#I used many references as always

[starfirexuchiha]

// 3.5 SPOILERS

I'm really digging the new Diluc theory that's been going around! Diluc's bartender outfit also has that Hexenzirkel star pin too.

So immediately thought... what if Diluc and Kaeya had a talk about their ancestry in secret? 🤔

[its-emimi]

Some bcs screenshots, this show changed my life

[razberrypuck]

fucked up that dropping gillion off for his training was done as unceremoniously as it was btw. it wasn't some grand goodbye, they didn't do anything special that day for their little boy -- it was just gillion and his father. his sister, his mother, his grandfather, they weren't there. it was just gillion, his father, and a quiet, possibly several day long trip to the capital. it was just gillion and his father at the steps of the palace, just his father that saw the big smile on his face, heard the little boy's promises of telling them everything when he got home. no one had even bothered explaining what was going on to him. he had to figure it out on his own, when papa never came back.

[clear-what-i-was-seeing]

artists have "draw this in your style", i think fic authors should start doing "write this in your style" where a ton of people write the same prompt but all do their own lil interpretations and characterizations and fun dialogue bits etc

[pechrpeach]

I had an idea for the clockers. And each LL member has a timekeeping device to physically show them how much time they still have left. Not sure if i like the grainy more vintage vibe of the 1st one. Also i just cracked my back super loud so i suppose i should take a break…

[automatonknight]

here's the prick i was talking about^ i have so many thoughts and notes about him but they're mostly incomprehensible so when i organize maybe them i'll post them who knows

[szollibisz]

owen sketch

[shortnotsweet]

Pearl of the Realm [2, 1.5, 1]

Lucerys returns from his travels with new confidence and clothing that shocks nobility and the commonwealth. Fashionable members of the court swamp their tailors with demands, and the constant buzz around Lucerys the Lovely makes him Prince of the People. Coincidentally, Aemond develops chronic nosebleeds that plague him whenever his nephew is in the room.

The corset above is based off of a gold and white pearl set. This evolved into an AU about Luke gaining a sense of self + allies for Rhaenyra through scandalous clothing. He also incapacitates his Uncle Aemond, who probably has an iron deficiency from all the nosebleeds the maesters can’t explain.

A memorable incident: After offending Lucerys by insinuating his clothing is “inappropriate for a Prince”, and “looks like it was stolen from a Dornish whore”, Aemond attempts to apologize with a string of pearls. His timing is, of course, awful, and he stumbles into his chambers right when Lucerys is bathing. Misunderstandings ensue when he tries to shove the gift at him but ends up flinging it across the room; Luke assumes it’s an elaborate assassination attempt and leaps out of the bath, sprinting down the halls of the Red Keep with Aemond in hot pursuit. Aegon laughs so hard he cries.

[crystallizsch]

You draw Jamil so kissable idk what to say <3 (compliment)

AUGSLDKJFSDL THANK YOU 😭💕

idk what else to say either but i'm giggling so much i appreciate the compliment a lot

seeing you say that jamil looking kissable in my style makes me go akdfjkhdlkjlds

also his eyes and his hair are my favorite parts to draw actually 🥺

anyways uhhh that reminds me just for fun i'm gonna take this opportunity to compile some jamiyuu art from a few months ago when i was still getting back into twst and jamil unceremoniously put my heart in a chokehold.

this was with my beloved first yuu :D (now i've kinda moved them on to riddle and the rest of the heartslabyul gang bc i'm handing jamil over to yuusha)

(all of these poses were referenced from mellon_soup on insta!) (specifically 1 / 2 / 3 / 4 / 5 / 6)

i'm not that great with coming up with poses so i had fun with mellon_soup's when i was first drawing twst ship art.

sometimes i might still go back and reference because they have some other fun poses i want to try out 🤔

i'm also going to try and go back to this drawing style with yuusha because i think it's more visually appealing to me. my sketches/doodles are hella messy.

but i'm also kinda lazy and this takes more time. and i want to get ideas done before i lose interest in them. augh it's so hard to compromise 😔

but yeah anyways that’s all i have to unnecessarily ramble about. thanks for reading if you've reached this far!

[good-beansdraws]

Massive Milgramsona art/info dump as a treat to myself!! Alas, my fatal flaw is being unable to shut up about anything even while simultaneously embarrassed/nervous to share, so here's literally all the info I have on her 😅

Profile:

Name: For the sake of posting online I’ll call her Rose!

Number: 012

Color: #E7355B

Age: She’d be 20 when Milgram started

Status: Milgram Staff, Machine Technician

Song genre: Pop/theater (a mix of Mahiru and Kazui's vibes)

Backstory: She is studying abroad in Japan to work on technology related to the mv machine when she stumbles into top secret info about the trials. Horrified at the lack of prior testing, she demands to be included in the experiment to make sure the brand new tech runs smoothly and doesn't harm anyone in the process. To prevent her leaking info to the public and deciding an extra participant wouldn't hurt, Milgram agrees.

Role: Rose performs routine maintenance and updates on the extraction machine, and checks in with prisoners' health to make sure it's not having any adverse effects. She listens in on the interrogations, ringing the bell to signal Es when the machine is ready for use (re: my theory on how it works >:3). She then watches the mvs after Es to make sure there are no glitches.

(Though she is a personal milgramsona, her role in the story is supposed to reflect the audience's experience overall when it comes to how much info we know, emotions we experiencing regarding guilt/responsibility, and how much power over events we actually have given the voting system and trial breaks.)

Trial 1

Jackalope's comments during trial commencement: Oh, I almost forgot participant 012, Rose. We've never had more than one staff member before, so we figured that sort of numbering would be fine. Hey, don't look at me, it's not like it was our idea to include her. She's not a prisoner -- the only crime she's committed is sticking her nose where it didn't belong... You can ask her for the details, but she's just here for maintenance on our extraction machine. It's not easy keeping that thing running smoothly, you know? As part of her duties, she'll be privy to all the same information as you, but don't let her be any more of a busybody than she already is -- she has absolutely no authority when it comes to your verdict decisions, got it?

MV: Mic Check - “Can anyone hear me?”

VD: Positive Feedback

Cover: Pathological Facade - Ghost

Her album would release last in line. The VDs aren't interrogations since there's been no crime -- Es asks about her duties and observations of the prison. In them, she admits her predictions that she and Es will eventually be on trial for their involvement in the prisoner's fates.

Thus, her mvs are focused on her emotions towards the prisoners, her pride in helping bring justice, and her guilt at providing Milgram a means to pass judgement on people she cared about. I'm going to Goncharov the actual mvs/songs, but Mic Check is generally an introduction to her job behind the scenes prepping the equipment that will allow the prisoners' songs to be heard, as well kick off symbolism of her as a performer herself. She'll make a comment about how the experiment is leading to tragedy, "as if someone said Macbeth" (then covers her mouth, as she's standing in a theater herself).

I kept getting tripped up looking for Deco*27 songs that worked and weren't already taken, so I decided to go with some favorites and vibe-matching songs from other artists!

Comments during trial closing: It's good to hear you weren't a pushover when Rose gave her thoughts on the verdicts -- you guys disagreed on quite a few of them, eh? Ah... so she's not the type to pick fights, is that it? I guess that explains how she's managed to get along with everyone. (sigh) Even you knew better than to get attached like that. Well, at least she's kept our machine up and running the whole time.

Trial 2

Commencement: Now I need to wake Rose. We're going to need some extra upgrades to our machine if we want to get the most out of this round of extractions. I've got a sneaking suspicion that she and her bleeding heart are going to try and sway you during this trial. Her duty is specifically to look out for the prisoners' safety, but yours is only to judge them. Don't forget that.

MV: Changement - “Don’t say ‘break a leg,’ if it might just break.”

VD: Control Variable

Cover: TOXY - Kujiragi

I did my best to write out the title pronunciation out in katakana since I wanted it as the name of the dance move, not a direct translation of meaning. I went with シャジェモ "sha-je-mo" as the closest I could get to the "shanj-mou" sound, but feel free to correct me if there's a better way to write it. The door is based off of various set designs for Clara's home in The Nutcracker. (There's no deep meaning that this is the only one not opening -- I realized too late all the others are cracked open and my art app doesn't have the tools to easily fix that so I'm sticking with it 😭)

A changement is a small jump in ballet -- I thought it was fun to combine that (which means "to change") with Control Variable (refering to the variable in an experiment that never changes). The video shows conflicting emotions as her decisions/inaction caused so much to happen between trials, yet at the same time she feels like there's so much she'll be unable to change even if she really wants to intervene. Her mvs show the prisoners pretty regularly (since they are her crime, she's realized), and the teaser line is paired with references to Mahiru's broken leg.

The thumbnail combines different areas of study -- mechanical, medical, musical, mathematical (theater spotlight, muscles, Weakness notes, motion formulas). I think it's super cool how many areas of expertise are passed around the fanbase when discussing the characters. I've picked up new facts about plants, food, anatomy, geography, music, animals language, (sigh. color theory.), hobbies, professions, mythology, etc from fans with different fields of knowledge. While that's one of my favorite aspects of the project from the outside, I think it would be super intimidating to someone on the inside trying to tackle so much information at once.

Closing: As for Rose... (laughs) I thought she was dooming herself before--! Not only has she gotten hopelessly attached to everyone over the course of this trial, she's even started a relationship with one of the prisoners! And of all the people she could have chosen... Eh? Oh no, we have no policies against that for our staff. I mean, the whole point of Milgram is to explore human nature, the power of emotions, the complexities of connections, all that crap. I'm just grateful she shows a bit more common sense when she's operating the machine...

Trial 3

MV: Showstopper - “There won’t be applause, but I’ll take a bow, okay?”

VD: Please Exit Left

Cover: Ironina - Nilfruits

I don't know the album theme yet, but this is the tentative sprite and thumbnail design. The T2 sprite was kind of an "innocent" one, since at the beginning she still has faith in her role in the prison, excited to work with everyone there. (Plus, I joined the fandom a little after t2 started so that's peak excitement time lol). The T3 sprite has much more of a "guitly" feel to it because, at the end of T2 and after this hiatus, she'd harbor a lot more guilt about her position and fear about the experiment's conclusion. As a fun little detail, her pencil has been replaced with a more permanent utensil as final verdicts are locked in.

Now listen. My artist brain was constantly fighting my science brain when doing sprite designs -- I know gloves like that and nothing else isn't proper PPE. I know none of those are safety shoes (god forbid wearing just socks??? to the lab???). There should be no jewellery at all. The whole point of a lab coat is that you don't roll up the sleeves and expose your bare skin. However. It's anime character design. There can be compromise.

Referencing Rose's personal life as a performance and comparing Milgram's trials to one, I wanted the mv to play on "showstopper" as both a great show and a literal attempt to stop the project before it reaches its finale. There would be creepy comparisons in the mv between operating stage equipment and prison executions: curtain/set ropes and nooses, heavy duty lightswitches and electric chairs, etc.

Misc.

And lightening things up again -- birthday art and minigrams :3

Birth flower: Camellias. Pink camellias symbolize love but also longing. The fact that they bloom in winter, and have a quick death (the entire flower wilts at once, instead of individual petals falling off), have inspired different meanings in different cultures -- overcoming hard times, facing death in battle, inseparable lovers, and so on

Three minigrams featuring my own annoyance that her design is a bit close to Shidou's coat/gloves look, a mandatory short joke, and a pun that works so perfectly for my Put-In-Situations guy

[bittersweetresilience]

say hi to me i don't know, i just remembered being so much brighter, i guess

cigarette ash like wildfire burning holes in the nighttime open scars feel like barbed wire white lies flying high like a ceasefire dropping flags on the shoreline this is as far as i can feel right 'cause what you don't know can haunt you

and all we ever wanted was sunlight and honesty highlights to want to repeat let's get away from here and live like the movies do i won't mind when it's over at least i didn't think for a while

don't drag it out living like that doesn't mean a thing

so let's, make a great escape and i'll be waiting outside for the getaway it doesn't matter who we are we'll keep running through the dark and all we'll ever need is another day we can slow down 'cause tomorrow is a mile away and live like shooting stars 'cause happy endings hardest to fake

and i wanna let you know i wanna let you go but i just can't bring myself to speak but this is how it goes the end credits, they roll this bridge was built over kerosene but we can watch it and all i ever wanted was sunlight and honesty highlights to want to repeat let's get away from here and live like the movies do i won't mind when it's over at least i didn't think

so let's run, make a great escape and i'll be waiting outside for the getaway it doesn't matter who we are we'll keep running through the dark and all we'll ever need is another day we can slow down 'cause tomorrow is a mile away and live like shooting stars you can wish away forever but you'll never find a thing like today

[shellsweet]

How do you do turtle anatomy? Do you have reference sheets that help?

This is kind of a hard question to answer! There are multiple ways to answer this, but to start here’s just a speed video of one of my recent sketches and a rough draft of how I usually begin a gesture drawing for a figure. I know I’m a visual learner, myself.

But there are a few tools I highly suggest! Some you guys have probably heard a million times!

Use references! Take a bunch of photos (of yourself or online searches), or check out professional anatomy drawings and trace over them to learn the shape language. What looks like tubes, circles, triangles, ect. The more you do this, the more you’ll start learning to break down each part of the anatomy into simple shapes to build upon.

There are also tons and tons of great anatomy drawing tutorials on YouTube!

Be messy, it helps for more expressive lines because you can always erase the excess.

Believe it or not, I also recommend just watching people draw and just studying people in real life too, build up that visual library in your head. Absorb that as much as possible to see how other people are tackling drawings, you’ll pick up all kinds of techniques.

For turtles in general, I take lots of inspiration from super hero comics/shows, the plastron (chest plate) plays a huge part for me in forming the entire figure, everything else pretty much follows after and I’m not afraid to make a ton of awkward mistakes to get where I want the figure to go.

Practice lots and don’t forget to have fun. Lord knows I’m still learning and still got a long way to go too. :)

[keeps-ache]

paddling my boat around on these lovely asphalt roads, pulling up to the sidewalk aside you and asking 'would you like any of my wares?'

[nicepersondisorder]

rolling out with this challenge. wanted to do this for a while but didn't have energy . but finally! its here >:3c

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[seagull-scribbles]

Had a few sonic artists tell me they struggle with Vectors Head, so here is how I (an amateur) do it

I don’t draw Vector’s canon body but I can make a second part about his canon design and my version if anyone would like!

Links to downloadable chain brushes

Variety of clip studio ones here [X]

A tutorial by flo does art on making a chain brush for Procreate - [X]

For those who are struggling to read my writing I have reblogged this to my main with a transcription, which you should be able to see in the notes or go to [here]

Want an activity to complete the lesson? Here is a Vector drawing challenge [here]