seen a chicken before?" Cairo butted in.

“Oh them ain’t no chickens,” Yale answered, giving Cairo an amused sideways glance. “Those are common field rocs. Those beauties eat chickens fer breakfast. Literally. They’re birds of prey. And they’re what we’re here fer.”

Yale maneuvered the cart towards the pens and when they were close enough, he pulled the reins lightly and Polly came to a gentle halt. She turned to her head back at Yale, expectation in her eyes. With a chuckle, he reached into his apron pocket and pulled out a pressed oat cake. Turning to Ka, he held out the treat. “Wanna give Polly her reward while I go spend the king's money?”

A grin spread across Ka’s face, and he chuckled. "Seems she's in good hands," he said, gently taking the biscuit from him.

~~~

Twelve common field rocs were in the back of the cart, their wings tied down to their sides and hemp sacks placed over their heads to keep them docile. Nenani hung off the back of the driver’s bench, looking down at the immobilized birds. They were as large as cows, and it was a little daunting to think that there were birds that big in the world.

The trip back was fairly uneventful, except that news of Ka seemed to have made its way around the village, They seemed to be getting more stares than before, but Yale made a point of staring down whatever gawkers he noticed. But he did not have the same presence as Farris did, and mostly, the people just kept on staring.

Nenani found it to be pretty rude, and to several she stuck out her tongue.

As they approached the back gate that led to the kitchen courtyard, the guards stationed there did double takes as Ka came into view, but Yale was quick to head off any questions. “He’s here to help out for the day. If you have a problem with that, take it up with Farris.”

There was enough of a threat in those words that they were allowed to pass without any form of harassment.

“Don’t let those guards make ye nervous none, lad,” Yale said to Ka. “Most of ‘em are real decent fellas.”

Yale was still looking towards Ka as he directed Polly along the road, around the last bend, and into the courtyard. He pulled the reins and was about to say something else when felt a tug on his sleeve and he looked down at Nenani. “Hm? What’s it?”

Nenani merely pointed further ahead of them and Yale’s gaze followed along. A large fire pit had been lit in the middle of the yard, and the largest of their cooking pans was placed over the top, with a sizable pile of pumpkins next to it. Saen and Avery were in the middle of carving a few up but had made little headway.

But what had caught their eye was none of them, but the solitary figure just a short distance away. Standing with his arms akimbo and looking very displeased was Farris. His green eyes narrowed at Yale.

“Yer fuckin’ late.”

Ever since the border guards, Ka had gotten increasingly fidgety. As soon as Yale quieted down, he slowed up and walked behind the cart. The castle ahead was bigger than any he had seen, especially this close up. He ran his hand up and down his sleeve, trying to create some warmth as his breath crystallized before him. Upon hearing the voice, the giant's first impression was how gravelly and frayed it sounded, possibly from overuse. The second was that it did not sound happy.

"What's it to you?" Cairo muttered under his breath. It was more of a knee-jerk reaction, than anything, but it was enough to remind Ka to keep an eye on him. The human's left arm and legs lolled out of the pocket. He picked at his teeth as the giant walked. "Move over, Ka, I want to get a look at this meathead."

Ka merely shook his head, hand straying up to cover the man. "Be careful here. We don't know for sure if it's safe yet." There came a grumbling and a shove at the fingers, but for the most part he kept his mouth shut.

Before Yale could even begin to explain himself, Farris caught sight of Ka, and the kitchen master’s eyes widened as his gaze traveled up and up and up until he met the taller giant’s eye. “And just who in the Seven Hells are ye?”

Before Ka could answer, though, Yale jumped in. “Came across him on the way to get the rocs. He was lookin’ fer some work, and I offered to let him help us today.”

All through Yale’s explanations, Farris sized Ka up with a critical eye, pausing at the distinct bulge in the tall man’s pocket. His eyes narrowed suspiciously before turning their vitriol onto his assistant.

“Oh ye did, did ye?” he demanded. “Are ye fuckin’ daft boy?”

Yale hopped down off the cart. “We need the extra help, and as mad as ye are, ye can’t deny the big fella could be of some help. Hell, he’d make short work breakin’ down the pumpkins.” Yale leaned around Farris to yell past him towards his fellow cooks. “A whole lot faster than them two knobheads!”

Saen and Avery looked up from their work to glare back at Yale. Avery waved his knife in the air, calling back, “Go fuck yerself, Yale.”

Yale was still grinning when Farris drew his attention back with a growl. “And ye think I’d let just anyone off the street come in and cook in my kitchen, do ye?”

Yale glanced over his shoulder at Ka and then back to Farris. With a shrug, he said, “Honestly boss, I don’t think he’d fit. Be a bit tight.”

Farris’s ever-present glare faltered as an amused smirk crossed his lips. With a grunt he looked back at Ka. “Ye have any experience in a kitchen there, son?”

The giant clutched his fists against his chest, shoulders hunched and brow scrunched with worry. Though the man was half his height, he scared Ka. He looked like someone who knew how to fight and just might if aggravated.

"Y-yessir, just a bit, sir." Ka stuttered, coming out from behind the wagon. "Look, I promise I mean no harm, sir. I just, well I- I- I was looking for some work is all. He was nice enough to give me a chance. I promise I'll do my best if you'll only let me help."

Farris was silent for several moments, eyeing Ka once more. “Where ye from?”

The giant straightened up a bit, a slight hope welling in his chest. "Benhyke, sir. I'm... trying to find my way back there, actually."

“Never heard of it. So ye mean to tell me yer as tall as a fuckin’ house with no proper sense of direction?” The kitchen master didn’t give Ka a chance to answer before walking over to the cart where Nenani sat. He laid his arm across the drivers bench and looked at the girl. “What say ye Dumplin’? Think he’s some sort of secret assassin tryin’ to worm his way into the castle?”

Nenani blinked and shook her head. “No.”

“Well, if yer so sure,” he said with a small smile and scooped her up. Tucking her into the crook of his arm, he turned back to Ka. The warmth he had spoken to Nenani with was gone and the harsher tone returned. “Ye got a name?”

He scratched his head, still harboring the initial insult in his mind, and had not quite heard him speak to the girl. "What? O-oh I am Ka. And this is--" he paused. At first caution took over, but once he saw the way he cared for Nenani, the fear melted. "--Cairo," he finished.

Upon hearing his name, a single hand came out of the pocket and gave a dramatic wave. "Evening to you, you motherless goat," he called, then the hand disappeared again.

Farris’s expression darkened and, behind him, Yale was making a frantic motion with his hands at Ka that translated roughly to “Bad idea. Stop.”

“I’ll give ye fair warning now, boy,” Farris warned as he walked towards Ka. Pressing further into his space, he stared up at the taller giant and pointed towards his pocket. “Keep that one’s mouth under control or I’ll be doin’ it fer ‘im. I’ve had plenty of humans toss out insults at me and, one way or another, they learn not to. If ye wanna work, I’ve got work fer ye. And you’ll be paid fair wages fer it. But if that one skulking in yer pocket don’t watch it, he’s gonna become intimately acquainted with the inside of a roasting pan.”

Ka's face paled and he backed away, clutching one hand to his pocket. "No! No, please, he's my brother. Y-you can't--I won't..." He seemed to get ahold of himself then, squared his shoulders. "Take that back," he said, regaining his ground. If it were not for the girl in his arms, Ka was not sure what he might have done.

Farris did not back away, and his only movement was to use his free hand to cover Nenani as though to shield her. He met Ka’s eyes with a firm unwavering stare. “I don’t take it back. This is my kitchen and my word is law.” Farris let a small smirk come to his lips. “Just keep in mind though, I didn’t say nothing about actually cookin’ ‘im.”

The giant blinked, relaxing a bit. "What?"

At this point, Cairo heaved a dramatic sigh and pulled himself up. He looked the man up and down and came to a conclusion. "Ugly lump."

Nenani poked her head out from behind Farris’s hand. “No fighting.”

At Nenani's word, Ka took a step back. There was still anger in his blood, and he elected to stay on his toes, but any hostility was snuffed out by the girl's voice.

Farris only adjusted his hand to ruffle her hair. “Well ye ain’t no Blue Thorn Beauty yerself,” Farris shot back at Cairo, then raised an eyebrow at him. “Ain’t ye a bit old fer being carried ‘round like a babe?”

Cairo raised a brow, then patted the chest behind him. "This one here's the baby when it comes down to it, little man. Now--" He cut himself off as if he had heard something. "Alright already," he grumbled at apparently nothing. "What do I have to do to get your sorry bag of bones to do something decent, eh? This boy's half starved."

"Cairo..." Ka hissed through his teeth. "I haven't done the work yet."

Farris huffed and rolled his eyes. “Yale,” he called without taking his eyes from the pair. “Go grab this one one ‘a the leftover meat pies.” He paused, reconsidering the man and his height. “Make that two.”

“Will do, boss,” Yale replied, flashing Ka a wide grin before running off towards the stairway that led into the kitchen proper.

“I don’t run a charity here,” Farris told him sternly. “But if yer gonna be any use to me at all today, it wont be with an empty belly. Ye’ll eat and then ye’ll work. Understand?”

"No," Cairo said blatantly before Ka had a chance.

#crossover with doobdles

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canmom · 4 years ago

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Animation Night 61: One Piece

So first up... ty everyone who tuned in for Heaven’s Feel last week! That was a blast: the fights were everything I hoped for and the whole chuuni traumagirl story arc was genuinely moving and compelling. Can’t really recommend it as a first Fate necessarily, since it skims over the early parts of the story portrayed already in Unlimited Blade Works, but I reckon those movies deserve all their esteem.

(Also, apologies for lack of Toku Tuesday this week. Plans fell apart and I wasn’t up to running one. We’ll be back next week.)

This week on Animation Night, I’m going to take up a long standing request from my friend Elaine [scattermoon], who is a big fan of a certain very long running manga series called One Piece. (I realise that among my friends that is a rather divisive choice! But hey, let’s give it a shot.)

One Piece began serialisation in Weekly Shōnen Jump in 1997, the creation of a young assistant mangaka called Eiichiro Oda. About the young Oda I can mostly find production info: he joined the company in 1992 on the strength of his manga Wanted!, then developed his drawing skills working under mangakas like Shinobu Kaitani on Suizan Police Gang and Masaya Tokuhiro on Jungle King Tar-chan and Mizu no Tomodachi Kappaman. In 1996 he wrote two piratical one-shot stories called Romance Dawn, the prototype for One Piece; then after three rejections, Jump agreed to run his series One Piece.

And One Piece got big. I don’t know exactly when it became a hit, but it soon became recognised as one of Jump’s “Big Three” series alongside Naruto and Bleach... and then outgrew even them to set the record for best-selling manga, overtaking even industry-defining series like Dragon Ball. Unusually for mangaka, Oda became extremely rich - yet he has continued to work singlemindedly on One Piece, taking almost no breaks outside of a number of health scares.

So what’s the formula that made it so beloved to its many many, fans?

Overall the structure for One Piece is a travel story. The broad-scale framing plot is that our MC, Monkey D. Luffy, and the “Straw Hat Pirates” (麦わらの一味, Mugiwara no Ichimi) who sail with him, are hoping to find a treasure called the “One Piece”, which would make Luffy the “King of the Pirates”. Along the way, they get caught up in the conflicts of a long series of islands, each one relatively self-contained as an arc. In the meantime, the metaplot concerns an unfolding pirate war between the four most powerful pirates (the Four Emperors 四皇 yonkō), opposed to the authority of the World Government.

So if at first glance it may sound like standard shōnen stuff - individuals with different superpowers, contesting to become the strongest. But it’s clearly finding much broader appeal than that. I asked Elaine a bit about this, and she reckoned its main strength is the variety: like many successful, long-running TV series (for example, Star Trek), the premise is so flexible that it allows Oda to explore an enormous variety of affects and registers, all anchored in familiarity with the core cast. Some examples are an underwater arc exploring xenophobia and generational prejudice among fish people, a thriller arc where the characters flee poison clouds in a sinister human experimentation lab, and a political intrigue arc about a rich man attempting to stage a coup in a desert kingdom.

Beyond that, it distinguishes itself mostly in execution: a big part of the appeal is the implication of a vast, fleshed-out world painted across thousands of issues. This is built on a distinctive visual foundation: Oda can design a wildly varied cast and give them all distinctive characterisation. (Even if he is, apparently not nearly so good at designing women... 🙄)

One other small tidbit Elaine gave me was that, contra the shōnen designation and Jump’s usual audience, by far the biggest demographic of One Piece readers is women aged 30-40.

Inevitably a series as big as One Piece would see a high-profile anime adaptation, and that landed in the hands of the venerable Toei Animation, one of the oldest anime companies. They picked up the series in 1999, and it has run in a variety of timeslots - shifting from Wednesday to the prime Saturday Evening slot before narrowly avoiding cancellation to settle in the Sunday Morning slot with other long-running shows like Dragon Ball Super. This is relevant insofar as, well...

Let’s talk a little about anime production! A subject I know a lot more about than the plot of One Piece...

Most anime nowadays are produced according to a model called the Production Committee, originating in high-profile films like Akira. In this system, various capital blocs - toy companies, music companies, broadcasters etc. - pool funds in return for a comparable stake in the profit or loss made by the series, mitigating risks but also reducing the potential for profit. The studio producing the actual animation (the primary contractor) may have a stake in the committee, but often they are only paid a single, fixed fee.

The production committee system has come under a lot of fire lately as one of the barriers in the way of livable wages for animators (e.g. this rather disjointed video by the Animator Dormitory charity): a successful series may not profit the animators at all since the fixed fee is very low and, if the studio’s not on the production committee, they don’t even have the opportunity to give the animators residuals (like in Hollywood) and often face severe budget shortfalls despite often paying sub-poverty piece rates.

Per this video, One Piece is run on a somewhat older sponsorship model with three sponsors making joint decisions: Toei themselves, the manga publisher Shueisha, and the broadcasting network Fuji TV. (I’m not exactly sure how this differs from the more standard production committee, but I guess I just gotta take the guy’s word for it...)

In some ways this is good: One Piece is pretty much guaranteed a large audience share just because of the license so the risk is minimal, and thanks to such productions, Toei is able to pay its animators some of the best monthly salaries in the industry. (The fact that they do is thanks to the union which struggled into existence in the early days of the studio, back when it was Toei Dōga.) But this arrangement comes with some restrictions: the Saturday morning timeslot comes with a very high pace of production of 48 episodes per year, drawing a lot of complaints of extremely slow pacing. Toei are not free to ‘go seasonal’ to spend more time per episode, because the other sponsors are making a tidy profit and see no reason to change for artistic reasons.

The exact history of the anime seems to have gone through a few eras. As Elaine described it, the first 80 episodes (1999-2001) adapt the first major arc of the manga at a reasonal pace; from that point until about 2008, the series interspersed ‘filler’ arcs between manga adaptations. From that point, they adopted a slower-paced model where, rather than write filler, they would adopt only one chapter of the manga per episode. Fans were not especially happy at the slow pace, or a widely perceived drop in animation quality.

These criticisms were apparently answered with a change in direction for the most recent “Wano” arc, which is where One Piece clips started appearing on the radar of sakuga fans - such as this cut by Katsumi Ishizuka which currently stands as the top rated from One Piece on the booru, or this one by webgen star Bahi JD. These have all the hallmarks of modern fight sakuga: heavy Yutapon influence, lots of flashy impact frames, lines dissolving, the camera and characters flying about. You can check out more of this Wano thing here on the booru. (I get the impression something quite similar has happened to the Naruto sequels.)

Meanwhile, on the manga side, Oda has apparently been attempting to condense more events into each chapter of the manga to better suit the pace of the adaptation - alluding to a fight which the animators can then elaborate on. So perhaps the pacing troubles are coming to an end... the manga, in any case, remains astoundingly popular, untouchable by anything in Jump.

Anyway! That is, as best as I understand it, the history of the One Piece TV show. However... we’re not watching that tonight. Instead, Elaine has picked out a handful of One Piece films...

Much like the TV series, the One Piece films have gone through various eras. The earliest films tended to be purely original stories, often diverging significantly from the source material; a second era saw higher-budget, condensed retellings of arcs already covered by the TV series; the third, current era of films consists of side stories overseen (and one time written) by Oda, but not directly part of the main story. Elaine’s given me one film rec from each era to give us a little historical core of the series

From the first era, we have Baron Omatsuri and the Secret Island (2005), which is notably the second film directed by Mamoru Hosoda [previously on Animation Night #15 and #47] after Digimon: The Movie. We can already see some elements of his style, like the kagenashii (unshaded) animation. The film sees the Straw Hat Pirates drawn into a series of trials on an unfamiliar resort island, but inevitably more sinister things are afoot - hinging on a flower that resurrects facsimiles of the dead.

The second era brings us the Fate-worthy title Episode of Chopper Plus: Bloom in the Winter, Miracle Sakura (2008), a retelling of the ‘Drum’ arc focusing on the character Tony Tony Chopper who is a kind of anthro reindeer?? The Straw Hats show up on a winter island, seeking medical treatment, and seem to get drawn into some kind of furry banditry situation where they’re attacked by big rabbits. It sounds wild and I’m very curious to see how that all comes together.

Last, we have One Piece Film: Gold (2016), from the current side-story-oriented era. In this one, the Straw hats find themselves on a kind of giant casino ship, where a conflict over cheating at dice draws them into a battle for control over the whole ship.

So. One Piece! I’ve never really dipped my toe in, just aware it’s a thing people love - but I’m absolutely curious to peer into this whole enormous psychic whirlpool that has been churning at the centre of the manga/anime industry for most of my lifetime. Fingers crossed we’ll find something delightful in here that appeals even to the One Piece skeptic. And time permitting, I’ll also throw in an episode from that Wano arc for the sakubutas among us to roll around in.

Animation Night 61 is intended to start at about 7PM UK time, 1h40m from this post, over at twitch.tv/canmom. In the meantime, I’m going to be challenging myself to animate a flashy punch in about an hour, so drop by Twitch if that sounds fun! See you there, either way~

#animation night

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franeridart · 5 years ago

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Anon said: Not an ask, but I frickin love your art style! 👌

Ah heck, thank you so much!!!! <3

Anon said: I refuse to use Emojis but You. Do. Not. Need. To. Apologize. For. Taking. Breaks! We are not entitled to you and you are not required to provide art for us! These are stressful times, and even outside of these times, taking breaks from social medias is completely acceptable.

Thank you for the kind feeling!!! But it’s fine, I’m not beating myself up over it or anything, just apologizing for my habit of going on breaks without letting anyone know beforehand haha

Anon said: your outfit ideas are amazing ! do you have a source of insperation?

Thank you!!! I do a lot of people watching, and that’s about it tbh! I do look at fashion photos and magazines and, like, clothes displays in stores? when I happen across them, but most of my inspo when it comes to outfits starts from me watching people and liking how they’re dressed - in that sense I like watching vlogs and stuff like that too, people these days are so stylish...

Anon said: I really love your lineart and coloring style!! Would you mind sharing your brush settings? Or some art tips? If you don't want too this okay too, keep up the good work !!

Since my brush settings are a reward for my $6+ patreons, I don’t really feel like it’d be fair to share them! But you can probably find some old version of them in my art tips tag :D as for art tips... for lineart the only thing I can really say is to not overthink it and just go with the flow, whatever feels comfortable for you will make for the most visually pleasing lineart too, in my experience! Coloring is something I’m constantly experimenting with as well, but there too my usual mindset is “the easier and faster the better” - generally, I just use flats and then add shadows on them with any color that goes from light blue to pink-ish purple on a layer set on multiply, anything that makes it look fancier than that is just me adding small details like sparkles or shines or anything of the like!

Anon said: GUESS. WHOS. GETTING. OLD!!! me. It’s me.

Everyone is! Constantly! It’s how the passing of times works, terribly enough

Anon said: hi!!! as someone who really admires you as an artist, has very little experience in art and would /really/ like to get better at it, i'd like to ask you: how did you get so good at it? (apart from constant practice, of course, i realize how important that is!) this is coming from someone who really has no idea where to start! what was your starting point, and are there any tips you can give a complete beginner like me?

Hmmmmmmmmmmmm the thing is that drawing a lot really is all there is to it, but if I had to give one single serious tip for this it would be to find something you really really really really enjoy drawing and to just draw it - draw it badly if that’s the only way you know how to draw it, but make sure to always draw it while having fun, and slowly you’ll get better without even realizing you are. If you like a ship, draw that ship! If you like plants, draw plants! If you like animals, draw animals! It’s okay if you don’t know how to draw it, or if you feel like your skills aren’t good enough for what you mean to draw, because honestly I felt like that when I started too, and I still feel like that every time I pick up my pen, and I’m sure I’ll forever feel like that for as long as I’ll draw - my ideas will always be bigger than my skills, and maybe so will yours! So what’s it matter if you start drawing stuff beyond your skill level now or later? At least you’ll be having fun with it, and the only way to learn how to do something new is to go and do it, anyway

Anon said: hi! do you do commissions?

I don’t, sorry! Thank you for being interested, though!

Anon said: Hi there! So I'm rereading Quote Love Unquote (a classic for sure) and had the urge to go find the art you had made for it. And oops, like, two hours have gone by of me just scrolling through all of your older comics and art. I love it all SO MUCH. Your artstyle is just so damn enjoyable and all of your comics never fail to make me smile. I'm always looking forward to whatever you choose to make in the future regardless of fandom. Thank you for being awesome!!

God that’s such a nice thing to hear, thank you so much!!!!!! ( TT-TT)<3

Anon said: I made an ask before (u answered it dw) but u thought I was saying u missed my first one. U didnt! I was saying it made me so happy that u responded you’re an angel! Ily v much!!

Ahhhhhhhhhhhhhhhhhhh that’s good then!! that’s very very good!!!!!! ily too!!!! <3<3

Anon said: How can one's art be soooooooooooooooooooooooooooooooooooo good?

Thank youuuuuuuu ;;;;;;;;;; I do!!! my best!! ( ;u;)9

Anon said: You like tododeku?

Yup!

Anon said: Zero grafity kisses are the opposite of the spiderman kiss

How so? :O

Anon said: Hi! This is seriously out of nowhere but I wanted to tell you I reread your Bokuto-Kuroo-Terushima tattoo au strip all the time because it's just so delightful and seriously cute. Polyfidelity is the kind of poly my partner and I practice and I don't see it played out too much, so to see a relationship like that with characters I love and an art style I adore fills me with such warm fuzzies. It's so so lovely. Have a great day!

I’m so damn glad to hear that!!!! In that sense that comic still means a lot to me, so I’m happy to hear it means something to you too!!

Anon said: Friendly reminder that I fucking love you.

I love you too anon!!!!!!!!!

Anon said: Ma lo sai che sei sempre più brava?

aaaaaaaaaaahhhhhhhhhhhhhh!!!!!!!!!!! (TTATT) grazie mille!!!!!!!!!

Anon said: Hi um did you know that 🤰🏻🤱🏻 this lady had her kid?????? wtf i didnt know

I can’t even see the emojis from desktop lmao but good for her!!!

Anon said: hot take: jirou, momo, kami, and shinsou in a poly relationship.

You know what anon, you’re incredibly valid and I respect you

Anon said: I just absolutely love your art! Whenever I see it, it makes my day! Your Kiribaku stuff gives me life! Keep making beautiful art, and stay safe during this time!

Gosh, thank you!! You stay safe too, anon!!!!

Anon said: HOW do you draw cloths

You keep in mind that gravity is a thing and let your hand do kind of whatever while hoping no one will notice you have no clue what you’re doing!! (...seriously tho I never studied these things I just do whatever feels like and hope for the best hahaha any experienced artist looking at my stuff is probably wondering what the heck it is that I’m trying to do...)

Anon said: Your style is so amazing and distinctive. Everytime I see it I’m like OH ITS THEMMMM and get super stoked

That’s so cool to hear!!!!!!! I genuinely have no clue what makes my art mine, but I like knowing people can recognize it anyway! It’s such a neat thing!!!

Anon said: Were you the person who did those "stopping an angry...." posts? Am I remembering this wrong? If that was you, where could I find those?

Are you talking about my bakuboys comic? If so then it’s in my bakuboys tag! :D

Anon said: Hey, you’ve seemed kind of tired and sad lately. I’m not going to ask you if you’re okay because you’re probably not, but I wanted to say I really do hope you feel better soon!

!!!!!!!!!!!! Thank you so much ;;;; I’m doing my best!

#fran answers #i have stuck in my head sudden desire by hayley williams #but i only know something like two lines and a half from it #it's been two days why is my brain doing this to me #halp #long post

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thedailyvio · 4 years ago

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Every now and then I feel bad for giving 0 context for anything, so gonna quickly summarize my story stuff under the cut

The Traveler’s Found (TTF)

Skye, Gill, Marth, Kydin, Leo, Kira, Krieg, Heiwa, Narcissa, Sebastian, Vadim, Bahemek, Xenon, etc

TTF is hard to summarize because it has 10 story arcs and they all lead into the other, but the plot begins with ‘A wizard terrorist attacks the king of Hou’lu sending two girls on a quest to stop him’ which sounds so simple doesn’t it -sobs-

Very adventure, political intrigue, slice of life elements

They basically travel all over the world, and I’ll quickly summarize what that’s like by listing each countries major influences

Hou’lu: Italian Renaissance, China

Sunobor: Medieval Germany, Japan, Inuit

Haldon: Folk Mexican, Folk Italian

Lavynna; Byzantine, some inspo from India to structure of things?

Gehinna: Ancient Hebrew

Parappa: Egypt-Germany

North Desert: Russia-Arabic

Harpies (more a tribe): Maasai

TTF of them all gets the most complicated but very incrementally, so it’s the hardest to express much on. But they get a cool hard magic system based on 10 elements so

Also TTF dragons are sentient, intelligent, and morally complex

—

The Miyoré Schism

A prequel to ttf by about 900 years

Faolan, Mien, Enlai, whatever I name the girl, Jiao

The plot here is a bit simpler

What happens when the one who pulls the blade only those Chosen by God can touch is among the race of people thought to be destined to serve?

This focuses largely on the Sha’li of East Hou’lu. As a race they have very distinct white hair, pale skin, and red eyes. At this time in history, monster taming was very common as well, so most the characters have a family or personal monster. Sha’li also have an ability to become “invisible” but in actuality they are lowering their ‘presence’ or ‘noticibility’ to all non-Sha’li

This story draws largely from Tibet for its aesthetics

—

Kingdoms

Ariella, James, Charles, Kiba

I have uprooted a lot about this story and not yet relayed it, but so far

A girl who wanted to become a soldier but was refused strikes out on adventure to do what she can for her country on her own- but to her chagrin gets a tag along

This story likely will have a soft magic system, and is definitely still based on Victorian and Japanese aesthetics. It’s actually a specific era of Japanese history but I can’t remember which. Possibly 16th c?

Despite this, it’s a low tech world.

Most fantasy type creatures/races do show up in Kingdoms, unlike my other stories

Dragons exist in Kingdoms but are universally evil and nobody has ever killed one

—

Magic and Cannons (MnC)

A wip name still

Cusick, Agathe, Romana, Kordell, Levi, Maureen, Ames, Sung-jin

I’m still figuring put the plot to this honestly, but the first bit is definitely

‘A narcissistic man is captured as a PoW and must find a way to escape’

There’s just three countries of any importance to this world, and it’s much less whimsical in nature than the others, being closer to reality in some ways, and having a lot more tech. Though it vibes as subtly cartoony in how characters have slightly exaggerated aspects to their personalities and behaviors.

Delemar is the country Cusick is from and is based on Wild West in many ways, they’re a very independent people which can be good and bad, they also give no hecks about safety and are pretty wild in general

Choson is where Romana is from and they are much more interested in normalcy and order, which can be both good and bad. They prefer reptiles and fish as pets to mammals actually, which feels important to mention. If you know much about history, I suppose it’s clear they draw a lot from Korea for aesthetics.

Choson is also a very mixed population in terms of race, which Delemar is very much not.

Kievan is where Agathe hails from and is based on Russia. In each case I tried sticking to 1850s-1900s ish for my influences of these countries, though socially they are very diff.

Kievan has an affinity for wine and is the only country that appreciates using electricity for power. They have harsh winters, especially compared to the other two countries which tend to be more tropical in climates. Kievan is less developed so far, but they tend towards legalism there, and while that can be bad, they are also the one not involved in a pointless war, so

MnC is what I call glasspunk, Delemar and Choson rely on ‘reactions’ for their energy sources, which I can only explain as ‘you know how if you mix two volatile liquids, they could explode? They harness the energy from such things’

This is possible because their magic system is a type of alchemy which has allowed them a lot of reactions not available to us, and with this they’ve been able to get treated glass which is nearly indestructible, great for containing anything they need.

Magic is still something within the individual, but in MnC the extent of what it does is change the properties of whatever you’re touching with your hands. If you specialize in using this and inventing things based off of things with changed properties, you’re called a mage.

MnC has a lot of strange tech this way, including trains, vehicles, customizeable guns, staves that through weird tech stuff can have sort of elemental effects, etc.

Electricity is not compatible with reactions btw, because it can cause them to explode outside of when they’re meant to, kinda like smoking by a bunch of canisters of gasoline, it might be a lil risky. So societies that use reactions do not use electricity and have things in place to get rid of it, and societies that use electricity don’t use reactions. Combining them can get cool tech, but is inherently risky.

oh whoops I went off there, huh. Oh well it’s not seen as often as the other types of societies/magics I listed so

Dragons in MnC are animals (technically wyverns?) and have been domesticated to be work animals. No fire breath but they do have a strong venom, I think a neurotoxin type?? And the insides of their mouths are orange 👀 oh and the domesticated ones are reflective like mirrors ish

—

Children of the Little Mine (CotLM)

Geno

This is the only one I plan to make a novel, because it’s set in 1950′s-1960′s New York City and I don’t care about those aesthetics at all

I don’t have it planned out very far for plot, but basically a gremlin thief boy of 17 has a strange ability to manipulate how gravity effects him, and seemingly nobody else in the world has this. But one day during a break and entering situation, Geno finds another boy with an ability, and from there they decide to try sticking together a bit to figure out why, and maybe put together a heist against a mafia boss in the mean time (two stealy boys)

This is very close to being historical fiction aside from abilities, which are /extremely/ rare in this world. I’m very inspired by Artemis Fowl and A Separate Peace for tone, and plan to have middleschool boys as my target audience. Though I love fantasy and such, this one’s still a bit close to my heart anyways

Anyways literally nobody asked for this I just do this to myself. I seriously wanna start practicing comic making skills, but I can’t do that too much for a daily thing when I can usually put in an hour at best. I’m trying to find a sweet spot for it all, but it may yet be awhile before I can post literally anything that sheds light on who the heck any of the chars I post are.

I want to though, and I’ve been running this blog for years now, so best to assume it’ll get there someday. I have still written a lot and planned out things, so progress still happens behind the scenes. Aside from the last few months but that’s not uncommon for this time of year. If you actually read this, thanks euchjsd I don’t think many will, but having it here makes me feel a bit better

#Text

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sparkywanderer · 4 years ago

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Parallels in SK8 The Infinity: Why Renga will (probably) get a happy ending

So uh. I had a ton of thoughts after the recent episode. So I wrote a thing about parallels and stuff and not gonna lie it’s kinda long (I get sidetracked like 5 times and have not edited this to be concise so it’s really bad???). Here it is, though, if you would like to read my rambling anyway!

Spoilers for Episode 8

Sk8 really likes its parallels. Whether it be how many times it likes to group Langa and Adam together as the “talented ones” or equals or whatever, or how the writers put Cherry/Joe and Adam’s separation with Langa and Reki’s in episode 7 practically back-to-back, it’s clear that they’re all tied up together in some specific way. Not only that, but Miya’s story of losing his friends due to his skateboarding talents rings eerily similar situation-wise to how Reki isolates himself from Langa due to the latter’s talents (though of course there are major differences and such, but other posts could probably explain way better than me so let’s ignore that for now).

Episode 8 adds another parallel to the mix with the reveal that Tadashi actually taught Adam skateboarding in the first place, because well, guess who taught Langa skateboarding? Guess who else enables the skateboarding of someone else, in Tadashi’s case handling Adam’s other work as a secretary and driving him in/out of S, and in Reki’s case building a skateboard for Langa? And not only that, but guess who else is compared to a dog (albeit more for the sake of a bet than anything)? Think back to the whole bet with Miya.

(I think there’s a manga panel that shows that Langa sorta thinks of Reki as similar to one too, but I’m too lazy to find it tbh)

Tadashi and Adam’s relationship is still a little unclear from episode 8, so there definitely could be more of these parallels, but what we do know is this: these are both pairs that were very, very close, sharing a mutual love for skateboarding, before eventually drifting apart as one became far more engrossed in the sport than the other to the point of danger. The writers portray this through Langa’s incredibly high speeds in Episode 7, and the flashbacks of Adam getting into highly dangerous situations with other people which cause them to get badly injured. Both of them don’t fear the thrill of this wild style of skateboarding, enjoy it even, while others like Reki, Cherry Blossom and Joe clearly do-- setting them apart as similar people, as Adam remarks. Langa mirrors Adam and Reki mirrors Tadashi, which bleeds into their equally mirrored relationships.

Going more in depth on Reki and Tadashi specifically, both of them are not the best at communicating their feelings. In Reki’s case, he bottles up all of his doubts and anxieties about his relationship with Langa until they eventually culminate into one scene and force them apart. In Tadashi’s, he doesn’t stand up against Adam’s father about letting him continue to skateboard even when he clearly wishes to. They’re different, of course, but both of them are clearly the type to put a mask over how they actually feel: in Reki’s case with an “It’s nothing!”, and in Tadashi’s case with an “I have no opinions”.

(One of the few times smiling Reki brings me Suffering instead of serotonin)

But what’s the point of this all? What’s the point of drawing out all these random connections between Adam and Langa, and Tadashi and Reki? The purpose isn’t showing the similarities, but the differences. Given everything that’s similar, it’s a lot easier to see what’s distinct, and in my opinion that is what will ultimately set these two relationships apart.

Because here’s the thing: Langa actually cares about Reki. Even if they’re so different in terms of skateboarding skill level (which is not necessarily true, but that’s a whole other thing), Langa cares enough about Reki to not leave him behind. The writers blatantly show this in Episode 6, when Langa stays behind and looks for Reki despite the tantalizing offer of a race with a bunch of very talented skaters right in front of him. (It could be argued that he DOES take the offer instead of focusing on Reki by breaking the promise with Reki in episode 7, but the thing is he also assumes Reki will understand and still support him, clearly surprised at his reaction, so it’s not really the same.)

Meanwhile, just think about what Adam does to Tadashi when he’s so focused on his stupid tournament, in contrast. Using him as a scapegoat for his own goals with no shame whatsoever.

(someone free this man. someone free this man please)

Not only that, though, but his passion for skateboarding isn’t just in the sport itself, but a major part of it is the people he spends time with. Before with snowboarding, it was his father, and when he was gone Langa stopped finding joy in that sport altogether. And now it’s Reki who’s gone, and he’s quickly realizing skateboarding that no longer brings the same thrill that it used to-- as made evident with the sudden shift to snowboarding in that scene, and the absence of his heart beating quickly, which could represent a lot of things but the point is he’s not having fun. Oh wait, that's another parallel.

On the other hand, Adam accepts that he’ll leave some people behind with his talents, dismissing them as unworthy rather than taking the time to actually try and recognize any flaws within himself or his way of thinking. This is perfectly exemplified in the first scene of Episode 8, where he shows little to no concern whatsoever over someone he’d been considering a possible match just a couple of seconds ago. Because it’s as he says: to him, when the perceived “distance” between two people is too great, to the point where it is “unreachable” for one of them, there can be no “real love”.

(oh yeah they both have blue hair too i guess)

But remember, Langa’s not like that. He isn’t willing to so easily give up on Reki like that, as seen with how he consults his mother for advice and still constantly checks to see if he’s there to talk to. He’s not going to so callously give up on him like Adam does with those he skates with, because his version of love isn’t nearly as twisted as his. Instead, he’s going to try and fix things, “repent and make efforts” (though of course neither of them are entirely at fault here), and communicate, as foreshadowed by the latest episode.

Reki, on the other hand, doesn’t show as many signs of wanting to try and reconnect with Langa, as of Episode 8 anyway. But I still have faith in him, because he seems to be having some doubts given his actions-- and more than that, remember what Cherry was talking about when he found him, words that he probably at least kind of listened to! Eventually he’s going to realize that he’s cut off a really good relationship for the wrong reasons, and he’ll have to apply some of these teachings and make efforts to actually communicate once he begins to realize it.

(Also, just take a moment to appreciate the bi calligraphy.)

So what can we take away from all this? Adam said Langa was the same type of person as himself. And sure, maybe that’s true in some ways, but it’s not entirely, and if the anime wants to have any clear thematic messages about relationships, it will most definitely reflect the results of their differences one way or another. At the very least, Reki and Langa will not turn out like Adam and Tadashi did. Because what’s the purpose of constantly comparing and contrasting characters in eerily similar situations, if their differences don’t have any actual effect on the story and the message that it’s ultimately attempting to convey, especially in a short 12 episode anime?

But anyways, if you actually did read this far for some reason, thank you! If I missed anything, you wanna add anything else, or just idk talk about this anime in general, let me know :D

(TLDR: Adam and Langa are sort of similar but also really different because the latter cares for Reki, so therefore this is yet another sports anime that will probably be about the power of friendship/love, and I Pretend I Do Not See whatever death flags there are for Langa I DO NOT SEE THEM!!!)

#sk8 the infinity #sk8 the infinity analysis #not me wriitng a whole fucking essay on this skateboarding anime...#im probably just reading too much into things as usual aha #sidenote: rewatched episode 7 as I wrote this and can confirm it was Not any less painful than the first time I watched it #seriously though this is a comedy sports anime. no ones gonna die. right haha #tbh idk what the point of all of this was when y'all probably already know that but MAN am i hyperfixating hard on this show #and im gonna make it everyones problem #(sorry)#sk8 spoilers #reki kyan #(my beloved)#langa hasegawa #i am in no way qualified to do this analysis by the way sorry for that too #anyways the moral of the story is idk what im doing don't take this too seriously

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msotherworldly · 5 years ago

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6 More Features I Would Like to See in the Sims 5

1) Improved Babies

Simmers are anxious for babies who...do stuff. Infants can only do so much in real life, and this life state would have to be kept distinct from Toddlers, but newborns still have their own unique activities in real life. One behaviour which would immediately distinguish babies from toddlers would be their need to crawl. Sims 4 toddlers improve their mobility, but are otherwise able to walk right away. Infants would have to learn this skill, along with how to babble and play—basics toddlers can do from the start.

Babies can be given their own objects to interact with, like a special teddy bear, a baby swing, or a rocking bassinet, and behaviours (such as “chew on toy” and “make noise”). Parents could do more with them, such as taking them to friends’ houses to show off or walking them around in baby carriages; the use of a special outfit could even enable a parent to carry a child around with them in a pocket at the front of their overalls.

At the very least, babies should look distinct from one another. They should have the same range of skin tones as their parents (including more unusual tones like blue or green), the same hair and eye colours, as well as the ability to be edited in CAS. Clothing options should be available for babies without the use of expansion packs. That alone would set them apart.

2) Active & Work from Home Careers

The ability to either follow your Sim to work or have them work from home opened up the ability to be more involved in your Sim’s life. However, this functionality only extended to new careers, and the Get to Work and Acting careers remained the only ones you could participate in without the use of mods.

Careers, including school and part time work, would be much more fun if they were all given three options from the outset: work from home, send to work alone, or join. The rabbit hole would remain an option for those who wanted to focus on the rest of their household, but there would be an incentive to choose the other two options, with “join” allowing the highest amount of performance gain each day.

Work from home careers should also be given more depth. While some of the challenges given each day are tricky, others are too easy. In the Floral Designer career, you only have to create one floral arrangement and you receive your wages for the day. Sims should be given a decent list of small tasks to complete, making working from home feel less like a day off and more like a job.

3) Skill Overhaul

Skills are relatively straightforward, but they’re almost too much so. There’s no correlation between skills, leading to some suspension of disbelief (someone who’s mastered the piano, for example, shouldn’t be terrible at the pipe organ). Furthermore, there are an overwhelming amount of creative skills, but a relative few for logic and confidence based moods and only one for fitness.

While the inclusion of more creative skills is still desired (such as drum playing, flute, or animation), more skills should be slotted under fitness. There’s a big difference between figure skaters, long distance runners, or wrestlers; all, while contributing to a person’s “fitness,” are distinct skills.

The inclusion of “Main Skills” and “Sub Skills” could spice up the system. Sims who reached Level 5 Fitness could then begin progressing towards other “fitness” based skills, such as Swimming, Boxing, Running, or Basketball. Sims who reached Level 5 in Writing could learn other skills like Fiction, Nonfiction, Blogging, or Copy. The 4th game already offers a glimpse of what other skills would look like: the Music Skill would lead to the Singing Skill and mastery of other instruments, while the Cooking Skill would open up other skills, including Baking and Gourmet Cooking.

Progress couldn’t be made on any Sub skills until the correct Main Skill had reached Level 5, but all Sub Skills would contribute to the improvement of the Main Skill, and the Main Skill, beyond Level 5, would make the mastery of any Sub Skills easier the higher it went. Someone who began learning the Violin Skill with a Music Skill level of 10 would have an easier time, having practiced music so much already.

4) New Skills

If Skills are overhauled, there are room for new ones. Digital Painting should be a separate skill. Drawing (with the use of pen, paper and other traditional mediums) would be realistic. Mastering different sports, such as Hockey, Volleyball, Soccer, or Football, would give teen sims something to do (particularly if they could join a school team), and logic could include such skills as Chess, Math, and Biology. The possibilities are endless.

More unique skills might include a Tattooist Skill or Animation Skill (either 3D or 2D). What about a Hair Stylist or Modeling Skill? What about Pottery, or something trippy like a Ghost Hunting skill? Opening the skills further could make the game refreshing, even if it was a spin on old skills (such as more “cooking” or “instrument” based skills).

5) More Categories

Whether it be for writing, painting, or simply watching TV, more interactions are usually a plus—cumbersome menus notwithstanding.

Sims currently have the option to watch various channels on the television, including Romance, Action, and Sports. However, we use our televisions for so much now; traditional cable is going out of style with the onset of...Simflix. If Sims had the option to “Watch a Movie” under different genres, “Watch Funny Cat Videos on SimTube,” or “Stream” from a number of different options, TV watching alone would be more exciting.

More categories for writing are a definite must. While more romance options, such as Trashy or Regency, would be appreciated, other genres that are common in real life are absent. It’s unusual that you can’t write Horror or Literature novels. Drama, YA, Western, and LGBTQ could be categories too. Being able to create your own genre and choose what the cover would look like would be an added touch.

6) Relationship Options

Families are complicated. Some people have two parents, and the step-parents who come with them following a divorce. Some kids have two moms or two dads; some have adopted parents, or foster siblings.

While the Sims 4 does allow you to have two “Mothers” or two “Fathers,” there’s no distinguishing the relationships beyond that. Unless siblings are biologically related, they can’t be categorized as such...leading to some awkward scenarios when they grow up. The inclusion of a “step” or “adopted” relationship for parents, siblings, and children would add to the game, especially for family players, and would more realistically reflect a world in which families are becoming more varied.

The current system is still based off the nuclear model, making the creation of more detailed families none-existent on a technical level. You can create a blended family in your game as it is...but don’t be shocked when your Sim’s “step parent” doesn’t take fault with flirting with their “kid” later on!

Other categories previously seen in the game included “Ex-spouse,” which could make certain relationships wonderfully awkward. It would be great if you could choose such a relationship directly within CAS, as well as that of a step-parent or adopted kid.

#sims5 #thesims

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thedesigndevelop-blog · 5 years ago

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Web Designing Company - Hiring A Web Designer Verses Graphic Designer

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Website design is obviously not giving the people with the following plain slice of text. Go as per the old expression"beauty is in the eye of the beholder". This beholder is the visitor of this web site that you're going to create.

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Design some duplicates of digital novels that you can send to every one. You can write for courses or articles online that could possibly be submitted everywhere. Then, create your own write-up in a manner that you can utilize them in any potential sort of networking, whether online or offline.

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preserving-ferretbrain · 6 years ago

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The Precise Moment I Stopping Reading City of Bones

by Wardog

Wednesday, 24 September 2008

Wardog is probably a bit patronising.~

Like all inflexible people, I like to think of myself as being relatively open-minded and, therefore, in the spirit of open-mindedness I recently got round to reading (or rather attempting to read) Cassandra Clare's City of Bones. I wanted to like it, no really, I genuinely did. Cassandra Clare, for all those who have been living under an internet stone, is a pseudonym of a pseudonym, but Cassandra Cla(i)re, back in the day, wrote fanfic, the very popular Very Secret Diaries and The Draco Trilogy, which seems to be no longer available on the internet at the request of its author (interesting that, hmm?). Well, when I say no longer available on the internet, what I mean is ... not available unless you spend about five minutes looking, which I might have just done. For the record, said trilogy is beautifully decorated with anime-style Draco Malfoys and black roses. Awww. She also has a hefty set of pages over at the Fandom Wank Wiki (trust me, if anything needs a wiki, it is fandom wank), which are suitably, painfully entertaining in a "for what do we live, but to make sport for our neighbours, and laugh at them in our turn?" kind of way.

Anyway, background cheapshots and raised plagiarism eyebrows aside, I really have no strong opinions on either fandom or Cassandra Cla(i)re, but I quite liked the idea that a popular, moderately competent fanfic writer managed to break into the publishing world. Fanfic is a difficult beast to comprehend unless you're right there in its mouth but, as far as I see it (and, bear in mind, if you do write fanfic this is probably going to sound like the simplistic flailings of an outsider), there are three possible attitudes, or at the very least a spectrum with some definable stopping points on it:

1) Fanfic is art, man, art and there is ultimately no difference between If You Are Prepared and Bleak House. They're both pretty damn long for starters.

2) Fanfic is like original fiction but not as good, and is basically written by people who can't get their own stuff published

3) Fanfic is entirely different from original fiction

Since the first one is clearly non-viable, and the second is actively rude, I subscribe to the third. Writing for fans and writing for publication is vastly different, and to assume that the one aspires to the other is rather to miss the point (and, arguably, the pleasures) of fanfic. Even so, I would have thought the gulf between fanfic and original fiction to be eminently jumpable. I mean, the ability to string a decent sentence together is a transferable skill, right. Right? Well, evidently not. To be fair, my problems with City of Bones a are not about the sentences (although they are of questionable quality), they goes rather deeper than that.

The truth is I actually couldn't read the damn book. I had to give up. It's not that it was, y'know, bad as such, although it occasionally was, it just didn't - to my mind at least - make the leap from fanfic to original fiction at all successfully. I know attempting to draw a distinction between fanfic and original writing is likely to get me shot at dawn but it's the only hope I have of articulating why City of Bones just doesn't work.

As far as I could tell from the sliver I read, City of Bones is young adult urban fantasy. The heroine, Clary Fray, (and let's not even ask why an author who calls herself Cassandra Clare decided to call her heroine Clary) is exactly the sort of spunky young thing you would expect of a modern heroine. She's out at a nightclub with her best friend Simon when she happens to witness a supernatural murder. Demons yadda yadda vampires yadda yadda Shadowhunters yadda yadda sardonic attractive blonde yadda yadda yadda wise old mentor with bird yadda yadda. Look, truthfully, I don't really have any idea what the plot is because I only made it to page 63.

And this is the exact moment when I snapped.

"In the distance she could hear a faint and delicate noise, like wind chimes shaken by a storm. She set off down the corridor slowly, trailing a hand along the wall. The Victorian-looking wallpaper was faded with age, burgundy and pale grey. Each side of the corridor was lined with closed doors. The sound she was following grew louder. Now she could identify it as the sound of a piano being played with desultory but undeniable skill, though she couldn't identify the tune. Turning the corner, she came to a doorway, the door propped fully open. Peering in she saw what was clearly a music room. A grand piano stood in one corner, and rows of chairs were arranged against the far wall. A covered harp occupied the centre of the room. Jace was seated at the grand piano, his slender hands moving rapidly over the keys. He was barefoot, dressed in jeans and a gray T-shirt, his tawny hair ruffled up around his head as if he'd just woken up. Watching the quick, sure movements of his hands across the keys, Clary remembered how it had felt to be lifted up by those hands, his hands holding her up and the stars hurtling down around her head like a rain of silver tinsel."

Let's skim all over the things that are awkward about this passage ... wind chimes only make sounds when they're stirred and piano music doesn't sound like that anyway ... how can wallpaper be faded with burgundy ... can a skill be desultory but undeniable ... why does it have to "clearly" be a music room, surely it is just is one ... how many times can you say "hands" in one sentence ... how does she know he's barefoot, he's playing the bloody piano ... and what the fuck is with the rain of silver tinsel...

But, yes, skim all that and riddle me this:

Wouldn't that whole scene be so much better if it turned out be Draco Malfoy sitting at the grand piano?

There's a technical name for what's wrong with this passage. In the industry we call it "blowing your load prematurely" (question is, what industry). Seriously, though, we're on page 63, we've spent all of 20 of them in the company of this character (and, let's face it, he's a pretty, sardonic, wise-cracking faintly angsty type very reminiscent of Cla(i)re's take on a certain slytherin): why the fuck should we be even remotely interested in the sight of him at a grand piano? It's a very senses-heavy scene: we have the sound distant music, the wallpaper beneath Clary's fingertips, and the lovingly detailed description of the ruffle-haired eyecandy sitting at the piano, so there's this self-conscious build up, deliberately (albeit not entirely eptly) evoking something of the fairytale, and what's the pay off? Up until this point the tawny-haired Jace has been a rude and snippy, so it's clear that this little scene is meant to show us a different side of him but character revelation scenes only function when you know the character well enough to experience it as a revelation. This is just ... information, excessively presented. It's like being hit over the head with a neon sign saying: "you should fancy this character now." And for the record, he's a demon hunter, not a concert pianist so there really is no reason to have that scene there except as drool-footage.

Possibly I'd feel differently if I was a teenage girl but I hope I'd have more taste.

What the scene did for me, aside from inducing me to throw the book across the room in disgust, was exemplify the subtle sense of wrongness I'd been getting throughout the previous 62 pages. Essentially City of Bones reads like fanfic - and I don't mean that as kneejerk indicator of poor quality, I mean that it reads like something constructed for a different purpose, functioning on a different ruleset. Leaving aside any criticisms of the actual style, this scene would probably work - for me - if I read it as fanfic. It's visually and linguistically striking - the juxtaposition of scruffy boy and fine old instrument (sorry), the hint at aspects of a character hitherto unknown, the touch of submerged melancholia (playing the grand piano to an empty room is a lonely hobby), all this would be fine if the mysterious pianist turned out to Draco. I mean, playing the grand piano is one of the things that one could potentially imagine Draco being able to do. Well, if you stopped and thought about it for a moment, probably not, because surely wizards have ... like ... magical pianos, or house elves to produce their music for them. But given that Draco is a repressively raised posh kid, it seems to me at least credible his parents made him have piano lessons, even if he hated it. And Draco, being the wizarding equivalent of genetically modified, would probably be reasonably good at it regardless.

I truthfully have no idea what it is that makes fanfic work but it seems to me to have something to do with potential plausibility. Scenes of certain characters doing things they never explicitly did in the books (even if this is fucking each other) resonate with you because it feels both novel and familiar - to continue the musical theme, if I presented you with Remus Lupin playing the electric guitar you might raise an eyebrow because he's far too bookish and quiet, but it would totally suit Sirius Black for example. Or even James Sodding Potter. And such scenes require no build-up because the reader already knows the characters being written about. Equally, dwelling on the details, and presenting very visual, senusous scenes, seems less purple than it does when you do it in original fiction because it helps to establish a familiar character in what may be an unfamiliar setting: for what's it worth, I can picture Draco Malfoy playing the grand piano very vividly. Pale hair, slender fingers, whatever. Fan fiction, even if you're looking at a 100,000 word AU fic, seems to be all about the establishment of moments, which need not necessarily (and probably don't) exist as part of a continuum of moments.

This is absolutely the opposite to a book.

The scene of Jace/grand piano has utterly no resonance for the reader because, well, partly because it's rubbish and partly because no time has been given to properly establishing the character so it's essentially meaningless, but mainly because it has no real sense of its place in a connected, developing narrative. Although the 63 pages I read did occasionally have moments of genuine mediocrity that made me suspect I should try to be more generous with the text, the whole reading experience felt so ultimately hollow I couldn't bring put myself through it. There's nothing inherently wrong with something reading like fanfic - fanfic reads like fanfic and I quite enjoy the stuff - but City of Bones is a work of original fiction, it's a book that I paid real money for (more fool me) In essence, then, it's original fiction without the necessary underpinnings, and fanfic without any of the characters you like. Worst of all possible worlds.

Comments:

Dan H

at 12:57 on 2008-09-25So I've started reading it now, to pick up where Kyra left off (nearly at good old Page 63).

I actually don't think it reads that much like fanfic (at least not like *good* fanfic). There's way too much exposition (fanfic tends to assume that everybody knows what's going on) including some truly wonderful scenes with people actually saying things like "surely you recognise a girl, your sister, Isabelle, is one" (Isabelle, it should be pointed out, is *right fucking there*).

Favourite line so far: "Her hair was almost precisely the colour of black ink".

What colour would that be, exactly? Black, perhaps?

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Arthur B

at 15:32 on 2008-09-25It strikes me, actually, that while most of us have a good idea of what "bad" fanfic is like, good fanfic must by its nature vary widely in style, because at least part of the point of fanfic is to produce something that is reminiscent of the source material, so good Lovecraft fanfic will read different from good Firefly fanfic, or good Pratchett fanfic.

(Which would mean that, say, "good" Cecilia Dart-Thornton fanfic is a contradiction in terms: if it's good, it's no longer reminiscent of the source material.)

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Dan H

at 18:38 on 2008-09-25I think Lovecraft fanfic is a special case actually, because it borrows Lovecraft's ideas rather than his characters. Lovecraft fanfic (and, to borrow Arthur's term, peerfic) is all about eldrich horrors from beyond the void, it's not like anybody writes Herbert West/Charles Dexter Ward slash.

Actually they probably do.

By contrast, I actually think with most fanfic the style is fairly consistent between fandoms (although I admit to limited experience here). Part of Cassandra Cla(i)re's big plagarism debacle, indeed, was the fact that she regularly borrowed lines from Buffy for her Draco fics.

In further updates on City of Bones I've now got past the point reached by our intrepid editor and have the following to add:

Holy Crap the wise old mentor dude is a lot like Dumbledore. There's a bit where he asks the heroine if she wants anything and I *totally* expected him to offer her a sherbet lemon. And if you don't read "Muggle" for "Mundie" every time you're a better man than I am.

Also, some exposition from earlier in the book which I found particularly awful:

"Demons," drawled the blond boy, tracing the word on the air with his finger, Religiously defined as hell's denizens, the servants of Satan, but understood here, for the purposes of the Clave, as any malevolent spirit whose origin is outside our own home dimension."

"That's enough, Jace" said the girl.

"Isabelle's right," agreed the taller boy, "nobody here needs a lesson in semantics - or demonology."

As you know, I *almost* applaud the bare faced cheek of it.

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Arthur B

at 00:38 on 2008-09-26

I think Lovecraft fanfic is a special case actually, because it borrows Lovecraft's ideas rather than his characters. Lovecraft fanfic (and, to borrow Arthur's term, peerfic) is all about eldrich horrors from beyond the void, it's not like anybody writes Herbert West/Charles Dexter Ward slash.

To be fair, there aren't that many recurring characters in Lovecraftian fiction except for the Old Ones themselves, who get reused all the time. And I've lost count of the number of times I've read stories about long-lost offshoots of the Whateley clan or where yet another dozy protagonist realises they come from Innsmouth stock.

I agree, though, that the Lovecraft-tribute scene is pretty unique; I expect this is partly because Lovecraft was one of the first authors who genuinely encouraged people to write stories set in his mythology, to the point of sending them detailed letters showing them how to boost their fanfic to peerfic. Having essentially established the core of his own fandom before he died, that core went on to set the norms for Lovecraft tribute works forevermore.

I would suggest that this may be the result of people writing to indulge the sort of mores that have grown up around fandom-in-general, as opposed to writing to emulate the original work.

Which might explain why City of Bones exists. Once you don't care what the background to what you're reading is, so long as it has shipping and mary sues and whatnot, it becomes easier to accept the idea of fanfic-like work which is fanfic of nothing in particular - nothing, that is, except fanfic itself.

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Montavilla

at 01:55 on 2008-09-28

Sadly, you made me immediately start wondering what Remus would play in James Potter and the Silver Marauders band. He might, ala George Harrison, play lead guitar. (Sirius would be play rhythm guitar and James would play the bass). Peter, of course, would be on drums. Which might explain why they put up with him all that time. It's hard to find someone who's got their own drum set.

Favourite line so far: "Her hair was almost precisely the colour of black ink". What colour would that be, exactly? Black, perhaps?

To be fair, comparing hair to ink is a difficult image these days because we only really see ink in the stems of our ballpoint pens. Perhaps it might have been better to say, "Her hair was almost precisely the color of laser toner. In a really old printer. You know. The black-and-white kind."

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Dan H

at 12:18 on 2008-09-28

Hee hee.

In all seriousness, though, it's not the comparison to ink that bugged me, it just strikes me as elementary that if you're saying "X was the colour of Y" then unless you're doing a Blackadder style joke "Y" should not include reference to a specific colour. "Her hair was black as ink" "her hair was black, like ink" "her hair was ink-black" would all have been fine. So for that matter would be "her hair was like black ink". "Hair the colour of black ink" is like something out of the Bulwer-Lytton contest: "Her hair was the colour of black ink, her eyes the colour of a blue crayon, and her dress the colour of a dress made out of red silk."

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Wardog

at 14:16 on 2008-09-29

Since we're playing Favourite Lines, my personal shoutout goes to: "He had electric blue dyed hair that stuck up around his head like the tendrils of a startled octopus..." I guess it's just the awkwardness of the construction coupled with that startled octopus...

Arthur: I would suggest that this may be the result of people writing to indulge the sort of mores that have grown up around fandom-in-general, as opposed to writing to emulate the original work.

I'm not sure emulating the original work has ever real been the goal, well, not unless there's specific stylistic feature *to* emulate if that makes sense - like Lovecraft. I mean, you want to make your characters sound like the characters they are but ... well ... to indulge a bit of JKR bashing just because that's what we do here, most of the Harry Potter stuff I've read has been stylistically objectively better than the author.

"Her hair was almost precisely the color of laser toner. In a really old printer. You know. The black-and-white kind."

Hehe!!!

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Arthur B

at 15:47 on 2008-09-29

I think direct stylistic mimicing is, as you point out, actually rare, especially since a lot of fanfic is written about TV series, so you're translating a visual format into a literary one. But at the same time I think that the aim of a lot of fanfic is to emulate the source work in the sense that the writer's trying to tell a story that is a) reminiscent of the source material, in that it establishes a mood and tells a story which could recognisably fit within the source, and b) features the characters behaving in a manner recognisable from the source (unless the explicit point of the fic is something like "What if Captain Lolcats got possessed by a brain worm?"). At the very least, a lot of fanfic authors seem to want to produce something where the reader would look at it and say "Yes, that's very much how it would have happened on my favourite show if the screenwriters had only had the courage to write an episode where the ship's doctor and the robot owl consummate their love".

I say "a lot of fanfic" because I've seen the occasional piece (generally AU fics) where the premise is so utterly far removed from the source material that I start scratching my head and wondering why the author bothered retaining the link to the source material in the first place. Sure, perhaps the characters retain scraps of their personality, but they're in such an utterly different scenario it becomes a stretch to call them the same characters; to my mind, at least, characters are at least partially defined by context. Being a cheeky black marketeer on Deep Space 9 is a very different proposition from being a cheeky black marketeer in Blitz-era London.

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Wardog

at 16:01 on 2008-09-29

We are now mainly haggling over semantics, dear boy.

So instead I would like to play the "Her hair was" game.

I submit: Her hair was almost precisely the colour of one of those motorola telephones, the ones with that come with a gloss finish not matte."

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Claire E Fitzgerald

at 16:32 on 2008-09-29

Her hair was almost precisely the colour of a grey cat in a room that was totally dark, such that the colour of the cat was indistinguishable from black.

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Arthur B

at 16:59 on 2008-09-29

Her hair was the colour of television, tuned to a dead channel.

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Wardog

at 21:20 on 2008-09-29

Oi! Minus three points from Slytherin for being meta.

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Arthur B

at 00:26 on 2008-09-30

“Minus three hundred points for turning the comments section into Harry Potter fanfiction," muttered Harry, glowering at his Nintendo DS. He was pretty sure he was on the right track in this Phoenix Wright episode, but the game was being evasive about precisely which investigative avenue he should pursue. Harry was not looking forward to the half hour he'd have to spend looking for the plot, but he supposed he couldn't complain: he normally had to doss about for half a year before getting anything done in real life.

"How's my hair looking?" asked Ron, anxious about his big date with Hermione. He had spent the last six hours smearing his skin with Hackiburr's Very Useful Ointment in order to conceal the telltale marks of gingerness, and was now in the process of rubbing the stuff into his scalp. Harry glanced at his bare-torsoed chum and then returned his attention to his game.

"Your hair is all carroty," quipped Harry, "like someone was just sick in it."

Draco giggled and ran his hands through his hair, which was bright yellow like artificial egg yolk.

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Rami

at 12:17 on 2008-09-30

I think these are still worse, but you're getting there ;-)

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Guy

at 04:26 on 2009-07-24

Her hair was almost precisely the colour of light with a frequency of 590 nm and a wavelength of 526 THz, and as she moved the angle of its inclination to her scalp seemed to undulate with a regularity that spoke softly to his soul.

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Rami

at 04:41 on 2009-07-24

a frequency of 590 nm and a wavelength of 526 THz

I think you got the wavelength and frequency swapped around ;-)

A redhead, eh? Why is it that female protagonists never seem to have violently ginger hair?

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Guy

at 08:34 on 2009-07-24

Oops, so I did. I could pretend that it was a deliberate attempt to further enhance the awfulness of the sentence, but no, I just muddled it up. :)

It would be kind of interesting to see some kind of frequency histogram of female (and male) protagonists and the wavelengths of their hair colours... but I suspect nobody would be mad enough to actually do the work to make such a thing.

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Michal

at 05:29 on 2011-09-29

And I only stumbled on this when I found out Cassandra Clare will be one of the instructors at the 2012 Clarion Writer's Workshop.

Suffice to say, I won't be applying. (Jesus Christ guys, you had Neil Gaiman and Ellen Kushner and Particia C. Wrede and Gene fucking Wolfe as instructors and now you've had budget cuts or what?)

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Arthur B

at 11:25 on 2011-09-29

Well they also had Orson Scott Card.

I guess it's like Hogwarts. Not everyone can be a Griffindor or a Ravenclaw. They also have to recruit Slytherins (Card) and Hufflepuffs (Clare).

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Michal

at 13:30 on 2012-11-18

There's a movie now.

I think I caught a half-second glimpse of Henry VIII at one point.

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Arthur B

at 14:05 on 2012-11-18

Urgh, they actually say "mundanes".

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Ibmiller

at 15:05 on 2012-11-19

It's like they learned nothing from Golden Compass...

Also, are they deliberately trying to recreate the "awkward teen significantly older British actor" Twilight vibe?

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Wardog

at 15:36 on 2012-11-19

Oh no, that's Jamie Campbell-Bower. Officially the drippiest boy in Hollywood.

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Arthur B

at 15:44 on 2012-11-19

Also, are they deliberately trying to recreate the "awkward teen significantly older British actor" Twilight vibe?

I suspect they are going to mimic Twilight/Potter as closely as copyright will allow. It's got that "clinging to the underbelly of the bandwagon and trying to scrape as much gold as you can out of it" look. (Of course, this is likely to lead to jibbering incoherence due to Potter and Twilight being two different bandwagons...)

The extent to which Blonde Love Interest looks like a reject from the Draco Malfoy auditions is hilarious.

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Fishing in the Mud

at 16:51 on 2012-11-19

The extent to which Blonde Love Interest looks like a reject from the Draco Malfoy auditions is hilarious.

Hey, at least they got that right.

#Ferretbrain #Cassandra Clare #The Mortal Instruments #Harry Potter #Fanfiction #City of Bones

60 notes · View notes

comicteaparty · 5 years ago

Text

February 12th-February 18th, 2020 Reader Favorites Archive

The archive for the Reader Favorites chat that occurred from February 12th, 2020 to February 18th, 2020. The chat focused on the following question:

When applicable, what about a creator’s art might convince you to check out their comic?

carcarchu

I like a wide range of art styles so it's hard to pinpoint specifics but if an artist is able to draw very attractive looking characters (recognizable character designs, outfits that don't look like they came out of 2004 gap catalogue, characters that can still be recognized even when they change their hair style) then i find that very appealing. beyond that how well an artist can integrate the characters with the actual space they exist in is something i find very important as well. a bunch of floating heads can only carry a series so far. if the artist can make the characters feel like they properly exist in the space i think it can really elevate the series although in practice this is something very difficult to do.

Deo101 [Millennium]

For me, honestly some art styles are very inspiring to me and that will sometimes get me to read just because I want to see the art more and learn from it. Things like textures, colors, character design... It can draw me in just by exciting me as a learning opportunity

chalcara

For me art‘s the hook and story the line. Come for the art, stay for the story, you know?

Funnily I‘m looking less for pretty art and more for good visual story telling. I want the art to show whats going on without having to rely on dialogue.

Cronaj (Whispers of the Past)

I'm honestly very picky about art styles when it comes to comics, and that's a personal issue It has some to do with art styles being attractive to me, but honestly, the most important aspects of a creator's style to me are (1) consistency of style and anatomy, (2) level of completion, and (3) clear communication of what's happening. When it comes to whether or not I check out the comic initially, the main things that come into play with the promotional materials, covers, and/or thumbnails are contrast of the image and cleanness of the rendering. Of course, obviously, my personal tastes play into it. (I tend to like semi-realistic styles, sort of anime-ish but with a twist, or painted styles that may resemble concept art.) But honestly, probably more important than grabbing me initially to begin reading is readership retention. And that's where the 3 qualities I look for come into play: (1) Consistency of style and anatomy: This is probably the most important part for me as a reader. If I can't tell who is who because the characters change appearance from panel to panel, I'm ducking out, because that affects the clarity of storytelling. I also cringe everytime I see a particularly egregious anatomy error. I know what people look like. I see them every day. If I feel pain from looking at an artist's work, I'm not sticking around. (To be fair, everyone makes some kind of anatomy mistakes, but really it's if the anatomy mistakes are really awful to me and aren't as a result of a deliberate style CHOICE. Keyword, C H O I C E.) (2) Level of completion: This really just means that if it looks like the artist rushed through the panels or they were being lazy, I feel like their comic isn't worth my time. I mean, if an artist themselves doesn't care about their work, why should I?(edited)

. (3) Clear communication of what's happening: Once again clarity of storytelling is absolutely essential. If the composition of a large portion of the panels don't clearly show the actions of the characters, I can't follow the story. Aaaaaand as a bonus: Please, please, for the love of all powers that be, please, make your fonts legible. If I can't read the comic without squinting because your text is too tiny or hard to read, I'm not going to try. I have bad eyesight as it is. Take pity on your readers. I'm not going to suffer for your work. I have dropped far too many comics to count because the creator didn't care enough to make sure that the font was legible. And this applies to both desktop view, mobile view, scrolling format, and page to page format. Just.... Make your fonts big and clear.(edited)

sssfrs (JOE IS DEAD)

That's interesting to think about how recognizable characters are when their hair style changes. I might try to use that as a character building exercise

Deo101 [Millennium]

Solid excercise: can you tell them all apart when they're bald and naked?

Cronaj (Whispers of the Past)

OoooooooOOOOOOOOOOHHHH

Might partake that challenge

Deo101 [Millennium]

Also it's really fun to draw characters in all sorts of hair and clothes so idk what id do if I couldn't tell them apart when doing that!!! That's like 40% of my art!

Cronaj (Whispers of the Past)

This just convinces me more and more to do AU art

Deo101 [Millennium]

Yeah aus are another 20% of what i draw LOL

Look im drawing the comic most of the time so I wish to partake in non canon things the rest

carcarchu

@sssfrs (JOE IS DEAD) i've read series before where the character gets a hair cut / dyes it and i'm like WHO ARE YOU? IS THIS A NEW CHARACTER?

Deo101 [Millennium]

Oh another good excercise is drawing your Characters in many different styles and seeing if they remain unique when not in yours.

Cronaj (Whispers of the Past)

I want to do all of this

This is stuff I hardly ever have time for

So I am extra attracted to it

Also, there IS a time later in the comic where a certain character's hair gets partially burned off

And then he cuts it pretty short to get rid of the singed edges

And I feel like his hair is like 80% of his character design

So I'm just a little scared about that

Deo101 [Millennium]

Also, @Cronaj (Whispers of the Past) , I am unsure what you mean by "readership retention" with something that makes you interested in a comic, could you explain?(edited)

Cronaj (Whispers of the Past)

By readership retention, I mean aspects of the art that decide whether I'll continue reading past the first few pages

(obviously story comes into play as well, but I won't pretend that the art in the first few pages of a comic don't contribute)

Deo101 [Millennium]

Oh okay, I thought you meant like how many readers have unfollowed or something

Cronaj (Whispers of the Past)

Nah

More like, "oh cool! Your cover and blurb seem interesting. Lemme check out the comic!"

And then after reading the first few pages/chapter:

"ah... Not for me." Or "Nice, I'll keep reading!"

Deo101 [Millennium]

Gotcha

Capitania do Azar

Ohh I don't feel like dissing particular artsyle choices, but I know a few aren't for me. I'm no big fan of ultra realistic, hyper detailed stuff you usually see in super hero comics (other genres pick that style too sometimes and I still don't really appreciate). I particularly like artstyles that are distinct and recognizable, I have a hard time with stuff from different authors that just looks... Like a carbon copy (sometimes, the style being referenced is waaay too obvious and that is always a big no for me) Good use of color is key. Give me some good values too. I want colors to make sense and I am very tired of pink. I also appreciate consistency. If you give me artwork with a more paintery style but then the comic is cellshaded, that might tip me off. But not necessarily (tho I appreciate inner consistency inside the comic itself). Rushed stuff, like mentioned above, is also not a good look, but only insofar as it distracts me from what's happening in the story. Consistency is a very important word here, because I love seeing a common line that is able to take in all the differences that are necessary in character design and backgrounds, but also make me believe that they all could live in the same world.

Oh! And also: if the artstyle involves using lineart, I am really fond of sharp, clear lines with weight variation

sagaholmgaard

I'm curious about what you guys mean with consistency- do you guys not like if an artist's art style changes over the several years it might take to make a finished webcomic? Is it that it peeves you when the backgrounds are done in, say, a painterly style while the characters are done with lineart? Is it when the artists makes ordinary illustration work in a completely different style from their comic pages? (This is genuine curiosity I hope no one's feeling attacked rn ^^)

carcarchu

i personally really like seeing an artist's skills improve and evolve over the many years it takes to draw a series

even at the expense of a more "consistent" final product

sagaholmgaard

Yeah me too, it's one thing i really like about webcomics

chalcara

Can‘t talk about the others, but I get thrown off when one page is sprite comic, the next painterly, third cell-shaded without having a in-story-reasons for those style changes, like flashbacks or pov-changes. But more commonly, the issue’s the classic „comic‘s usually coloured, but oops, this time you only get the pencils because I had no time to update“. If that happens too often and/or doesn‘t get fixed for the archive I just lose investment in the comic.

Art evolution is natural, both in webcomic and published work with a dedicated artist.

Ah, that‘s another source of inconsistency - people switching colourists or even artists around. Once in a while is fine, but if it happens every month or so, I tend to get annoyed by it. It‘s actually why I killed my first webcomic twenty years ago; it was a collaberation and life kept getting in the way forcing me to switch colourists every five pages or so.

carcarchu

oh actually i have read a webcomic where they changed artist's 18 chapters in. i really fell in love with the magical and dark tone of the original artist and was engrossed in the world that they set up. they had a painterly style and it really set the atmosphere of the entire series but then the new artist had a super clean and cutesy art style and the sudden tonal shift really threw me off. in the long run the new artist was actually extremely consistent and better at actually releasing long chapters and very good quality chapters and the writing actually improved too because of it but it was never able to recapture what it was that i really loved about the original art style. also the new artist changed the character designs a little so the heroine was no longer even recognizable as the same person

since it was relatively early in the series i definitely would have preferred if they just got the new artist to actually redraw the first 18 chapters in the new style just so the change wouldnt be so incredibly jarring

chalcara

Any harsh breaks like that will cause some people to break away from the comic, I found. I dumped one of my favourite-for-years comic because the creator got bored by their main character and completely sidelined her in favour of a group of minor characters I had absolutely no interest in.

Didn‘t mean the comic got worse - by all accounts its still beloved by quite a sizable audience - it just wasn‘t for me anymore.

sagaholmgaard

Ahh that I can relate to. I get super attached to the main character and usually have a hard time getting into any spinoffs with the rest of the cast, even if I want to (and im a hypocrite because i also want to make spinoffs for ever side character in my own comic LOL) i guess if the style changed a LOT from page to page that would throw me off too. that feels like the artist is trying to experiment, maybe making sort comedic comic strips would be more acceptable then? Every style would at least be contained to one strip at least

DanitheCarutor

That's... actually a really good question. I don't really go for a specific aesthetic. Sometimes what's going on in the thumbnail attracts me, or it could be the use of color, the style, a character design. I'll check out a comic with just about any art style. I guess maybe if I have an idea of what the creator is going for with their art? Like, the art may have a lot of kinks, but maybe being able to tell what style they're trying to go for makes me want to check out their work? Honestly, I don't have a really strong art bias, as long as the comic is readable I'll go for almost anything. Maybe I won't check something out if the style looks extremely uninspired... like if it were the most generic, based off Japanese cartoons, style ever then I might give it a pass. But even then I do sometimes check it out anyway, so I really don't know! This question is surprisingly hard to answer! To give my last quip about last week's topic, since I don't want to derail the current one. I feel the creator's personal life is no one's business. I understand if they're a legit bad person, but digging into a creator's life to see if they qualify to be supported is... I dunno. This mindset makes me feel that if someone who liked my work ever tried to get to know me, they would be doing it solely to see if I'm good enough for them, which feels really invasive and predatory. I fully understand most people can't just enjoy something, that's how the world is, it just kinda sucks sometimes. The world kind sucks sometimes. Alright! I'm doing with giving my final thoughts on that subject.(edited)

Deo101 [Millennium]

The question is specifically about what draws you to art, rather than what turns you away so if you don't want to rag on any art styles that's not what it was asking for I think! Though yes it's very closely related (and it's not bad to say what you don't like)

Eilidh (Lady Changeling)

I definitely am more likely to read a comic that has a distinctive style - no particular style preferences, really. Interesting use of colour/value is definitely a bonus. But as long as it's engaging and the composition is good/readable, I don't really mind whether the art is "good" or not.

DanitheCarutor

@Deo101 [Millennium] I wasn't trying to rag on anything. I couldn't specify what about someone's art would draw me to their comic, it was easier to the one thing that might not, but I still said that I may be drawn in regardless. Sorry if I came off like a douchebag, totally not my intention. <_<'

Deo101 [Millennium]

No I know, someone earlier said "I don't feel like dissi g particular styles" I'll be honest I was typing my post as you were and so I didn't even read yours til after I said something(edited)

Just kind of a general thing! Feels like it went to what turns us away instead of what draws us in so just kinda a reminder of the op

sagaholmgaard

Readability is definitely important for me to want to continue following a comic, but what about the art that makes me want to read something...? I definitely have a preference toward cartoony styles overall. A solid character design will make me wanna check out a comic. If the main character has a recognizable silhouette and interesting shape language. I also love really bold lineart, especially if it's used to create shadow and contrast. Interesting color schemes too. I think how the background is drawn can really make me want to read something as well. I know BGs aren't people's favorite thing to draw but to me if the setting looks very well though out and designed, that definitely motivates me to check something out. And awe-inspiring sceneries are always hella cool! I read a lot of things outside of my artistic preferences though, but I think these are the things that might make me pick something up based only on the art itself.

keii4ii

I think I tend to find more appeal in certain compositions, which is a more subtle aspect of style. I am a major sucker for evocative use of backshots/ not-showing-the-(whole)-face, for one thing. Compositions that make full use of the three dimensional space around the figure(s) is another (this doesn't necessarily mean putting a lot of stuff around the character; you can have a mostly empty space and still make it feel very 3D).

(I hope both of those things show in my own works... I just love those things soooo much )

Deo101 [Millennium]

Oh I LOVE when a panel like... Cuts a face. Something about it makes me lose my mind every time

DanitheCarutor

@Deo101 [Millennium] Ooh! Lol sorry about that! I was so caught up with off computer stuff that I didn't notice anything else typing while I was. I haven't read the whole conversation yet, but I can see how it would turn to that. "What draws you in" is a hard topic to stay on. At least I imagine it would be since it's hard for me to talk about.

Ah! I admit I really like shots focused on scale, specifically ones were you can feel how tiny the MC is compared to what the camera is focused on. Does that make sense? Like the panel shows this ginormous thing, and it has the MC in it to show how massive it really is. That's awesome when done right.

Deo101 [Millennium]

Tiny little person. Yes. Very good

DanitheCarutor

Tiny people in giant worlds are the best!

keii4ii

I love those too!

DanitheCarutor

Oh, also this isn't a webcomic, but I've been interested in reading Vinland Saga after seeing this page on Twitter.(edited)

Something about extremely hideous expressions on semi-realistic faces jives with me.

FeatherNotes(Krispy)

What draws me in easiest is the design aspect of characters, environment and the webcomic title! It's a bit of a turn off when the title doesn't look polished. That's one of the main draws for me is an intriguingly designed logo with a catchy name that follows through their chosen aesthetic. I've seen many comics that stand apart from the title image they chose and it's a bit jarring to see! Great examples of wonderful execution of these aesthetics are BlackOut City, O'Sarilho, Sink Your HookTeeth and Shadrunners(obvs there are many more) I have to agree with @sagaholmgaard about backgrounds! There are quite a few creators who avoid them and stick to simple colours and gradients that just dont keep me in the comic- though my fave genres include a lot of world building, so BGs in a romance may not be emphasized as much. Lastly, dynamic character design!! I love a wonderfully crafted cast that allows me to read the characters easily no matter what setting or outfit they're in. Also it's really random but i do love an artist who can draw really good shoes?? That is always a draw in for me (edited)

Capitania do Azar

Oh I meant it in the way that if you spend a lot of time experimenting with different styles and techniques, you'll never be good at any of them. Style and approach changing over time is, imo, inevitable and good :) @sagaholmgaard(edited)

@@FeatherNotes(Krispy) I constantly think my logo looks like crap next to other webcomics', so thank you (edited)

DanitheCarutor

Oh god, @FeatherNotes(Krispy). Titles and logos are legit my weakest point, that part of the comic creation process is the worst! I have this cosmic-horror/fantasy comic I've been developing since 2005, and it took me till just last year to come up with a decent title. It'll probably take another 14 years to come up with a passable logo. Lmao!

FeatherNotes(Krispy)

It is really hard! Because that image/logo and name represents the body of work so firmly, its also got to stand strong with what it's representing and stand up to other titles too! Basically, i like to think of something that will help generate top results when i search on google for the title, which to me helps it stand on its own on the web, and sound catchy enough for pitches in person! I don't want to steer the convo away too much from the prompt, but there is definitely more to discuss about titles and their chosen aesthetics

varethane

@DanitheCarutor have you read Golden Kamuy? If you love hilariously hideous expressions in manga, it seems like it may be your jam lol

(it's also set in a specific historical period and contains a lot of really interesting material about the time/place it takes place in)

Also I feel like I have never, even one time in my life, come up with a good title for anything-- both Chirault and Wychwood are placeholder titles that I used just to kinda name the story for myself, which I initially intended to change when something better came along, and then nothing ever did

LadyLazuli (Phantomarine)

I know I'm generally drawn into a comic if it's just... generally a visual feast? And it doesn't even have to be a beautiful feast - just... a feast! A super intriguing artstyle, beautiful or not, is something for my brain to pick apart and enjoy. Detailed backgrounds, intricate costumes, fascinating presentation/layout... all the way to crazy expressions and fun asides, and even some gory or scary bits to make me go EEK. Basically, if I'm reading it, and my hand is twitching with the prospect of drawing fan art, then I'm in for good.

DanitheCarutor

@FeatherNotes(Krispy) Urg that is such a nightmare! And there are only so many different styles you can do for a logo, and so many variations of words, it's like how there aren't any truly original stories anymore. I got lucky with the title for my current comic, it's the most generic thing ever, but fits in a tongue-in-cheek way. @varethane I've never heard of it, but the face compilations I'm seeing are intriguing! Man, I love stupid facial expressions.

Capitania do Azar

@varethane golden kamuy, I see you are a fellow of taste as well

varethane

(I love it so much)

Capitania do Azar

@DanitheCarutor oh idk about the "only so many things you can do with logos", I've seen amazing things in this world, if there's a limit I'm not seeing it

varethane

(I can always tell exactly when I was binging it because there's a big chunk of my phone's photo gallery that's all screencaps of Asirpa making dumb faces)

Capitania do Azar

@varethane guys shooting each other in the woods? I'm always in for that

DanitheCarutor

@Capitania do Azar Lol I guess? I can't see how you can have an infinite number of designs for writing, while still trying to keep it vaguely readable. But I really don't like lettering, so my imagination is hardcore lacking in that department.

Capitania do Azar

Lettering and logo design are their own fields of expertise, it's ok

meek

Hmm I'm similar to a lot of previous responses where I can't pinpoint a specific style or trend of art work that draws me in because the styles of comics I read differ incredibly. That being said, there are some things that I do look for to keep me coming back: 1) Consistency of style/anatomy: unless there's a specific reason for the general art style to change (not including semi-deformed or chibi versions of characters), I appreciate characters staying proportionate or just otherwise consistent throughout the comic. And art evolution isn't something that's at odds with consistency, it can actually help that by making characters more distinct and easier to distinguish from each other. 2) Potential for art evolution: Almost the opposite of the previous point lmao but if I find a new comic and I see the latest page is of a much higher skill level than the first page, I'm immediately hooked. I want to see the journey. And I want to see how far that journey goes, even past the point where the art "gets good". There's at least one comic that I can think of where once it hit the style that it wanted to, the art has stayed consistent for the past several years but so much so it's almost plateaued and become stagnant. It's still good art, by all means! But I want to see it grow and evolve more. 3) Good panel/speech layout: Okay it's not quite art in the same sense but someone else mentioned this above and I think it's important too? There are so many comics I can think of that I couldn't read or I dropped off at a point because reading was a chore, either because of giant or unsightly speech bubbles, tiny or ill-fitting font, a combination of the two, etc. Sure, graphic design and layout is a skillset completely different from pure illustration, but it's one worth knowing because otherwise you could do a disservice to your art and your story.

Cronaj (Whispers of the Past)

@meek Seriously, the text is so important to me, and I consider it a large part of page layout and design

meek

Agreed!! It's something that bothers me with printed comics all the time. I've tried to read so many "classic" graphic novels and I just.. I can't get past the giant text boxes with small font with miniscule kerning and ESPECIALLY if they then add color to it. Please, keep in mind your readers with reading difficulties But to turn this into a positive One of my favorite things that also helps make a comic feel more personal is when the creator turns their handwriting into a font or otherwise have FUN with the speech bubbles

Cronaj (Whispers of the Past)

YES. As someone with bad eyesight, typography is one of my favorite aspects of finishing a comic page.

Deo101 [Millennium]

It also is super important for me with ADHD, reading is hard enough as is! so bubble layout and clarity can really bring the whole thing together and elevate a comic

Eightfish (Puppeteer)

I tried that but got the feedback that my text is hard to read and the way i format my speech bubbles is distracting (: But some people have said they really like it so ¯\_(ツ)_/¯ Though I do think I could have done better with the font. I have good eyesight and bad handwriting do I think i have a much easier time reading weird text than many. Since you guys care so much about text, would you mind taking a quick glance at my comic and telling me how readable it is? It'd be nice getting feedback from random people as opposed to only my readers who felt strongly enough to leave a comment unprompted

meek

Oh man I have this specific panel in mind from some early 2006 Avengers comic of like.. what not to do Basically it was a bright yellow text box with this white/light blue font. It was just. It was a nightmare to read Oh sure!! Definitely send me a link

Cronaj (Whispers of the Past)

Yep! Send me a link too! I'd love to help you out

I also have a good typography book to recommend if you're interested. I can drop it into #art_resources(edited)

Eightfish (Puppeteer)

Here is link: https://www.webtoons.comen/challenge/puppeteer/list?title_no=290620

Thanks for taking the time to give me critique!

Cronaj (Whispers of the Past)

The link's not working, but I can probably find it on Webtoon

Eightfish (Puppeteer)

And I think i dould find a typography book interesting, so yes please do send the link

Sorry, i think the link is missing a slash

Did we both delete the link

Deo101 [Millennium]

did we both delete a

yah

i got it

Eightfish (Puppeteer)

Lol

Deo101 [Millennium]

https://www.webtoons.com/en/challenge/puppeteer/list?title_no=290620

Eightfish (Puppeteer)

Thanks

Cronaj (Whispers of the Past)

I found it

(The font is a bit small on mobile, but the font is fine?)

Eightfish (Puppeteer)

Wait can we move to shop talk?

FeatherNotes(Krispy)

(maybe we can have this discussion on shop talk channel? )

Cronaj (Whispers of the Past)

Sure

FeatherNotes(Krispy)

OH LOL

DanitheCarutor

@Capitania do Azar Oh god, they so are! I envy anyone who enjoys that craft, I'm a lot better than I was, but lettering is still so hard. ;v; At least the fancy stuff is hard, regular speechbubble lettering is easy as long as my hand cooperates.

Cronaj (Whispers of the Past)

There's a book I had to read for a web design course I took, and it is seriously a life saver

It put text in a whole new perspective

DanitheCarutor

I do all my lettering traditionally, but maybe that book would be helpful, I legit hate doing it no matter what medium I use. (sorry for continuing to derail the channel.)

Capitania do Azar

@DanitheCarutor i used a website that converts handwriting to fonts + font forge for tweaks to get personalised fonts

DanitheCarutor

I used to type bubbles out, and I've thought about it for my current comic but I mix up words and letters really bad, and I forget to add words entirely while typing. It wouldn't be so bad if my brain saw the mistakes while rereading everything, although sometimes it takes a couple days or another set of eyes for me to actually see them. When I write the bubbles in with a pen I make a lot less mistakes since it takes more effort to write out each letter, also my brain can keep better track of the ones I do make. I feel like that's an excuse that makes no sense.

Deo101 [Millennium]

no it totally makes sense

snuffysam (Super Galaxy Knights)

I can't say I'm ever especially drawn in by art? Besides the sense of "it looks like a lighthearted action story and I like lighthearted action stories", not much catches my eye. Though, I will drop a comic if I'm put off by the art. Like I can forgive if some things look janky at the start of the comic, but if that jankiness doesn't improve over time, I'll drop the comic. I'll also drop the comic if the character designs are bad (i.e. indistinguishable from each other, or in rare cases just too gross to look at). But again, I can't exactly say "good character designs draw me into the comic" because a lot of comic banners/thumbnails don't really show off full character designs.

chalcara

Varied bodytypes are catnip for me. And I like comics with expressive characters over comics that limit expressiveness to keep the characters pretty.

Eightfish (Puppeteer)

Oh, definitely agree with that second part. Comics where it looks like everyone has had a ton of Botox is a huge pet peeve of mine

Like, eyebrows are not the only part of the face that can move.

Do more

renieplayerone

Yeah i agree with the janky art thought. I think it helps me follow through the jank if i see that the later pages, the artist has shown growth, and i dont want to force anyone into a "gotta redraw it" loop if thats not something they want (of course everyone has their reasons and theyre also valid af) Ill tend to be more forgiving about the jank if i know its someones first webcomic or first comic in general, because you cant learn how to make comics without actually sitting down and making the dang thing. So yeah, the jank can be a double edged sword(edited)

What super draws me in is comics with a great sense of color. While i love anything vibrant, if the softer watercolors are done well, they're chefs kiss. Prime example of that is Stand Still Stay Silent

mariah (rainy day dreams)

I've been thinking about this question all week and I think I finally boiled my answer down to something short, sweet, and to the point. It's gotta be some kind of spooky and some kind of cute I have a pretty broad range of art styles I like and I definitely also read stuff that doesn't fall under those categories, but I think my favorite stories or artists are some blend of those two things. I don't really have a preference between color and greyscale. Like I definitely love a good color feast comic, but if you know how to use your grey tones or even just black and white well it's just as good for me. Maybe that's also just me trying to justify being mostly a greyscale artist to myself TuT

FeatherNotes(Krispy)

@mariah (rainy day dreams) devils candy would def be up your alley then!

mariah (rainy day dreams)

Devil's candy v good

renieplayerone

Devils Candy is amazing

mariah (rainy day dreams)

I love to combination of cute monsters and action also.

DanitheCarutor

@renieplayerone I'm not sure if it fits totally with your preference, but if you're looking for watercolor Lost Honey is gorgeous! https://www.losthoney.com/

mariah (rainy day dreams)

Lost Honey is another great comic great to look at, really interesting world

DanitheCarutor

It's one of my faves! ;v; There is another comic that was half watercolor half digital that I used to love reading (if I remember right pages set in the current time were digital, and backstory stuff was in watercolor.), but it has been discontinued for years now. It was called Toilet Genie/D00R, a comic about a genie who was locked in a public toilet and was awakened by a pug that got thrown out by her owners. It was so pretty, with such an interesting style!

mariah (rainy day dreams)

Oh wow I haven't thought about that comic in 5 years! X'D I didn't read much of it, because I don't think there was much of it available at the time, but yeah, that one was also very pretty (edited)

renieplayerone

Oh those colors are really pretty!!

DanitheCarutor

Right? Lost Honey is total eye candy. @mariah (rainy day dreams) Yeah, it's sad the creator never got to finish it. I think about it every so often since it's one of the extremely rare (semi)watercolor webcomics out there.

Also I'm extra attached to traditional mediums since I work in a traditional medium myself.

mariah (rainy day dreams)

Same. Got that ink wash/watercolor bias.

Eilidh (Lady Changeling)

My current comic is marker shaded but I so want to do something with ink wash after this one...

DanitheCarutor

Yeah, right now I'm working with color pencils since they're cheap but I want to give gouache or acrylic a try for my next project, depending on which story I do.

Kabocha

Hm, the question is... a lil' challenging to answer. I think in a lot of cases, the art isn't necessarily what gets me, but when it does -- Sometimes it's when someone uses a resource I like/made and I can go "OOOH! I know that thing you used!" Screentones are another one that gets my attention pretty quick. Sparkles... And probably effective spot color use. As much as I enjoy many full color webcomics, there are many that get tiring to try to read for one reason or another (usually it's either a font or a saturation issue - too many similarly saturated colors near one another gets tiring to read). Also, soft coloring. Oooh, just... when the art feels like it ought to be printed on those soft-touch covers... Yeah, that gets my attention. ...and watercolor/inkwash, too. ... okay that's a lot of things that grab my attention, but tl;dr: oh hey look at all that cool stuff that people can do!

mariah (rainy day dreams)

That was part of what was so hard for me thinking about this question cuz really, a lot of things get my attention X') and the more I thought about it the more I was like "I like when a comic is like X, but oh also Y is great and I do really enjoy Z as well!" I just ... like so many things. But I think that's better than being really picky. I've meet some folks that are super picky about art and basically only like one style and I'm just like... you're missing out on so many amazing things!

Kabocha

Right? And heck, even in some comics where the style would normally be unappealing (to me), there's just something about the art and the aesthetic that clicks to make it all work together for that project.(edited)

I do think, though, that there's always going to be a special place in my heart for greyscale or screentoned comics. There's just something about art that knows how to effectively make use of shading and contrast to make their work... well, work for me.

kayotics

Art is probably the first thing that draws me in to read a comic. The top, top tier thing that gets me to pay attention to a comic is really strong inks. I love inking, and unusual inking styles. To those who know me, that's probably incredibly unsurprising. I also love really angular styles. Some other stuff I gravitate towards: cartoony styles, expressive faces, and kind of ugly characters. I enjoy seeing characters that might be described as plain or are drawn in a bit of an ugly way. The last thing that draws me in? Hands. If an art style pays attention to hands, then I'm all for it.

mariah (rainy day dreams)

Does a comic have characters with big, crooked, toothy grins? I'm down for the count X'D https://media.tenor.com/images/618576ebcc4f6d2a12438624be77c54f/tenor.gif

varethane

oh hey, did someone mention webcomics done in ink wash/marker?

Chirault was that!

1367 pages of..... ink with greyscale marker..........

FeatherNotes(Krispy)

honestly blows me away that you toned it traditionally like, all of GJS is inked trad, but to ink AND tone in marker is just.....damn

sssfrs (JOE IS DEAD)

I love ugly characters

RebelVampire

When it comes to art, I'd say there are about four factors that will draw me in. First, readability. Can I visually follow wtf is going on in the comic? I have no interest in the visuals if I can't understand what action characters are taking. So the first point is always for if that is true. Second, character distinguishability. Can I tell one character from another? I am notoriously bad even in real life at being able to tell people apart, so when reading for fun, it's super important to me that I don't have to put a lot of effort into telling characters apart (exceptions for identical twins, of course). Third, personal appeal. Do I think the art is pretty or cute? Like, obviously this is subjective so I can't really put into words why I'd find one style appealing and the other not. But ya know, I like stuff I think is pretty to look at. Fourth, backgrounds. If a creator puts a lot of effort into their background scenery, I'm very sold on it. I love beautiful backgrounds, and the effort put into them give me an overall better impression of the comic as a whole. Since it takes some real passion to take care with backgrounds. All this being said, I'm not much of a stickler for art. If a comic is well-written enough, they can fail all these points and I'll still read it. This is just a list of what aspects have to be in the art for it to draw me in.

Eightfish (Puppeteer)

My points are pretty much the same as Rebel's, with the addition of a few things: I adore comics with dramatic facial expressions and consistently excellent anatomy. Also, if the art style is unique? If I feel like I've never seen someone draw that way before? That's ++. So good. I've read comics where I thought the art was good but the story was mediocre, but I've never read a comic where the art met all my points (and Rebel's), where it made me go, "holy fuck," audibly, and then had the story disappoint. Comics where the art made me go "holy fuck" audibly: Excecutioner's Academy: The art is so pointy and colorful and detailed and weird. It's full of personality and life and so are the characters. Warning: hiatus comic ): https://tapas.io/series/Ex-Ac Ava's Demon: You guys know about Ava's Demon, right? With original music and animations ending every chapter, this might be the most effortful comic I've ever seen. https://www.avasdemon.com/pages.php#2611 Sfeer Theory: Everyone looks so different from each other, it's fantastic. Some characters are not conventionally beautiful, yet they're still so appealing. And backgrounds! And a thought-out and unique magic system! https://sfeertheory.com/comic/01-00/ Electric Bones: Backgrounds! Banter! http://electricbonescomic.com/index.php/comic/page-001/ I also loved Prague Race, but unfortunately it was cancelled ):

If anyone else has recommendations for comics with amazing art, I'd love to hear them!

Cap’n Lee (Flowerlark Studios)

For me, it just has to be an art style I like to attract my attention. I generally like realistic art, stylised art, or pretty much any style that hasn’t been done to death (like generic anime art; much as I love manga, I’m really tired of the over-saturation of bland and soulless anime-inspired art). Pretty much anything unique and well executed will grab my attention. I especially like greyscale and limited palettes.(edited)

And just to clarify, I do like anime-style art when it has expression and/or skill behind it; just not when it looks generic and manufactured. Overall, though, it’s the writing that’s ultimately the most important thing to me in a comic, so I’ll enjoy comics for their writing even if I’m not a fan of the art.

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