#without working enough on the base composition

[kiwifie]

Why are the others INNOCENT? I won’t forgive, won’t forgive

[dduane]

I have been trying to write fic (well, smut) set in a world where certain things are slightly different to serve the fic's plot.

However, each time I try I have run into a problem: my head insists I need to justify the changes - I need to know comprehensive details about how the world works so I can ensure everything is consistent and not too f'd up.

So I get bogged down, and don't write a word. What do?

In your position, I’d sit down and write myself a bible.

This is how I did my prep for Barbie: Fairytopia.* And how I’ve done it for various works of fic presently on AO3… and how I’m doing it right now for the new Sherlock Holmes and the Giant Rats of Sumatra III project. I was taught this art by my animation story editors at Hanna-Barbera, and it’s stood me in good stead. (Peter and I pulled down our first miniseries assignment from a company that told us “we gave great bible.” And that was true.) 😄

When I say “bible” I don’t necessarily mean something that thick! (Though some of mine have been pretty hefty, with one TV project’s bible running more than a hundred pages… because I knew I had skeptical and underinformed TV execs to convince about something historical.) For the kind of purpose we’re describing here, your prep bible could be quite short: maybe looking like a bullet-pointed “shopping list”, five or ten pages long. It can be just as long or short as it needs to be to cover all your salient points.

The idea is simply to put down, in concrete form, a list of the main “different things” you need to know and remember about your alternate universe when you’re working in it. This is where you do your justification work, in as much or as little detail as you need to convince yourself you’ve got the necessary bases covered. The virtual “stage manager” who sits at the back of the theater of the Writing Department in your mind, judging when things are right, will be your guide here, and will advise you as to when you’ve got enough and it’s time to stop. And once this stuff is down on the page, you’ll be a position to judge critically whether everything makes enough sense to work with, and slots together correctly.

This is also a bit like (for the prose part of a project) outlining, in that it’s incredibly freeing. Once you’ve got this background nailed down, you know you can safely turn your attention away from it and get down to the serious business: drama, and the character interactions that express it. (And inevitably as you’re doing the bible writing, you start getting ideas for how the substrate you’re laying down is going to affect the conflicts between and among the characters. The bible stage can be incredibly fruitful this way.)

It would be facile to describe the bibling process as “getting the easy part over with first”. Because sometimes it’s not easy! But it’s worth doing first, because having done this first relieves you of the ongoing anxiety caused by knowing you may have to keep inventing or rationalizing stuff on the fly. (Which can produce the kind of micro-blocks that a writer can generally really do without.) …Not that you’re not going to be inventing things on the fly anyway: that’s a normal part of the writing process. But the biggest and most obvious issues will have been handled already, and you’ll know they have; which is always a weight off one’s mind. And the fewer of those weights you have loading you down, when you’re in the midst of the labor of composition, the better.

Anyway, give it a shot and see how it works for you. And then you can, like the rest of us smut writers, get on to the really pressing business: making sure you haven’t lost track of where all the characters’ arms and legs (and things) are when you’re writing those hot steamy sex scenes. 😏

Hope this helps!

*ETA: My remit on this job did include creating a bible for them. But I write a rough-draft one for myself first, including various meta that I needed but they didn't.

[marshmallowgoop]

My @heishinvalentineexchange2025 gift for the immensely kind and patient @caliowl333, who graciously allowed me to participate with a video instead of fic or art! (And wrote me a 20,000+-word piece in exchange?! Oh my goodness!)

Song is the SadBois & NIO Remix of "Other Side" by ILLENIUM, featuring Vera Blue, which you can listen to in full here. Ramblings under the cut!

When I first began seriously video editing, I didn't think much about composition or how well clips flowed together—lyric sync was arguably my main goal, and anime pieces were thrown onto the timeline pretty much purely based on that.

Now, I put much more care into the very visual elements—the effects, the match cuts, the dazzle. But in the process, I fear that I'm losing what audiences found engaging about my early videos: the actual ideas.

So, for this AMV, I aimed to put the most effort into a strong concept. The titular "other side" is a world without the Black Organization, where Shinichi can freely be himself. Heiji is waiting for that world, where he no longer has to lie and pat Conan's head and pretend that they're not peers, and Shinichi is dreaming of that world because he's always dreamed of working with somebody just like him. The thought of meeting Heiji someday, when he first learns of his existence (Episode 490), fills Shinichi with excitement. He does a lot on his own, but he also loves working on a team—and doing so, being with people, sharing his enthusiasm with others—is what he wants more than anything.

(Heck, there's even a piece of official art called "Conan's Dream Vacation" where he dreams of playing beach volleyball with Heiji and Ran and Kazuha—as himself.)

Sure, you could argue that Shinichi simply enjoys working with Heiji as Conan because Heiji treats him as he truly is. But the times he spends as Shinichi with Heiji point to the fact that no, he just really likes deducting with Heiji. Eagerness, big smiles—in "The Scarlet School Trip" (Episodes 927-928), involving Heiji in the case of the day takes precedence over solving it himself, as he immediately shares what he knows and even jostles Heiji awake when he learns more, before doing anything else, because there's no way he's going to solve it alone. He doesn't want to.

But as things are, being Shinichi is pain. He takes an antidote, but it's poison. Being Conan is what's become "normal" and "comfortable," but Conan can't be what Shinichi is to Heiji. Conan isn't strong enough to catch Heiji when he's falling. Conan can't save him from bullets. Conan can't even talk to him naturally without hiding and secrets. His dreams have become nightmares.

And it can't be easy for Heiji, either. To see someone you care about suffering. To know that Shinichi is in a dangerous situation—and involving himself in it applies that same danger to himself. It'd make sense for Heiji to walk away and wash his hands of it... but Shinichi really wants him to stay. Despite everything, he wants Heiji to stay. For that someday when they can be true partners "on the other side."

I tried to say other things in here, too. Shinichi cementing himself as a precious person to Heiji by countering his insecurities with a one truth prevails and this isn't a competition and you don't have to prove yourself to me. Heiji finding Shinichi even after becoming Conan because he'll always find Shinichi, no matter what, because he's dreaming of being "on the other side," too (even if he didn't know it initially). Shinichi pushing Heiji away with coldness because maybe it's selfish to want him to stay, maybe it's cruelty to involve him, but he can't deny that he cares, that he wants Heiji with him, that he doesn't want to do this on his own.

And while I maybe still went a little ham on the effects, I do hope my ideas are the strongest of all! "No effects" versus effects comparison can be found here!

Thank you again for all your hard work organizing this event, Cali!!

[blueskittlesart]

Can I have your directors insight on your Mipha comic? :0 I'd love to know why you chose certain imagery like the hand holding and head kisses and wounds.........I'm going insane over it ��� 🫶 Ive been a fan of your art for a while now and mipha's my favourite so Im so obsessed with this comic haha

YESSSS 😁 so as previously mentioned ive been attempting to write a mipha comic for a little over a year now, and most of the time what stopped me was the fact that there's SO MUCH about her that I found interesting and wanted to cover. the process for this comic was a little bit different than my usual one in that I actually started with the last few lines "i thought maybe if i loved hard enough, i could stop time / I could freeze you in place as i knew you once / the little boy whose skinned knees were so easy to heal / what a childish thought" and built the script out from there, which thankfully gave me a clear direction to focus on, i.e. wounds/healing and aging. the script also went through a few revisions (the first version was much more heavily based around the word 'pain' which eventually became 'wound' in almost every instance because I thought the imagery of a wound was easier to tie to the other concepts i was working with than a less concrete concept like pain.)

One of the major differences in structure between this comic and my sort of. standard i guess? is the aspect ratio--when i started drafting in my usual portrait orientation, I realized that a lot of the panel compositions and imagery I had in my head were very vertical, which meant I wasn't getting the level of gutter space I felt I needed for my text to have the right impact, which is why the final comic ended up in a landscape orientation! truthfully i'd also been getting kind of bored with my standard ratio--i'm doing a (VERY LONG) graphic novel in that same ratio for my senior thesis right now, and at a certain point the standard panel layouts that look good and flow well with a page shape like that kind of start to bore you. When I changed the orientation of the page all of a sudden everything clicked and the project started being exciting again!

As for the imagery itself, I usually have SOME idea of the imagery i want to use as i'm writing, and with this one the things I knew for certain had to be present were the use of red for both mipha's body and link's blood. you mentioned the wounds--honestly, the heavy focus on wounds and blood was in large part due to color. Mipha's character design happens to be this really striking red, and she also happens to be a character whose story deals very heavily with wounds and blood by virtue of being a healer, so the idea of using the same singular spot color for both her body and the wounds she was healing, inextricably tying up her presence in link's life with the presence of pain, was SUUUUPER compelling to me. (I do also just. really like drawing wounds. which sounds insane but it's true)

the hand-holding and head kisses truthfully weren't something I thought really hard about beyond like, something that was standard to me as a display of affection between children. One of the most important layers to link and mipha's relationship imo is their relative ages and the way in which that changes overtime. When they meet for the first time, they are both fairly young children. Their relationship at that point is what most childhood relationships are: uncomplicated. easy. they fit together without a second thought. Mipha is slightly older than him, but they're in similar enough phases of their lives that it doesn't really matter; they are able to relate to each other intrinsically in that way. I kind of thought about the gestures of affection common in children who are just starting to understand the concept of romantic attraction--hand-holding, maybe the occasional kiss on the hand or forehead, but never anything more intimate. That way, when they grow up, there's an extra layer of longing on top of it all. Now they're both older, but link has matured much more significantly than mipha in their time apart. Mipha still remembers him as the little boy she knew, and that's reflected in the way she treats him. She'll hold his hands and kiss his forehead, but she's completely unable to go any further. their relationship is so fundamentally juvenile that the only way she can picture his body, let alone touch him, is when it's a job for her to do, when there's a wound there that needs healing. She's younger than him, now, so young that her schoolgirl crush seems monumentally silly and immature in comparison to his adult problems, and the only time she ever comes anywhere close to adult intimacy with him is when there are striking, unavoidable reminders of the weight he has to carry literally carved into his body.

[thydungeongal]

Hi! Yours and @vixensdungeon's posting about how it is cool to take a bunch of your stupid little guys, and throw them in a stupid big dungeon, and then roll on some big stupid tables, shake it all, and see if they live and what kind of treasure they can pull out without much regard for "narrative arcs" or whatever has today inspired me to grab an OSR-style rulebook at my local store. (Black Powder and Brimstone, if you're curious, apparently it's very hot off the presses).

Now, your posting was enough of an inspiration for me to get the general vibe, but to my ass that hasn't actually fun anything more lightweight than Blades in the Dark, can you give some practical tips on how to run this sort of game/system that's more focused on emergent play than complex rules toys and GM curation?

So, this is just a grab-bag of advice about running games in this style:

As you have identified, these games have fewer rules toys for players to interact with. Black Powder and Brimstone is apparently based on the rules of Mörk Borg so if I remember my Mörk Borg correctly what it does give you is a very broad framework of handling things that carry risk. These games tend to have fewer rules in the style of "if a character rolls this number they get to do a cool thing," and more often in the style of "if a character does this thing they have to roll or bad things happen." Ability checks and saves and so on are more often tools for managing risk: because characters can't reliably push the buttons on their character sheet to avoid danger, you might want to communicate to your players openly that avoiding danger more often boils down to a question of choice. As Mausritter puts it, "the dice are your enemy, a good plan doesn't require dice."

That said, you as a GM want to allow your players to make informed choices. Many newer OSR/NSR adventures are really good a this, adding sights and sounds and smells coming in from other directions to their room descriptions so that player characters have some idea of what to expect and can thus make informed decisions.

A forgotten part of the tradition of D&D and its old-school editions are player roles, and while I am personally very bad at enforcing these roles, they can make your job as a GM so much easier. You as a GM are already bringing the game, and while OSR/NSR games are often on the simpler side to GM you absolutely should divvy up some of the work between your players. The most common player roles are caller and mapper, the caller being the player who communicates what the party is doing to you (this reduces the mental overhead of having to take input from multiple people while keeping everything together) and the mapper being the player who draws the map (the latter may be unnecessary if you have an easy way to share maps with your players, but as @vixensdungeon will tell you, even if you can share maps there is a joy to be found in players accidentally drawing a shitty map and getting fucked because of it).

Prewritten modules are your friend. While it is absolutely fun to design your own dungeons and I heartily recommend trying it at some point, there is something to a module that has been written by someone who has no way of knowing your party composition and what tools they can bring to an adventure, and then seeing the party try to navigate that adventure. Also, they are a fantastic prep-saving tool.

[c1qfxugcgy0]

adventures in QA

(previous post in this series)

My shop in Advanced Midbody - Carbon Wing (AMCW) at Large Aircraft Manufacturer (LAM) is at the very end of the composite fabrication building. Hundreds of people carefully lay up a hundred foot long slab of carbon fiber, cure it, paint it, and then we totally fuck it up with out of spec holes, scrapes, primer damage, etc. The people who write up our many defects are from the Quality Assurance (QA) department.

Every single screw and rivet on a LAM aircraft can be traced back to the mechanic who installed it. Back when even everything was done in pen and pencil, it was joked that the paper used to produce an aircraft outweighed the plane itself. Now that everything is computer-based, of course, the amount of paperwork is free to grow without limit.

(Haunting the factory is endless media coverage of an emergency exit door plug popping out of an Advanced Smallbody - Upengine (ASU) plane during a routine flight a few months ago. Unlike that airframe's notorious problems with MCAS, this was a straightforward paperwork screwup by a line worker: the bolts were supposed to be tightened, and they weren't.

As a result the higher ups have visited hideous tribulations on non-salaried workers. Endless webinars, structured trainings. Here at the Widebody plant we have received a steady flow of refugees from the Narrowbody factory, hair-raising tales of receiving one hundred percent supervision from the moment they clock in to the second they clock out from FAA inspectors who can recommend actual jail time for any lapse in judgement.)

A single hydraulic bracket Installation Plan (IP) is around four brackets. The team leads generally assign two bracket IPs per mechanic, since each bracket set is something like a foot apart, and while working on the plane is bad enough it's much worse to have another mechanic in your lap.

Let me list the order of operations:

One: Find where you're supposed to install these brackets. This is harder than you might think.

Firstly, it's a hundred foot long plank of carbon fiber composite, with longitudinal stringers bonded to it to add stiffness. The stringers are pilot drilled in the trim and drill center, a truly Brobdingnagian CNC mill that trims off the composite flash at the edges and locates and drills part holes for us. But there's a lot of holes, so you must carefully find your set.

A minor difficulty is that the engineering drawings are laid out with the leading edge pointing up, while the wing panels in our cells hang from the trailing edge. Not so bad, you just rotate the paper 180 when orienteering, then rotate it back up to read the printed labels.

A major difficulty is that the drawings are from the perspective from the outside of the panel. But we work on the inside of the wing (obviously, that's where all the parts are installed) so we also flip the drawings and squint through the back of the paper, to make things line up.

Large Aircraft Manufacturer has a market cap of US$110 billion, and we're walking around the wing jig with sheets of paper rotated 180 and flipped turnways trying to find where to put brackets.

Oh well, we're paid by the hour.

Two: Match drill the aluminum brackets to the carbon fiber composite stringer. I can devote an entire post to the subtleties of drilling carbon fiber, but I can already tell that this post is going to be a miserable slog, so I will merrily skip over this step.

Three: Vacuum up all the carbon dust and aluminum swarf created during this process. This step is not optional, as your team lead will remind you, his screaming mouth clouding your safety glasses with spittle at a distance of four inches. LAM is very serious about FOD. Every jet airliner you've ever ridden in is a wet wing design-- each interstitial space is filled with Jet A. There is no fuel bladder or liner-- the fuel washes right over plane structure and wing hardware. Any dirt we leave behind will merrily float into the fuel and be sucked right into the engines, where it can cause millions in damage. No place for metal shavings!

If you are nervous about flying, avoid considering that all the hydraulic lines and engine control cables dip into a lake of a kerosene on their way from the flight deck to the important machines they command. Especially do not consider that we're paid about as much per hour as a McDonalds fry cook to install flight-critical aviation components.

Four: Neatly lay out your brackets on your cart, fight for a position at a Shared Production Workstation (SPW) (of which we have a total of four (4) for a crew of thirty (30) mechanics) and mark your IP for QA inspection as Ready To Apply Seal.

Four: Twiddle your thumbs. Similarly, we have three QA people for thirty mechanics. This is not enough QA people, as I will make enormously clear in the following steps.

Five: Continue waiting. Remember, you must not do anything until a QA person shows up and checks the box. Skipping a QA step is a “process failure” and a disciplinary offense. From the outside, you can observe the numerous QA whistleblowers and say “golly, why would a mechanic ever cut a corner and ignore QA?” Well...

Six: QA shows up. Theoretically, they could choose to pick up the mahrmax you prepared for them and gauge every single hole you've drilled. But since we're three hours into the shift and they're already twenty jobs behind, they just flick their flashlight across the panel and say “looks good" and then sprint away. Can't imagine why our planes keep falling out of the sky.

Seven: Apply the seal to the bracket. P/S 890 is a thick dark gray goop that adheres well to aluminum, carbon fiber, fabric, hair and skin. Once cured, it is completely immune to any chemical attack short of piranha solution, so if you get any on yourself you had better notice quick, otherwise it'll be with you as long as the layer of epidermis it's bonded to. LAM employees who work with fuel tank sealant very quickly get out of the habit of running their hands through their hair.

Eight: Now you wait again. Ha ha, you dumb asshole, you thought you were done with QA? No no, now you put up the job for QA inspection of how well you put the seal on the bracket. Twiddle your thumbs, but now with some urgency. The minute you took the bottle of seal out of the freezer, you started the clock on its "squeeze-out life." For this type of seal, on this job, it's 120 minutes. If QA doesn't get to you before that time expires, you remove your ticket, wipe off the seal, take another bottle out the freezer, and apply a fresh layer.

Nine: Optimistically, QA shows up in time and signs off on the seal. Well, you're 100 minutes into your 120 minute timer. Quickly, you slap the brackets onto the stringer, air hammer the sleeve bolts into position, thread nuts onto the bolts, then torque them down. Shove through the crowd and mark your IP "ready to inspect squeeze out"

Ten: Let out a long breath and relax. All the time sensitive parts are over. The criteria here is "visible and continuous" squeeze out all along the perimeter of the bracket and the fasteners. It is hard to screw this up, just glop on a wild excess of seal before installing it. If you do fail squeezeout, though, the only remedy is to take everything off, throw away the single-use distorted thread locknuts, clean everything up and try again tomorrow.

Eleven: QA approved squeeze out? Break's over, now we're in a hurry again. By now there's probably only an hour or two left in the shift, and your job now is to clean off all that squeeze out. Here's where you curse your past self for glopping on too much seal. You want to get it off ASAP because if you leave it alone or if it's too late in the shift and your manager does feel like approving overtime it'll cure to a rock hard condition overnight and you'll go through hell chipping it off the next day. You'll go through a hundred or so qtips soaked in MPK cleaning up the bracket and every surface of the panel within three feet.

Twelve: Put it up for final inspection. Put away all your tools. (The large communal toolboxes are lined with kaizen foam precisely cut out to hold each individual tool, which makes it obvious if any tool is missing. When you take a tool out, you stick a tool chit with your name and LAMID printed on it in its place. Lose a tool? Stick your head between your legs and kiss your ass goodbye, pal, because the default assumption is that a lost screwdriver is lurking in a hollow "hat" stringer, waiting to float out and damage some critical component years after the airplane is delivered.)

One tool you'll leave on your cart, however, is the pin protrusion gage. There is a minimum amount of thread that must poke outside of the permanent straight shank fastener's (Hi-Lok) nut, to indicate that the nut is fully engaged. That makes sense. But there's also a maximum protrusion. Why?

Well, it's an airplane. Ounces make pounds. An extra quarter inch of stickout across a thousand fasteners across a 30 year service life means tons of additional fuel burnt. So you can't use a fastener that's too long, because it adds weight.

On aluminum parts, it's hard to mess up. But any given composite part is laid up from many layers of carbon fiber tape. The engineers seemed to have assumed that dimensional variation would be normally distributed. But, unfortunately, we buy miles of carbon fiber at a time, and the size only very gradually changes between lots. When entire batches are several microns oversize, and you're laying up parts from fifty plies and an inch thick, you can have considerable variation of thickness on any given structural component. So you had better hope you had test fit all of your fasteners ahead of time, or else you'll be real sorry!

And, if you're really lucky, QA will show up five minutes before end of shift, pronounce everything within tolerance, then fuck off.

And that's how it takes eight hours to install eight brackets.

[sonyshock]

Tip/advice for drawing fast?

Of course! Let's see:

Practice speed drawing studies until you have the kind of speed you are happy with! It'll help you synthesize shapes and train your hands to do them in as few strokes as possible. It will also help you understand anatomy (for example) well enough that you can simplify it on the spot.

Collect references in advance!!! As in, one day earlier at least, so you can start the day with a general idea of how the picture will look like and without tiring yourself looking for references. Choice fatigue is a thing and finding references will take a lot of it. I use PureRef to collect references for commissions and about any other thing i want to draw or I have ideas for:

Zoom out. In the beginning and at the end of every stage (coloring, render). It'll help you get the areas of the drawing that can be solved with one stroke solved in one stroke, instead of multiple because you chose a small brush.

Use a big brush for a start. It'll force you to not focus on details. Add details gradually with smaller brushes.

Start with rough shapes rather than bit by bit. If you are drawing a character's full body, you should have the general structure in 10 seconds (general structure can look like two balls and a box, depends on what helps you best)

Redraw instead of fix. If you are stuck, it's probably better to redraw a piece of your picture or even the whole thing.

Don't do lineart. Use the sketch and refine it instead. Of course, this might depend on your style, but keep the choice in mind.

If you are going to render, exclude as many 'flat details' as possible. Body patterns, seams, even wrinkles (occasionally) will make the render more complex, when you can add them over the rendered piece afterwards and take less time.

When you start to render, begin with the borders of the figure. It'll help with blocking and by the time it's finished, it'll help you judge just how much you DO want to render

It's generally not got to only draw one thing unless it's very much by choice, but if you draw something similar very often (let's say, a bodyshot looking 3/4) you will get faster at it. Acknowledge your strengths. Even when branching out, you might want to start by diverging just a bit from it rather than a composition you are not familiar with at all

You might want to start pictures in monochrome and with a big brush instead of using base colors. This might or might not help you work faster depending on if you like refining art.

Schedule your art. Specially commissions. Knowing WHAT you will be drawing every day will help you get in the mind space to get it done and in how long you should.

That's what comes to mind! I might have more I'll add later

[on-a-lucky-tide]

So many characters to pick from for the ask game. Go on then, tell us about Ghost?

favorite thing about them

His sense of humour. It's dark and dry. Absolutely spot on. He's so understated and quiet, and I just love that about him.

Also, his loyalty to Price. That co-dependent loyal attack dog and handler shit does it for me. Makes the hottest, most desperate smut, and some of the hardest hitting relationship dynamics.

I think Ghost balances on the precipice of self implosion, all his wounds are still open, but they're hidden deep, the proverbial blood being soaked up by that bally. The only thing standing between Ghost and the abyss is a shitty Mohawk, a tacky baseball cap, and a boonie hat holding them all together.

least favorite thing about them

Not really least favourite, but most challenging to portray. Ghost doesn't trust anyone. Not even Johnny or Price. I think deep down he is waiting for them to turn on him too, because it would be life's final laugh at his expense. It would be the end of him, it would tear him to pieces, and once his mag was empty, he'd reload and put the final shot in his own head. Just how quickly he starts shooting Shadows when they betray him, no hesitation. Savage.

In my view, the problem with being brought up in an environment where the people you love (and are meant to love you) are constantly hurting you is that you think the two are linked. It's part and parcel for Price and Johnny to eventually betray him because that's what love is. He's just trying to savour it a little without letting his guard down. It's a constant war in his head between his trauma and his desperate desire to trust and heal.

favorite line

"Be careful who you trust, Sergeant. People you know can hurt you the most." (Even you...)

brOTP

Ghost doesn't have friends (unless you count Johnny, but Ghost will tell you he has a puppy if you point that out). But Ghost and Graves are hilarious.

OTP

Ghost/Therapy (ha, no, it's Ghost/Price)

nOTP

Ghost/Roba

random headcanon

He has Football Manager on his phone and he's obsessed with it. He's part of the sweepstakes on base and the rookies love his involvement because he's the most human when discussing players, team stats and compositions. He supports Man City. Once, a rookie was brave enough to call him a Stockport and was never heard from again.

unpopular opinion

His moral compass is fucked. Absolutely, well and truly. He uses Price's on loan. Ghost knows he is, and sees himself as, a bad guy, but that's only partially his fault (he could do the work to heal after all). He is hugely fucking traumatised, and the Ministry of Defence gave him a gun.

song i associate with them

I have loads, actually.

favorite picture of them

A classic.

[leviathans-watching]

Do you have any random headcanons about any of the Obey me characters that no one's asked the right question for you to share / don't fit with any headcanon post you've made?

misc hcs of the brothers

includes: the brothers

wc: .7k | rated g | m.list | pt. 2

a/n: omg?? this was so fun to write i'm def going to have to do one of these for the dateables at some point. thanks for requesting!! my inbox is open to that, req, or leave feedback, so come say hi!

please reblog :))

➳ lucifer wears makeup. after someone (mammon, most likely) not-so-kindly pointed out the bags and dark circles under his eyes, lucifer went to asmo for help and learned the basics of concealing, which eventually grew into a whole bag of products he applies most mornings, unbeknownst to everyone but asmo. he does a light coverage foundation, concealer, pencils in and shapes his eyebrows, some light contour on his nose and jawline, and some hardly-noticeable eyeliner. his whole goal is for it to look as natural as possible and he’s gotten really, really skilled over the years.

➳ mammon not only knows how to sew, but makes many of his own clothes himself. nothing on the market was eclectic or unique enough for him so he took matters into his own hands and not has a closet full of custom-made and designed pieces. he doesn’t tend to show off his talent (for once) preferring to let others think they’re obscure designer clothes or made by difficult-to-book designers. every once in a while he can be convinced to make his brothers something, but not unless they agree to an exorbitant price.

➳ levi is an adobe girly. not only does he use almost all of their services, but he’s really really good at them too. mammon and asmo will have him photoshop pictures for him, lucifer will go to him for help with document creation, and even belphie had him teach him the basics of premiere pro. the reason he has such high-powered computers and machinery isn’t for gaming, as most assume, but so they can handle adobe optimally without lagging or overloading. additionally, upon hearing adobe flash was being retired, levi scalped the mechanics of it and created a knockoff that functions just as well, something he shares liberally at rad.

➳ satan has a prodigal-like talent for instruments, able to pick them up and teach himself how to play decently in very little time. he also has perfect pitch, can sightread excellently, and composes music in his free time. his favorite instruments to play are the violin, the piano, and the harp. though his not in any music-based classes (as those are all too basic for him of course) he offers help to students in the classes that are struggling with theory, composition, or playing. he’s also the reason the music wing is rumored to be haunted, as he often plays at weird hours.

➳ asmo is the most independently wealthy of all of his brothers, thanks to all of his economic ventures. not only does he model and act, but he also has shares in many major companies in all three realms that show large profits even if they aren’t super successful when he first invests. he works with barbatos to manage his money and has several bank accounts, and though he lives lavishly, is careful not to show the extent of his wealth, leading people to believe it’s family money he’s spending. although this was done, in part, intuitively, he’s also taken several finance and business classes over the years to help him learn and improve.

➳ beel really really enjoys all of the booktok books, and even discusses them at length with solomon and thirteen, when the two can be civil enough to speak to one another. his favorite genres is dark fantasy and belphie makes fun of beel to no end when he catches him reading. beel keeps his kindle on him at all times, and for his personal favorites, buys a hard copy and annotates it with sticky notes–the whole nine yards. for his birthday, satan gives him a book cover so that he doesn’t keep walking around with those embarrassing overs on display. beel doesn’t use it.

➳ belphie is notorious for stealing his brothers’ clothing. for some reason, he finds them more comfortable than his own and every few weeks the others force him to empty out his drawers and give them everything back. his personal favorites to steal are beel’s shirts and asmo’s sweats, but he’s not picky. he wears them to sleep, around the house, while running errands, and would wear them to rad were there not a uniform. at the beginning, it was out of laziness; him grabbing whatever was close. but over time he developed favorites, and, well, there was no going back from that.

leviathans-watching's work - please do not copy, repost, or claim as your own

[suns-pott]

???

How strange…

Malleus awoke one day, only to find that he was no longer at Night Raven College, or anywhere in Twisted Wonderland for that matter. He was almost completely intangible, unable to be seen by anyone or be able to interact with most objects, that is, until he realized he was tethered to you, a human that he’d never seen before. The only way he seemed to be able to interact with anything is if it pertained to you. One of your desktop objects almost fell while you were working? Well, Malleus ever so kindly caught it before it hit the ground. Unable to find the TV remote? Why, here it is, right on the table. You must have forgotten you left it there… He’s tried to talk to you several times, and while a part of him was happy that he could be this close to a human without seeing their fear, he still wanted to talk to them.

Over time, day after day, he grew fond of you, even if he was perplexed by certain things you did. How was it that you were able to control those devices with such ease? It almost reminded him of Lilia, how he was so quick to adapt to advancing technology and Malleus was unable to. And these books with all the pictures in them, they had the strangest composition, why is it that they had to be read backwards? Malleus would continue to observe you, witnessing some of your habits when others weren’t around, he was almost certain you would find his observations rather embarrassing, based off of what he knows about how humans seem to keep apart if themselves secret from the rest of the world, but he saw it all. He found it endearing, even going so far as to nickname you his ‘Beastie’. He had learned from the magicless human that a nickname was a sign of affection, and decided to give you one out of his affection for you. Even if you might never know who he truly is.

But that’s not to say that you’ve never noticed his presence in your home, such as that time you attempted to reach a ceramic dish off of a very high shelf, and Malleus, in his divine wisdom, simply grabbed it and placed it in your hands. To you, it looked as though the dish floated down on its own into your palms, in fact it scared you quite a bit, but that soon sparked into curiosity at the strange occurrence, suspecting a ghost or any other such apparition was at play. Unfortunately, since you were alone at the time, no one else seemed to believe you when you attempted to tell others about it, to which Malleus chuckled at your adorable antics. The most you two have interacted thus far was in an attempt to get the spirit in your home to play a board game with you, to which Malleus would have no reservations against. It was rather awkward on your part, it is rather difficult to play a game with someone when you can’t see or hear them. But Malleus was able to read the instructions well enough and was still able to move the pieces and such, even if you couldn’t see or hear him, he didn’t mind.

It is important to mention, that while Malleus is helpful to you, and only wants the best for you, he can be rather…selfish, at times. He didn’t like it much when you would decide to hang out with some of your friends, or even whenever another man would be in your presence. He didn’t hold back the sneer that seemed to form on his face, and the weather would notably take a sharp turn in the nearby area. It seemed like his magic was still intact thankfully enough. You’re lucky that there are no magic spell books that Malleus could use for his own purposes, in fact he’s been looking for a way that you two could finally meet properly. Oh, how he dreamed of being able to court you in the way he wanted, eventually taking you back to Briar Valley with him and ruling the land with you… He may be a biiit overzealous. Did he ever find out how he got here? Not in the slightest, but he was so pleased at whatever force brought him here anyways, otherwise he would have never met or become quite so enamored with you…

Don’t worry…

You two will be united soon…

After all, you’ve already met, Once Upon a Dream.

~-~-~-~-~-~-~-~-~-~-~-~-~-~-

This is probably the most random thing I’ve ever written loll I don’t even understand what I just wrote, this idea has been sitting in my notes app for quite a while, and for some reason I wrote down that the inspiration was the song Do You Even? By CK9C, like the fnaf song?? Look Idek, uh, enjoy this weird drabble that I don’t even have a name for ig

[sombra-conlangs]

Conlang year 2025 · Day 1 - 4

I decided to try out @quothalinguist's conlang year, it is basically a series of daily prompts that guide you through the process of creating a new language, by the end of the year you will end up with a conlang that is developed enough to participate in relays and lexember, you can find it on quothalinguist.com

It looks like conlang year is mostly geared towards creating languages that are naturalistic and evolved from a proto-language, and the concept I have for this is not going to really fit into that, you'll see why once I start describing it, but I don't imagine that'll be too much of an issue, it's still useful to have a guide for the different aspects of the language I should focus on. I'll try to adapt the prompts to work with my idea and I guess I'll skip the ones that I can't figure out how to adapt.

I'll be combining many prompts together into single posts for convenience, I'll tag these posts as both #Conlang year and #Conlang year 2025 so you can search those in my blog to see them all if you want (once I name the language I will also add it to the tags, but the language doesn't have a name yet).

If you want to see all of the information from these posts compiled into one place I will be adding all of the information about the conlang I create on my website: tekseni.bearblog.dev

Day 1: Set an intention for your language

(warning: this gets a bit heavy, but I try not to make it too dour)

I haven't been feeling great lately, I won't go into details, I'll just say that it can be difficult to manage your emotions when the world seems to be in such a terrible state, living through historical events is not easy.

“I wish it need not have happened in my time,” said Frodo. “So do I,” said Gandalf, “and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.”

I know there's some people who say you have to be constantly staying informed on every bit of news because if you don't you're a bad person, but that's not a sustainable way to live. It's important for us to keep ourselves sane, if you're going to help others through turbulent times you have to make sure you have your own feet on firm ground. I won't be of much help if I'm having a crisis, so taking care of my own mental health is important, and for many of us that can include a bit of escapism and using art as an outlet, using art as motivation to keep going and enjoy life despite the circumstances. This conlang is my escapism.

With all of that being said, here's my 2 main goals for this conlang:

1: I want this language to make me smile

I want to create something that helps me to find some beauty and hope in the world, I want the choices I make with the language to make me smile, and I want to be able to have fun while working on it, without having to worry too much about how naturalistic it is or anything like that, so ideally I'd also avoid comparing this to other conlangs.

If we compare this to visual art, I'd say this is less like trying to create an awesome painting with perfect perspective, colors and composition, and it's more like me doodling in a sketchbook that is meant primarily for me, but I also want to share it with others in case they find it to be at least mildly interesting or it helps inspire them in some way.

It's not like my other conlangs don't bring me joy, I guess what I'm trying to say is that this time I will try to design the language without worrying about things like naturalism or trying too hard to make my worldbuilding interesting or deep, it's just a canvas where I can throw paint and let myself go wild, trying out things I normally wouldn't, and making choices based on my personal preferences instead of what I think I "should" do, so I guess that makes this is a personal language.

2: This is going to be a surrealistic conlang

I have already decided who the speakers of my language will be, I'll elaborate more in the following prompts but I currently call them "dream angels" because they're basically benevolent beings that exist in the world of dreams, and because of this I want to try my hand at making a surrealistic conlang, @dedalvs wrote an essay on fiat lingua about what such a language might look like, and I keep coming back to it every now and then because I love the concept.

Even before that essay was posted I remember thinking of what conlangs might look like if they were inspired by different art movements, and a surrealistic one fits particularly well into the dream world idea, it will also allow me to fulfill my first goal fairly easily; making something that makes me smile without having to worry about naturalism and letting myself experiment. I've always been drawn to surrealism for one reason or another, not entirely sure why but I know this is something I'm excited to work on.

I'm not expecting this to be the best surrealistic conlang out there, but it doesn't have to be, it just has to be fun for me, and it will work as a learning experience regardless, so if I want to try again at some point I will have a better idea of how to approach it. I'm sure someone out there will make an amazing surrealistic conlang one day and I'll be excited to see it when it happens.

Day 2: Set an intention for sharing your language

Basically the main audience is me, I hope that future me will be able to look at all the different translations, grammar choices and vocabulary I made and feel like it's a fun language that still brings me some joy in some way or another, even if I don't keep working on it for much longer after the conlang year has ended at least I hope it was a positive experience.

I also want to share the language online (on this blog and on my conlang website) mostly because I'm hoping that at least one person is going to look at my conlang and feel inspired, or maybe it will make them smile too, so I'm going to try to describe all the features in a way that is understandable for other conlangers.

Day 3: Determine your speakers and conworld

The basic idea is that there is another plane of existence, one we can't see when we're awake, and the world where dreams exist is connected to this other realm, so when we dream we sometimes come into contact with the ethereal beings that speak this language, and they are kind and loving.

The dream angels usually don't interfere with human affairs too much, but they sometimes help us by making nightmares go away and soothing the people they see, at least while the people are asleep (since they can't interact with us outside of dreams).

They also shift the way they speak to be a bit more familiar to the person they're encountering, so I imagine the phonology of their language might shift a bit from its default form depending on what your native language is, the language would still be unintelligible to you but it would sound a bit like someone speaking your L1 in a weird way (which also means that it will be easier for you to pronounce the language if you are able to speak back at them because you will at least get to use sounds you already know how to pronounce, though you're welcome to pronounce it in its original form).

These beings are very surreal in their appearance, there's probably different types of dream angels but the ones I'll be working with are kind of like a mix of various sea creatures, drifting through space peacefully, building all sorts of things and admiring the nature that exists in their world.

I imagine their settlements are built on floating islands full of all sorts of critters and nature, and their world as a whole is probably a bit weird and doesn't always seem to follow logical rules, in keeping with the kind of things you see in dreams, so they might look a bit like something you'd see in an M.C. Escher artwork, where you're not exactly sure what you're looking at, but it has a certain beauty to it.

Day 4: Describe (or design) your speakers

And finally here's a picture I drew of a prototypical dream angel:

They might look a bit intimidating or scary to you, but I chose to take inspiration mostly from various sea creatures because they help to convey this kind of ethereal and weirdly beautiful aesthetic, when I look at jellyfish I often wonder how those are living beings that exist in our world, they look more like they're inanimate objects drifting in the water and yet they're alive, and they're so mesmerizing and fascinating, like a living nebula.

I imagine different dream angels would have different characteristics, but in general they're basically like some sort of jellyfish with 3 main tentacle-like appendages, many thin tendrils, 6 insect-like arms, 6 little wings (because it makes them look a bit more angelic lol) and they have one eye, but no human has ever seen their eyes because it is always covered by something, in this case it's a butterfly, but whatever is covering their eye it does not prevent them from seeing, this is the dream world after all.

I think there might be other types of dream angels, and they're all able to speak a human-like language because they don't need a mouth to speak, they just telepathically send sounds to other beings, so the speakers of my language will be characterized by being similar to sea creatures, perhaps there's other dream angels that are more similar to other types of animals, or inanimate objects, maybe some are just completely out there and don't even look like anything we're familiar with as humans. By the way if you feel inspired to design your own dream angels go ahead! I think it'd be nice if I was able to inspire creativity in others with my work.

I'm also choosing to use a human-pronounceable phonology because I enjoy pronouncing the words and sentences of my conlangs, but perhaps at some other point I will make a different register of the language that uses different noises as phonemes, maybe sounds of water and nature, or maybe something like one of those really peaceful synths, after all their phonology is not limited by their physiology or even things like logic.

But anyway that's it for now, I feel a bit vulnerable putting myself out there so much, this feels a bit more personal than my other conlangs I've shared, it's not like a regular fantasy worldbuilding project or a fanlang or an a posteriori language, this one is very out there and weird, but again I want to share it in case other people find it interesting, and hey, we need more examples of surrealistic conlangs, so I'm more than happy to contribute to that.

[dailyhatsune]

hi! not exactly a request but i do wanna ask, whats your process when you're rendering more paint like art? (if that makes sense, English isnt my first language so apologies hdskhsjdbd) i really love how you use the colors and im curious how you do it :0

i’ve been meaning to answer this one for a while so here’s how i painted miku in today’s post (put under the read more because yeah prepare for a long post

i’d also like to preface this by saying that i never follow a set way of doing things, so in terms of what my personal process is like, these are only broad strokes of what i do! sometimes i’ll combine or skip parts entirely, depending on how i feel. also, this is not a tutorial, just how i do things, so please don’t treat it like one :’D this will read like the ‘how to draw an owl’ picture if you do

first, like every artist, i sketch. more specifically, i’m getting an idea of what i want to paint later on. this could be how a scene is set up or in this case, how a character is posed. here i’m not concerned about details or getting everything perfectly, i’m only planning how the thing will be composed. maybe a lot of canvas size changing, or adjusting what miku’s doing (note how busted miku’s right hand looks from all the transforming!) however, i still have to be concerned with how clear the sketch will be to future me, because the sketch won’t be any good if i can’t read what miku’s doing

after that, i lay down a flat gray under the sketch, mainly focusing on giving miku a clear silhouette. this is also a good time to make adjustments to the composition on the fly if i suddenly feel like something can be improved upon, like shortening miku’s left arm from the sketch!

after painting a flat silhouette, i start shading in grayscale, focusing only on lighting. i usually do it in two passes, one for the lightest and darkest tones i’ll use (not black and white) and then a second for midtones to blend them better with the base gray but i forgot to screenshot the result of the first pass 🗿 nevertheless, here is where i can start adding some amount of details. i’m not including any extra accessories yet, just focusing on the base design of the outfit and the character herself (for anyone wanting to draw characters from That Gacha Game, this is how i personally make the process more bearable for myself.) i still use the dark gray to separate where certain details (like the facial features and fingers) begin and end, mainly to make colouring more bearable later.

now here’s where i get the Good Colours. it’s a cheat lol. i put a gradient map layer over the grayscale painting so that there’s a little bit of color to start. some gradient maps can be applied as is, some need the layer settings adjusted to make it look good. this one, for example, is a (free) gradient map set from the csp assets store that needs you to set the layer opacity to 20% and to set the blending mode to color to achieve this result. in general, i tend to pick which gradient map i want to use based on vibes, or basically whether i want the work to be warmer or cooler, colour-wise. but this does do quite a bit of lifting for the colors in my stuff.

and then, finally, i add the colours. i add flat base colours in an overlay layer. at this stage, i’ve made the character silhouette clear enough that i don’t need to refer to the sketch anymore for what miku looks like. also, the gradient map layer does its magic by making the shading a bit more vibrant than it would’ve been without it. after that i paint over with a new layer to add details like the lace.

and then i put some extra shading on top. basically this is where the ‘better lighting’ happens. again, this isn’t a tutorial, so i’m not here to say what each part of the lighting is, but i’ve labeled which layers do which job. in other works where the lighting within a scene is more defined (from a window, from a small crack in the walls, etc) the glow dodge layer may be more opaque and sharper, but since this isn’t a work with that, the lighting was applied using an airbrush. the linear burn layer is also there to make the whole thing darker so the glow dodge doesn’t end up oversaturating miku. i also usually match the lights to the vibe i want, and use a complementary color for the shadows. so here you can see i have warm colors on the glow dodge layer, but light purple on both the linear burn and multiply layer.

and that’s it for the character—here’s a gif showing how each layer adds to miku! (sorry it’s so toasty)

as for the background, depending on the complexity, it may go through a similar process, or if i can settle with flat image backgrounds, i just go for that. it’s ok to use external image materials. i didn’t have a background in mind for this miku in specific, so i got some default csp materials and threw together something

and that’s about a rough overview of what my process for more finished works looks like! again, art is a fluid process so i never specifically stick to certain steps all the time, and you shouldn’t either. i can probably answer why i’d pick this colour over another in one particular work, but it’s something that kinda has to be learned on a grander scale. i think everyone can already feel what colors work with what atmosphere or what setting, even if they can’t immediately explain why. colors and composition do take some level of experimentation to find what works best!

[fagboyfriend]

i rlly like ur composition, i wanna know about your process :D

thank uuu !! yeah so like. composing a scene for me generally begins with a vague idea that i want to get down as quickly as possible- and for me that usually starts with finding a setting. I knew that i wanted to draw a) a group of roomates gossiping in a crowded kitchen and i wanted there to be b) one figure in the extreme foreground and c) lots of plants. i do use some tools to figure out perspective, mainly the csp perspective ruler. Usually i start by finding a picture i like similar to the vibe im going for- but instead of referencing anything else- im purely interested in perspective. sorry to anyone who is shocked i dont generate all of my perspective purely by myself- i can draw in perspective fairly well but i struggle to make straight lines and this is easier to make grids with than the line tool lol ^_^ i try to use it kinda more like spellcheck on typos than like something to fully rely on. this is the video i learned this trick from:

i saw the left photo and realllly loved how the cabinets alligned with the wall- so i used my ruler tool to draw out my inital plotted points from the image- basically the linear movements i was most interested in and then i turned off the image layer and worked with those lines and the ruler tool to move on. eventually i had this:

which was enough for me to put my characters in for the inital round. if you notice- i made a looot of further adjustments as i go on. this sketch is not a final layout, its so my characters have somewhere to be! i cannot draw someone standing on a floor if theres no floor, nor leaning on a table that doesnt exist. i can’t draw my characters without a background, but i also cant finish my background without accounting for how my characters can comfortably exist in it!!

this was the like.. very basic start. i knew the positions of two characters- but i needed to change a lot not only to fit them better but to allow for the other two figures i had planned.

okay.. a little better. i widened the kitchen, closed the fridge door.. added a chair and fit in all the figures.. but this is waaay too dramatic. only two figures are actually interacting- and they are at wildly different energy levels!

this is where things started to make a little more sense characterwiss, so i was ready to refine backgrounds and figures and unite the two.

inital base sketch. much better layout.

okay- this is where im getting my footing but things seem.. really really off. You can see me working on my framing here- theres some good linear movement from left to right here- but not vertically. It’s hard to notice the figure in the far back, so i need to redirect the viewers eye to move upwards as well!

this is where i decided to zoom out, add an interesting vertical element to the left of the image and make it clearer whats happening in the foreground. i had to account for some stuff by adjusting the cropping, but i paid attention to that as well.

annnd- thats what a clean sketch looks for me! i have all the elements of my scene accounted for, and things are clean enough to read.

the next step for me would be transfer! essentially- I print the image of my sketch out, resizing and taping pages together so my sketch matches the size of the paper i want to paint on, and then i use a lightboard to transfer my sketch with pencil onto my paper. Then i refine the sketch a few times on paper before stretching my watercolor paper (essentially just prepping for painting) and inking with a brush and colored ink before going in with watercolor, gouache and ink, then usually finishing with marker, colored pencil, pastel and ink. it’s a lengthy process but a lot of fun lol. but sketches for me can be like.. 15 layers of different roughs until im happy with just the sketch. there were more images but im on mobile and theres a 10 image limit 😭😭 im a bit masochistic but i believe that if i dont have a good sketch i dont have a good painting!!

[transistor-rhythm-909]

The Dope One - I Dream of Depth (Despair Decibel: Avex vs. The Dope One)

DOWNLOAD / PURCHASE HERE

This initially started out purely as a "test" composition for Despair Decibel- my main "big" Splatoon related project- to help really zero in how I would want music for the project to sound, or at least one example of its soundscape, based on the reference material I've been compiling. As I worked on it though, I found it actually suited the confrontation between Avex and The Dope One- the project's main antagonist- that Rake Your Inside was the tail-end of. In an actual playable version of the campaign, that fight would take the form of a scripted boss battle- one that you cannot win. To that end, I aimed to give the track a particularly dangerous and harsh edge, something to sell the feeling of hopelessness that comes with facing off against someone so phenomenally powerful.

Which, to give the barest of context without spoiling too much, The Dope One very much is; he's a being that until the events of the story, was imprisoned at the bottom of the sea outside Inkopolis (roused from his slumber by the end of Octo Expansion) for 6000 years. His inprisonment was the result of his involvement in a global war between the various species, though he didn't fight for any particular side or cause- he fought and decimated entire armies seemingly for the pleasure of sowing as much discord as possible, and he did so primarily through the use of extremely advanced and intricate sound manipulation, both physically and mentally manipulating and destroying his opponents using the very concept of audio in any form it takes. His origins are shrouded in mystery; he's an evolved blue whale, but that species went completely extinct long before the rapid evolution of sea life following the end of humanity. There are, of course, answers to this, but again, spoilers in it. I can at least say the events of Despair Decibel chronicle his ongoing goal to, as he puts it, "spit in the face of existence, of living and being alive", the general chaos that ensues as a result, and the intersecting philosophical points of life and death, song and dance, conflict and peace, love and hate. Or something like that.

I'm fairly pleased with the track, especially given it was an off-the-cuff "test" song. Sort of; a couple of the samples/general arrangement ideas where ones I'd had for a little while, but hadn't fully committed to or finagled into something I liked until now. It is extremely external sample heavy- there are entire portions where there's like, maybe one or two of Music 2000's built in samples at most, and everything else is external, both from sample packs and from other sources. A lot of loops, too. There's also a couple of things I reused from other tracks I've done- again, a consequence of it initially starting out as a "test", but I like to think there's enough unique material here/clever manipulation of the sampled loops to keep it fresh. As with my other Splatoon related work, the music is diegetic- this would actually be playing during the fight "in-universe"- and is such credited to a character in the setting, in this case The Dope One himself.

I also wrote a little prelude story to go along with the track- effectively the "pre-fight" cutscene for the battle the song is for, were DD actually playable. I'll include that below.

***

“Three, do you copy?”

“Loud and clear, Two. What's occurring?”

“He's found the shelter.”

“Fuck.”

“We need to mount a counterattack. Return to ba-”

“There's no time for that, Two, and you know that. I'm going in.”

“You're alone out there, Three, you can't-”

“People will get HURT, Marie.”

“Gods damnit Three, I'm giving you a direct order-”

“Put some coffee on, Two. This won't take long.”

“No, you list-”

KRRSH

“Three?”

“Three?!”

“AVEX!!!”

-

The setting sun cast sickly rays of a hazy orange light between the rusty metal beams of the upturned tower buried in the sand, dimmed and refracted by the gale that whipped up sand. Though it was a small distance from the city proper, it was one of Splatsville's most iconic landmarks- even those who had never been to the Bankara prefecture had heard of it, or seen photos.

The Dope One's smile widened as he effortlessly strode through the storm, sliding down into a small, cracked marble ruin situated at the base of a dune. He had to admit, it was quite brilliant, making use of the buildings at the base as a shelter; hiding civilians in plain sight. He'd almost considered overlooking it, due to its standout nature as a clear landmark.

Or, perhaps his foes were simply too stupid to plan better. Inkfish were never the brightest of species'.

He chuckled to himself dryly, even as a shape descended into the opposite end of the dune.

“My my, how noble.” The Dope One sneered, tone dripping with sarcasm. “Meeting me all by your lonesome, Avex?”

“I don't need backup to deal with you, you smug prick.” the Inkling responded, frowning as he stopped through the sandy haze. His hand was resting around the grip of his heavily modified Flingza Roller, still strapped to his back.

The Dope One laughed uproariously. “Such tenacity! Such vigour! I do like prey that will put up a fight.”

Avex snarled, his beak bared. “Could've fooled me.”

“Your concern for the meek and the innocent is heartening, truly.” The Dope One's eyes narrowed, though the smile remained on his face. He held his hands out to his sides, as an array of mechanical parts began to flow out from underneath his jacket, forming into turntables with built in amplifiers. As they finished constructing themselves, he flicked his wrists, producing a pair of vinyls, placing one on each deck.

Avex pulled the roller out of its holder, flicking it 'open'. “I'm going to enjoy wiping that shit-eating grin off of your face.”

The Dope One laughed again, clutching his stomach with both hands.

Avex cocked an eyebrow. “Something funny?”

“I've heard tens of thousands of men utter something to that effect when opposing me, Avex. Warriors, Councillors, the common man, people of every stature and standing. They, and you, do all share something in common, however.”

Avex grit his beak. “And what would that be?”

The Dope One's eyes widened, his smile widening in malice as he spun both records, the sound of distorted guitar snippets and glitchy synthesizers filling the arena. “Failing to understand that I am the ultimate weapon of despair; a perfect being of discord and malice; the very enemy of life itself. Nothing with a beating heart can kill me.”

As the beat kicked in, Avex leapt forward with a roar.

[voidheartkisses]

Okay hello hi hello,

First off you're amazing and a gift to the world, I wish I had even half your talent. Your last piece blew my mind and I just HAD to ask,

How long have you been drawing/painting for? I imagine forever but I'm always curious how long it takes before artists reach these sorts of levels where it evolves into full-scale projects as opposed to smaller hobbyist crafts. There are so many beautiful art pieces on this platform as a whole and I'm constantly baffled by it all

Sorry if my excitement is off-putting that piece is heavenly and my mind is blown. Hope you're doing well!

Hi and thank you! That's a good question

So I've been drawing since I was born, but I've been drawing digitally for 8 years. I think in the very beginning most artists should just focus on having fun, you'll basically improve by default

after a while you will want to improve. It will be slow, but this is the stage where you'll recognize what you need work on

I'd say the turning point is when you've finally gotten far enough into your art journey without any sort of formal training (ie, a lot of artists dont learn the basics/fundamentals first, which is fine since most of us start as hobbyists) But I think learning them really did help me a lot. You start to think more about how light and shadow lays, depth, 3D objects, and more.

I highly recommend watching this video about levels of art, it's been really helpful and motivating to me throughout the years

This part is going to be long so you don't have to read it but I just wanna give my personal journey and how I got to now if anyone thinks it'll be helpful:

(2017) With digital art, I started off on ms paint and occasionally ibis paint x. Mostly using anime deviantart bases (EMBARRASSING), but after a while I developed my own style based on the people I was inspired by at the time, I was just happy to draw and didn't care much about improving at this time

(2019) The people you look up to artistically will naturally change over time (and thats okay), after a while I decided to switch to firealpaca, where I guess I got more invested on how light and shadows work, as well as making my characters look a bit more natural and develop my own style, your preference in aesthetic may also change over time which is noticeable here

(2021) Eventually, I began to lean more into semirealism (which isn't everyones preference and thats okay! realism shouldn't be the ultimate end goal of art) but I really enjoyed making stylized characters look 3D and in natural looking environments, since I felt it spoke to my own experiences, a lot of artists draw from real life experiences. I focused more on anatomy at this time as well as textures and environments, composition also became a big deal for me at this time, as well as wanting to use different colors

(2024) The change from LINEART to DIGITAL PAINTING in 2022 was the hardest for me once I switched to clip studio paint, it was basically like starting all over and I was so lost. I had a lot to figure out on my own but I knew it was a transition I had to make to draw the kind of art I wanted. But I began to study and take more things into consideration, I didn't like my art so I simply kept going "I can do better", learning from my previous mistakes and slowly making something I would be more satisfied with. At this point art felt more like "projects" then anything, because I wanted to make pieces that were of quality and had time and care put into each of them, sure it meant there was no longer much quantity. but hey that's what my smaller Cult of the Lamb lineart drawings are for!! 💙

I'm still growing and I definitely have a long way to go, but I am very proud of my progress this year, and I'll continue to grow until I'm satisfied (haha im stubborn) I also want to develop my secondary lineart style that I do when I'm not painting, since I feel that is important too

in short; time, practice, dedication, and passion are the most important, draw what you love above all else because it will be your drive to keep going, staying motivated was the most important for me

Sorry for the long post 😭

[hewkii]

Acht (Dedf1sh) Cosplay Rundown

feel free to copy or take inspiration :]

assembly instructions and print settings/materials for 3d printed parts are on thingiverse (headphones) (other parts)

models designed by me are in brackets in the materials list

Hat/Tentacles

black trucker hat with blank white front panel

[dedstencil.stl]

fabric paint

shiny indigo fabric

less shiny white fabric

glow-in-the-dark pigment powder

polyfill

metal marbles (to weight the ends so they hang properly)

two of [octosucc.obj] in different sizes

acrylic paint

conveniently enough i've had this hat hanging on my door for years. i got it with N from pokemon in mind but i never actually did that cosplay ¯\_(ツ)_/¯

here are the sketches i based my patterns on (1 square=1 cm). don't forget to add seam tolerances

Headphones

full details on thingiverse (mudmouth not included)

Arms

mesh bolero with built-in gloves

rit dye

fabric paint

10 of [finger_claw_vase.stl] in varying sizes

i wear claws under the gloves, but sometimes i'll wind up taking them off after a while since they can get uncomfortable and they make it hard to use my phone :/

Bracelet

[acht_bangle_vase.stl]

acrylic paint

glow-in-the-dark pigment powder

glossy clear coat

a cut up mello yello bottle

packing tape

eva foam

Misc. Doodads

red mirror shades

color chips

necklace chain

[acht_tag_jelleton.stl]

[acht_tag_ident.stl]

[acht_tag_hook.obj]

did you know that acht gives eight a mobility chip in the trailer but a power chip in the actual game? bc i didn't notice until after i'd already finished making the mobility one. so i've got a spare chip i guess

the dogtags were kind of a spur-of-the-moment creative liberty. i had the jelleton one sitting around from some experiments with composite filaments, and while i was brainstorming a way to incorporate acht's cool fish hook into the cosplay without needing to actually get my ears pierced it all sorta clicked together. i made the ident tag shortly afterwards and swiftly forgot what the text says :P

the rest of it

dress tunic thingy

metal eyelets

red string

camo pants

combat boots

i skimped on accuracy in favor of comfort for the lower half ¯\_(ツ)_/¯ the dress is more of a shirt, i added comfy pants bc i hate wearing colored tights (or god forbid painting my thighs green), and shorter boots bc more accurate ones are expensive as hell. plus any heel higher than this makes walking feel like playing qwop (skill issue). speaking of which does it bug anybody else how long acht's feet are on their in-game model or is that just me

idk if it counts as part of the cosplay but i also add a leather jacket when my arms get cold. i think it goes hard

To-Do:

ink the shaved streaks onto the hairnet

swap out the red leather cord for something less stiff

see if beans would work better than marbles

hand bandages?

single pointy tooth?

make a pre-sanitized version so i don't have to scrub off face paint every time