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Brass ring of unimaginable swag, 2025 (reupload)

wip photos under the cut

I don't think anyone who reblogged the original post is going to see this but a couple of people asked how I made this so I just wanted to add these process shots here. I engraved the dragon with a micro drill/a rotary tool using a tiny ball burr!

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not all loyal characters have a dog motif and that’s okay sometimes they just have a soul of a head accountant helping their boss w embezzlement you know

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I am going to start biting

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Another comic based on a favorite post of mine, because what can I say? I love posts

Original post by @cryptotheism

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Thought this might help others who struggle when writing. I know I get in my head too much.

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give your characters exes.

give them a variety of exes. give them relationships that shaped who they are but did not last. give them people they tried very hard to love but it didn't work out. give them situationships that taught them things. give them something deep that was real but could not endure. things that hurt. things that ended amicably. people with whom hot passion cooled to warm affection and became undying friendship.

no more first and only. give me the context of what made them know the next or one after was final and right.

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me and the boys have a couple of chains wrapped around the sword in the stone hooked up to mikes toyota tundra gonna pull that fucker out like a tooth.

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theres too many princesses and maids and knights and whatever. can some of you develop a thatching fetish or something my roof is collapsing

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this is just my opinion but i think any good media needs obsession behind it. it needs passion, the kind of passion that's no longer "gentle scented candle" and is now "oh shit the house caught on fire". it needs a creator that's biting the floorboards and gnawing the story off their skin. creators are supposed to be wild animals. they are supposed to want to tell a story with the ferocity of eating a good stone fruit while standing over the sink. the same protective, strange instinct as being 7 and making mud potions in pink teacups: you gotta get weird with it.

good media needs unhinged, googling-at-midnight kind of energy. it needs "what kind of seams are invented on this planet" energy and "im just gonna trust the audience to roll with me about this" energy. it needs one person (at least) screaming into the void with so much drive and energy that it forces the story to be real.

sometimes people are baffled when fanfic has some stunning jaw-dropping tattoo-it-on-you lines. and i'm like - well, i don't go here, but that makes sense to me. of fucking course people who have this amount of passion are going to create something good. they moved from a place of genuine love and enjoyment.

so yeah, duh! saturday cartoons have banger lines. random street art is sometimes the most precious heart-wrenching shit you've ever seen. someone singing on tiktok ends up creating your next favorite song. youtubers are giving us 5 hours of carefully researched content. all of this is the impossible equation to latestage capitalism. like, you can't force something to be good. AI cannot make it good. no amount of focus-group testing or market research. what makes a story worth listening to is that someone cares so much about telling it - through dance, art, music, whatever it takes - that they are just a little unhinged about it.

one time my friend told me he stayed up all night researching how many ways there are to peel an orange. he wrote me a poem that made me cry on public transportation. the love came through it like pith, you know? the words all came apart in my hands. it tasted like breakfast.

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so hard not to become the most annoying person on earth if you're a little excitable and just learned a little about a topic literally no one around you has any interest in

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proximity

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Can I please come over and look at all your stuff in your room

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y'all think about love?

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so many things try to emulate the Beatrice/Benedick relationship and so few of them get it right bc they’re like ‘oh it’s about the banter’ and YES, obviously, but if you make it JUST about the banter you’re going to fail! it’s about the RESPECT!!! it’s about the scene after Hero’s shaming where Benedick drops the banter entirely and sits there with Beatrice as she rages and weeps and then chooses to side with HER instead of the boy’s club that he’s been hanging out with for the entire play, both because he loves her and because she’s RIGHT!

like, it’s not some impulsive thing to make her like him, and it’s not just talk; he asks her if she’s sure and then he agrees and then he remains cold and determined when he meets Claudio and Don Pedro and they try to get him to joke around with them like old times.  i think that’s one of the things that gets me the most; that there’s a scene that you half-expect to fall into that same sort of joking, where Claudio and Don Pedro are specifically like, “Huh, we inexplicably feel kind of sad after ruining this woman’s life and reputation, I bet Benedick will cheer us up!” and he just. utterly refuses to engage. and it’s so powerful and it’s such a tonal shift and such a strong indication of just how much he loves and values Beatrice and!! anything that gets the banter but doesn’t get that completely fails to understand their relationship! THB!!

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this 'being really tired after work' thing is really getting in the way of this 'pursuing my artistic hopes and dreams' thing has anyone else noticed this

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In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.

What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)

Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.

The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.

We... need worldbuilding by Seth Dickinson

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"You could get up early and do it before work" I could also wait for a magic beanstalk to start growing in my living room LMAO. Let's focus on things that happen in the real world