Ten Characters. Ten Fandoms. Ten Tags.
Thank you yet again @officious-sea-lawyer my sweet pal!
I don't know that I got quite in the right spirit for this one for several reasons. One: my brain apparently makes a weird distinction between 'liking a thing' and actively 'being in a fandom' for it. Two: I wanted to get real deep with it but believe it or not, outwith The Terror, I'm mostly into comedy.
Nevertheless, here are some little shits I'm fond of.
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Edward Little (The Terror) (Obviously)
Withnail (Withnail & I)
Bernard L. Black (Black Books)
Deacon Brücke (What We Do in the Shadows)
Vyvyan Basterd (The Young Ones)
Jean Tannen (The Gentleman Bastard series)
Sister George Michael (Derry Girls)
Howard Moon (The Mighty Boosh)
Jaime Lannister (Game of Thrones) (Can I specify only the early seasons before it all went to complete shit or nah?)
Brad Majors (The Rocky Horror Picture Show) (Just for laughs because I love him and actively lose my absolute shit every time he dramatically takes off his glasses)
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I also don't know that I can choose ten whole people who haven't been tagged already so I'll just pick a few random nice friends I've noticed firkling around in my notes and the like: @percybysshes @habemuscarnificem @imakehorriblechoices @vending-machine-witch @dundys
No pressure of course! :)
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I'm going to be asking a lot of artists I follow this question, but how did you develop your style? It SEEMS like most people find their style and stick with it forever, just making improvements and iterations. I tend to work in a lot of different styles because I enjoy doing that, though I know there are things I gravitate towards as well. But I wonder what your journey was and how you got feedback and improved while staying true to what you enjoyed?
Hi there!
I definitely wouldn't say that I've found my style and stuck with it forever-- I feel like each of my projects has asked for a certain kind of art, and has presented new challenges that push me in new directions.
Some of that comes from seeing someone else's work and having something click into place that might fix errors/faults in my own, and then I might try to incorporate that, such as bigger outlines on my characters to help distinguish them from the background, or maybe a way someone else simplifies eyes that can help make mine look less weird.
When I first started drawing, I can see where I encountered certain influences because my sketchbooks suddenly switch to incorporating some new stylistic element that I liked from whatever I was reading/watching at the time. But it was never QUITE right, it was never just copying, there was always something ~wrong~ with it. And that wrongness was my style! As much as I hated it, that was what distinguished my art from being just a copy of someone else's. I hate it less now, and understand that other people see something there that maybe I don't, because it's just what happens when I filter other people's work through my head. My soul, if you will.
There are definitely through-lines with my work, driven by what I like drawing and what comes easily to me-- hatching is almost always a major component, and I like making expressive characters. Here's some of my earliest available stuff, from my old webcomic:
Then not long after that, I started The Last Halloween, which pushed me to challenge myself in both layout and style:
And here's the same comic, years later:
And here's a series I did for kids, where I had to use full color and lay off on the hatching, as well as learn how to reconstruct animals that we have no photo references for, which is definitely a place where style comes majorly into play, whether I wanted it to or not:
Then there was the horror book I did, where I tried to push my work to be less cartoony overall, and to work very hard on improving my hatching:
Then I started work on Scarlet Hollow, where I incorporated a limited/muted palette and had to once again push myself to make less-cartoony art, as well as learn more consistency so I could draw sprite sets. This was a big challenge for me, and has helped me grow as an artist so much!
And most recently, I wrapped up work on Slay the Princess, which required that I go back in the cartoony direction, but in a very different way than I was used to. This took a lot of sketching to figure out, and there's still a decent amount of artistic stumbling in Chapter 1 while I settled into it.
She's drawing on anime/Disney influence, but each Princess required a bit of stylistic variability. Some are more anime, while some are more realistic than even the Scarlet Hollow characters.
So I wouldn't worry too much, honestly! A person's style is often something that reveals itself over the course of their career, rather than something they choose and then try to stick to forever.
Even if you don't think you have a style, you do. It might vary a lot piece by piece, especially if you're trying to closely imitate another person's art, but the more work you do, the more you'll figure out your own strengths and interests!
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Quick little thing about what the 'soft vore' and 'safe vore' tags actually mean
Recently I've seen some folks assuming the 'soft vore' and 'safe vore' tags are exclusively cuddly and nons3xual, so I feel like it's important to let you guys know they're not. Soft vore just means prey is swallowed whole, not that they'll live. Safe vore can include fearplay, blood, injuries, and even mild digestion so long as the prey survives in the end.
I understand the assumption that the tags are exclusively wholesome since most of the nonsexual community (including myself) use them and that's perfectly fine, but they're really just descriptors that tell you what the post contains. You can have digestion in the soft vore tag since the two aren't mutually exclusive, and sometimes a story or art piece might even contain both soft and hard, or safe and fatal vore. Explicit material can also exist within the tags, because 'safe vore' and 'soft vore' have no inherent nons3xual connotations.
Now that's not to say there isn't an issue with tag spamming or mistagging in the vore community, and for that all I can say is filter tags and post content as liberally as you can and use the block button frequently. It sucks to see triggering content, it really does, especially if it's untagged. I recently had to deal with some pretty bad stuff myself, so I understand. But at the same time, the vore community contains a lot of people whose tastes may not align with yours or fit neatly into specific boxes, and that's okay! Just filter and block where you can.
There ARE new tags that some members of the community use for exclusively wholesome nons3xual vore and that's awesome, but soft vore and safe vore are not, and never really were, those tags.
Tldr; Soft vore and safe vore are just tags that tell you if there's chewing or not and if the prey lives or not. They're not exclusively fluffy, they're not nons3xual, and they can be paired with more violent tags if the content contains both themes.
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I've only recently started having my own thoughts about Emanator!Sampo and I think my favorite version of this is that he is technically an Emanator, it's just that he doesn't talk about it because Aha is a dick who only blesses people that don't want it and Sampo hates it here dkjxkdkdck
Aha blessed the Mourning Actors! A whole faction of people who have specifically made it their life's mission to resist Elation! THEY made a literal worm THEIR Emanator just to see if it would be accepted into the Genius Society! And when it wasn't, Aha just as easily killed it and tossed it aside! So I feel like there is a good possibility that Aha looked down at Sampo, this little oddball who doesn't seem to even like Epsilon or a lot of the Masked Fools and was like.
Hey.
You know what would be really really funny.
And I feel like being an Emanator wouldn't even be a plus for Sampo, because of how he operates. Sampo excels at blending in; he managed to smuggle himself onto a planet
that had been isolated for 700 years,
with only one (1) single city on it,
and going even further, he snuck himself into the Underground,
where the population is even more sparse,
and STILL. Not a single accusation of him being an alien! Not even after the Astral Express lands and proves that interstellar space travel is possible! Sampo is so thoroughly ingrained into Belobog that yeah, some people admit they don't know his origins, but none of it ever comes with the question of whether he actually is a Belobog native or not. Sampo knows exactly how to blend himself into his surroundings in the most subtle way possible. And being an Emanator, something far more powerful than any normal human or Pathstrider could ever hope to be, would only throw in a massive extra variable for him. Sampo would have to be so so careful to keep a lid on his Emanator traits, to keep up the appearance of being totally normal and average at all times. It doesn't help him at all.
And this part is pure indulgence, but I love taking Aha's closeness with mortals, and THEIR tendency to take human form, and twisting it into a case of THEM using Sampo as a vessel.
I want Aha to look at Sampo the same way all of us look at Sampo. A chew toy. A plaything. Something to shove through the meat grinder. Aha thinks Sampo is hilarious and a funny, silly little guy, and THEY want to put him in Situations just to see what he does. Sampo is not a fan.
This though, this is what makes Sampo so wildly entertaining as a vessel. Because Aha knows that Sampo does not want to be a vessel, does not even want to be an Emanator, and THEY find it SO much fun to watch the mental gymnastics he has to pull to convince himself he's ok with it, this is fine actually, because he's not exactly about to tell off a literal god. He doesn't feel like getting a smiting today, please and thank you.
Because squeezing yourself into a human vessel is so different than merely adopting a human disguise, there's already a human soul in there, it's kind of a tight fit. If Sampo doesn't make room, doesn't all but dissociate right out of his own body, it could cause. Consequences.
And so, Aha always gives a warning, just to watch him squirm.
It begins with the sound of bells.
Just little ones, at first. Small, clinking little sounds that could even be considered nice. Something almost gentle, like a wind chime in a pleasant breeze on a warm day. This is the signal for the countdown.
Sampo breathes in, breathes out. Makes himself as small as possible within his own body.
The bells rise and multiply, tinkling wind chimes give way to sleigh bells, to shopkeepers bells, the sound of something inevitable approaching, something entering.
Sampo breathes in, breathes out. Dilutes himself, weaker and weaker concentrations.
The bells rise and rise, multiply and multiply, celebration and tragedy resonating in the sound of church bells, ringing bright and loud, the sounds of weddings and funerals both the same.
Sampo breathes in, breathes out. Becomes like smoke, like vapor. Hollows himself out.
Empty, empty, empty until he echoes, like a bell, like something with the sole purpose of being shaken and rattled around, a thing to be struck, the sounds jarring and punched out and gasping and piercing the air, the lung, the eardrum.
Sampo breathes in.
Beaten he rings, bashed in he sings.
Aha breathes out.
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