#experimenting different techniques is really what makes it fun for me

[lyacinthus]

It’s … not as bad as the last one … I suppose,,,

(Below is the 2021 art summary that I forgot to post)

[moe-broey]

You would not believe how badly history is repeating itself.

[alfheimr]

My Favorite Cheap Art Trick: Gradient Maps and Blending Modes

i get questions on occasion regarding my coloring process, so i thought i would do a bit of a write up on my "secret technique." i don't think it really is that much of a secret, but i hope it can be helpful to someone. to that end:

this is one of my favorite tags ive ever gotten on my art. i think of it often. the pieces in question are all monochrome - sort of.

the left version is the final version, the right version is technically the original. in the final version, to me, the blues are pretty stark, while the greens and magentas are less so. there is some color theory thing going on here that i dont have a good cerebral understanding of and i wont pretend otherwise. i think i watched a youtube video on it once but it went in one ear and out the other. i just pick whatever colors look nicest based on whatever vibe im going for.

this one is more subtle, i think. can you tell the difference? there's nothing wrong with 100% greyscale art, but i like the depth that adding just a hint of color can bring.

i'll note that the examples i'll be using in this post all began as purely greyscale, but this is a process i use for just about every piece of art i make, including the full color ones. i'll use the recent mithrun art i made to demonstrate. additionally, i use clip studio paint, but the general concept should be transferable to other art programs.

for fun let's just start with Making The Picture. i've been thinking of making this writeup for a while and had it in mind while drawing this piece. beyond that, i didn't really have much of a plan for this outside of "mithrun looks down and hair goes woosh." i also really like all of the vertical lines in the canary uniform so i wanted to include those too but like. gone a little hog wild. that is the extent of my "concept." i do not remember why i had the thought of integrating a shattered mirror type of theme. i think i wanted to distract a bit from the awkward pose and cover it up some LOL but anyway. this lack of planning or thought will come into play later.

note 1: the textured marker brush i specifically use is the "bordered light marker" from daub. it is one of my favorite brushes in the history of forever and the daub mega brush pack is one of the best purchases ive ever made. highly recommend!!!

note 2: "what do you mean by exclusion and difference?" they are layer blending modes and not important to the overall lesson of this post but for transparency i wanted to say how i got these "effects." anyway!

with the background figured out, this is the point at which i generally merge all of my layers, duplicate said merged layer, and Then i begin experimenting with gradient maps. what are gradient maps?

the basic gist is that gradient maps replace the colors of an image based on their value.

so, with this particular gradient map, black will be replaced with that orangey red tone, white will be replaced with the seafoamy green tone, etc. this particular gradient map i'm using as an example is very bright and saturated, but the colors can be literally anything.

these two sets are the ones i use most. they can be downloaded for free here and here if you have csp. there are many gradient map sets out there. and you can make your own!

you can apply a gradient map directly onto a specific layer in csp by going to edit>tonal correction>gradient map. to apply one indirectly, you can use a correction layer through layer>new correction layer>gradient map. honestly, correction layers are probably the better way to go, because you can adjust your gradient map whenever you want after creating the layer, whereas if you directly apply a gradient map to a layer thats like. it. it's done. if you want to make changes to the applied gradient map, you have to undo it and then reapply it. i don't use correction layers because i am old and stuck in my ways, but it's good to know what your options are.

this is what a correction layer looks like. it sits on top and applies the gradient map to the layers underneath it, so you can also change the layers beneath however and whenever you want. you can adjust the gradient map by double clicking the layer. there are also correction layers for tone curves, brightness/contrast, etc. many such useful things in this program.

let's see how mithrun looks when we apply that first gradient map we looked at.

gadzooks. apologies for eyestrain. we have turned mithrun into a neon hellscape, which might work for some pieces, but not this one. we can fix that by changing the layer blending mode, aka this laundry list of words:

some of them are self explanatory, like darken and lighten, while some of them i genuinely don't understand how they are meant to work and couldn't explain them to you, even if i do use them. i'm sure someone out there has written out an explanation for each and every one of them, but i've learned primarily by clicking on them to see what they do.

for the topic of this post, the blending mode of interest is soft light. so let's take hotline miamithrun and change the layer blending mode to soft light.

here it is at 100% opacity. this is the point at which i'd like to explain why i like using textured brushes so much - it makes it very easy to get subtle color variation when i use this Secret Technique. look at the striation in the upper right background! so tasty. however, to me, these colors are still a bit "much." so let's lower the opacity.

i think thats a lot nicer to look at, personally, but i dont really like these colors together. how about we try some other ones?

i like both of these a lot more. the palettes give the piece different vibes, at which point i have to ask myself: What Are The Vibes, Actually? well, to be honest i didn't really have a great answer because again, i didn't plan this out very much at all. however. i knew in my heart that there was too much color contrast going on and it was detracting from the two other contrasts in here: the light and dark values and the sharp and soft shapes. i wanted mithrun's head to be the main focal point. for a different illustration, colors like this might work great, but this is not that hypothetical illustration, so let's bring the opacity down again.

yippee!! that's getting closer to what my heart wants. for fun, let's see what this looks like if we change the blending mode to color.

i do like how these look but in the end they do not align with my heart. oh well. fun to experiment with though! good to keep in mind for a different piece, maybe! i often change blending modes just to see what happens, and sometimes it works, sometimes it doesn't. i very much cannot stress enough that much of my artistic process is clicking buttons i only sort of understand. for fun.

i ended up choosing the gradient map on the right because i liked that it was close to the actual canary uniform colors (sorta). it's at an even lower opacity though because there was Still too much color for my dear heart.

the actual process for this looks like me setting my merged layer to soft light at around 20% opacity and then clicking every single gradient map in my collection and seeing which one Works. sometimes i will do this multiple times and have multiple soft light and/or color layers combined.

typically at this point i merge everything again and do minor contrast adjustments using tone curves, which is another tool i find very fun to play around with. then for this piece in particular i did some finishing touches and decided that the white border was distracting so i cropped it. and then it's done!!! yay!!!!!

this process is a very simple and "fast" way to add more depth and visual interest to a piece without being overbearing. well, it's fast if you aren't indecisive like me, or if you are better at planning.

let's do another comparison. personally i feel that the hint of color on the left version makes mithrun look just a bit more unwell (this is a positive thing) and it makes the contrast on his arm a lot more pleasing to look at. someone who understands color theory better than i do might have more to say on the specifics, but that's honestly all i got.

just dont look at my layers too hard. ok?

[interstellarrisa]

Some subconscious fun

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You might've heard people saying that are our brain is amazing and capable of astounding things and well they're not wrong. Your brain is the most complex organ in the body with billions of neurons that have trillions of connections called synapses that makes it able to communicate, with this information how can we say that it's not amazing?

Our consciousness is thought to sit at the cerebral cortex and is said to have three levels to it. The conscious, subconscious and unconscious. They're all tasked with different things. I'll explain them all...

The conscious: This is the part that we have control over, our thoughts, feelings, decisions and acknowledgement are all made here. It's what you're using right now to read this post and also where the awareness of you reading this post is. Basically thoughts, feelings and awareness.

The subconscious: It's not in the current focus of our awareness hence called the subconscious mind. It's a barrier that's put up by our mind so that we don't become overwhelmed by all the information that we get when we interact with this world. For example our nose in the center of our vision, the feeling of our clothes or our tongue resting on the roof of our mouth. Because of this barrier we're allowed to focus our awareness on more important decision making and cognitive tasks without getting overwhelmed. This can be noticed when we decide (conscious) to pick up a new skill which can be hard to learn and do before we become a natural at it which then makes it an automatic (subconscious) skill.

The unconscious: It's perhaps the most mysterious form of consciousness since it's not available for introspection or analysis. We do know that it's a hoard of feelings, thoughts and memories lost from our conscious mind, it contains the painful past that we might simply want to forget about. Some people say that we never forget and that it just get's buried deep down within our mind and with the right signals we can recover the forgotten memories.

Now to the fun part. It's a small "experiment" that you can do every night just to see how amazing your subconscious mind truly is. Firstly I haven't found any article's stating that this is your subconscious minds doing, some say it might be your circadian rhythm (internal body clock) but I personally assume that it's your subconscious and if you know loa let's just go with it.

The experiment is you controlling when you wake up. You might go "really, that's it?" but when you first do it and it works it'll feel a bit 𝓯𝓻𝓮𝓪𝓴𝔂, anyways here's what to do.

Go to bed. Doesn't need to be nighttime you just need to go to sleep for this.

While falling asleep tell yourself that you'll wake up in xxx hours/minutes. For example you go to bed at 00:00 and want to wake up in 8 hours, naturally that would be 08:00 so just affirm "I will wake up in 8 hours." or "I will wake up at 08:00"

Drift off to sleep~

Wake up and check the time and it should be the designated time.

This is actually a technique used a lot in lucid dreaming method's and could also be used in shifting/manifesting/void method's. Since the brain is just like a sponge when you wake up it absorbs any kind of information presented it with and sometimes induces "hallucinations". I'd recommend shorting the time you sleep if you're gonna use it as a method though. It's also pretty similar if not the same to SATS.

This has worked for me on multiple occasions and if you wake up and the time doesn't match when you wanted to wake up it might be because you already woke up earlier and just went back to sleep and forgot about it later, happened with me a few times but because of signals I remembered. I even got rid of my alarm for school because of this and I still woke up in time for school.

warning: if this post does NOT resonate with you or your beliefs feel free to ignore it, you don't need to send hate or make posts on how stupid this is or that it's wrong. some might misunderstand this post (like the last one) and make misguided comments, please think a little before you open your mouth :). yapping session is cause i'm really interested in this topic lol.

[misspygmypie]

What's That Brush For?

Pairing: Lando Norris x reader Requested: Yes Summary: Lando is fascinated by your morning makeup routine :) Words: 765

Please do not repost, thank you, and leave some feedback :)

Lando stood in the doorway, his eyes wide with fascination as you meticulously applied your makeup. The morning sun streamed through the window, casting a warm glow that made the whole process feel even more intimate. The Brit had been standing there for a good five minutes, observing you while you were pulling your hair into a high ponytail, without saying a single word. 

As you had moved on to doing your makeup for the day he just kept watching, mesmerized, as you skillfully blended foundation and brushed on eyeshadow with precise movements.

“Wow,” he said, leaning in closer, his voice tinged with awe. “I never realized how much goes into this. What’s that brush for?”

You watched as he picked up the little tool and looked at it wide-eyed, bopping its soft bristles with his index finger before bringing it up to his eyes and inspecting it closely.

You glanced up to your boyfriend. “This is a blending brush. It helps smooth out the eyeshadow so there are no harsh lines in between the colors.”

Lando nodded, clearly enthralled by the whole situation. “Can I try? I mean, I probably won’t get it right, but it looks like fun.”

You smiled at him, amused by his enthusiasm. “Sure, give it a go. Just be gentle and please don’t poke my eye out, I kind of still need it.”

“Shut up, you muppet, as if I was that clumsy…” he gave you a sour look and you chuckled, remembering some moments he definitely had been that clumsy.

As he carefully tried his hand at blending the different powders on your eyelid he asked, “Does it always take this long? I feel like I’m messing it up.”

“Practice makes perfect,” you reassured him, watching as his concentration intensified, his tongue now poking out of his mouth making him way more adorable than should be allowed. “It takes time to get the hang of it. And don’t worry, you’re doing fine,” you ensured him after a quick glance into the mirror.

He looked at the result and grinned, a mixture of pride and humor in his expression. “This is really cool. I had no idea it was such an art form. How did you learn all this?”

You laughed softly, appreciating his genuine interest which is something you never would have expected. But then again, this was Lando and he always was full of surprises. “A lot of trial and error, plus some tutorials online. It’s like anything else, practice and patience.”

Lando’s eyes twinkled with enthusiasm. “Maybe I should start learning more. Who knows, I might end up being a makeup artist on the side.”

You chuckled at the boy next to you. “You never know. It could be a fun skill to have. But don’t quit your day job just yet.”

He grinned, returning to his spot by the door, crossing his arms in front of his chest and leaning against the frame. “Fair enough. But if you ever need an assistant, I’m your guy,” Lando announced proudly, pointing at himself with his two thumbs.

“Thanks, Lan. I might just take you up on that offer someday. You know,” you said, applying a bit of highlighter with a deft hand, “makeup can be a lot like racing in a way. It’s all about precision, timing, and a bit of creativity.”

Lando raised an eyebrow, intrigued. “Really? I never thought of it that way.”

“Yeah,” you explained, smiling as you looked at him. “Just like in racing, you need to have good technique and an eye for detail. And there’s always room to experiment and improve.”

He nodded thoughtfully, clearly processing the comparison. “I guess it makes sense. And I suppose the same principles apply, practice makes perfect.”

“Exactly,” you agreed. “And it’s all about having fun with it, too.”

Lando’s grin widened. “Well, I definitely had fun. Thanks for letting me try it out. Maybe next time we can swap skills, I'll give you a few racing tips if you show me more about makeup.”

“Deal,” you said, laughing. “Looking forward to it. But how about a cup of coffee first?”

“That can be arranged,” Lando smiled and gave you a quick kiss before he headed out into the direction of the kitchen. 

As the door clicked shut behind him, you tidied up the bathroom counter, feeling a small bit of excitement about what had just happened. It was one of those small moments that made you appreciate Lando just that much more and perhaps you soon would learn something new about his world too!

[makrustic]

I’m trying to get into pixel art without watching a bunch of tutorials first (they exhaust me and then demotivate me so then I never want to make art again). Anyways, I was wondering if you’d mind sharing some of your earliest works? You are an inspiration to me, but I know I have a ways to go before my very extremely amateur art is anything like your art is now. Thank you :) and have a wonderful day!

I'm glad you're starting out doing pixel art, and that's awesome! I've been in the exact same position as you are in right now, and I'll give one of my Mak Insights™️for this (lengthy ass read). I started doing pixel art around the summer of 2020, and it's been more than four years. I've started basically just like anyone! I had basic knowledge of art, composition, ideas for color, and simple forms. As you might notice, my early works don't really have much detail; it's more on silhouettes because I don't know how basic 3D forms work at the time! And usually I would stick to one color scheme—simple reds, subtle blues, etc. I had a really simple style back then, but I was alright with what I got going.

For most artists, you'd go through learning the concepts, ideas, techniques and styles. I've went through the 'YouTube Tutorial' phase and it's been head scratcher; still kinda is. You learn alot, but sometimes at the same time, nothing at all? I've went through bouts of doubt with my art, exhaustion from trying to do something different, then beating myself up for not getting it right. Only recently have I actually found some peace with where I am in my art life right now. But for now, take your steps at your own pace; go through the process of spending time, learning stuff, experimenting styles, having fun, getting stressed, being bored, and reimagining yourself through your art—and as you're chasing your peak, you realize that it's already reached you, and you're the best artist you can be at that very moment. And I hope this helps <3

[weebsinstash]

When I say with my entire being in my heart of hearts that I know with certainty that this-this-this THING right here would do the absolute most unbelievable petty gross obsessive dahmer level shit to you

He's petty he's evil he's got a childlike fascination for seeing what breaks people down and I hate him I hate him I hate him but ALSO what that dick do tho? 🤔

Mahito is the yandere over here doing shit like imprisoning you for his own selfishness and perhaps genuine affection but making you live in absolute deplorable conditions because He's Not Fucking Human And He Doesn't Even Know How To Feed You. He locks you away and disappears for an entire day and comes back with like a single can of wet dog food that he watches you eat from a squatting position like 5 inches away looking at you like Harley Quinn and the egg sandwich. Motherfucker would take all your clothes because he wants to see more of "the natural shape of you" and then doesn't understand why you start shivering. Or he deliberately keeps you like that because he wants to see how long it takes you to crack and beg him for help. He wants to see the depths of your pride as you refuse to grovel, curious of the lengths you'll go, the limits of your body against the chill

This depraved fuck will do dehumanizing little emotional experiments on you where he does shit just because he wants to see how you think and feel and what you'll do and I mean like he'll do SOME REAL SHIT. I'm talking maybe he's stalking you and you can't fight or use cursed techniques and you think he's just like, a human shaped spirit or something who's just a trickster, he's not being violent or getting you alone or anything yet, and then you come home to your apartment one day and he's literally disemboweled your cat on your coffee table and he's playing with pieces of it and says you were giving it more attention than him and sits there pouting as you scream and even tries to like touch you or hold your hand or hug you with. The fucking blood covered hands. like he would be so fucked up on purpose, "awww do you need me to hold you? You're so sensitive but i dont mind :3"

This man out here like "wdym you want me to stay away from you, all I did was kill your cat kill your mom kill your neighbor kill your best friend kill your boss' cousins' landlords' newborn baby BUT WAS THAT REALLY SO BAD 🥺" and does something infinitely worse to scare/coerce you into tolerating his presence

I'm not really uh into body horror or gore but as a side detail I feel like. Uh. There's like a legitimate risk of him actually unintentionally REALLY hurting you and has to use his powers to heal you. Like the one good thing he does is if he were to have you on death's door or like horribly injured he could just. Fix it. He twists a limb in a way he doesn't know it's not supposed to go and breaks it and then puts you back together like a broken toy while ooo'ing and aaa'ing at the way your skin stretches over the grotesque misalignment. Dare I say the horror of "him putting things that are way too big or weirdly shaped in you" also yeah he's one of the things he's putting in you and he's got a really gross like fascination with learning all about that stuff

He's really living just to see how many different ways he can make you cry and how many different emotions he can get you to display, just absolutely dedicated to terrorizing you while also chasing his own internal weird repressed desire for his own sort of belonging. You could be sitting there sobbing and he's either borderline getting off on it or he's standing there MAKING FUN OF YOUR CRIES like deadass even fake crying back to you

And the worst part is he'll do all this fucking shit to you and then the night comes and he'll still be over here like "and you'll let me cuddle you while you sleep right? 👉👈" and he'll be doing that Every. Single. Night. And what are you gonna do, try and kill yourself? Have fun risking accidentally making yourself a Curse and being stuck with him basically FOREVER

[sas-soulwriter]

Hello , here are some really basic writing tips.

Intriguing Openings: Start with a bang! Drop your readers into the middle of action or create a mystery that begs to be solved. Make them curious from the first sentence.

Character Backstories: Dive deep into your characters' pasts. Share their quirks, secrets, and defining moments. Readers love discovering what makes characters tick.

Sensory Descriptions: Paint a vivid picture using all five senses. Describe the smell of freshly baked cookies, the feel of a soft summer breeze, or the taste of a sour lemon.

Plot Twists: Keep your readers on their toes with unexpected plot twists. Surprise them by turning a seemingly predictable story into something extraordinary.

Cliffhangers: Leave your audience hanging at the end of a chapter or post. A well-placed cliffhanger will have them eagerly awaiting the next installment.

Metaphors and Similes: Add color to your writing with creative comparisons. For example, "Her smile was as bright as a thousand suns," adds a vivid and poetic touch.

Character Relationships: Explore complex dynamics between characters. Highlight their conflicts, alliances, and the evolution of their relationships throughout the story.

Symbolism: Incorporate symbols or motifs that carry deeper meaning. They can enhance the overall theme and give readers something to ponder.

Narrative Voice: Experiment with different narrative voices, such as first-person, third-person limited, or even second-person, to find the one that suits your story best.

Foreshadowing Mysteries: Drop subtle hints and clues early in the story that will become crucial later on. Readers love piecing together mysteries.

Unreliable Narrators: Consider using an unreliable narrator to keep readers guessing. They might misinterpret events or hide critical information.

Flashbacks as Puzzle Pieces: Use flashbacks strategically to reveal key aspects of the story or characters. Make them fit together like a jigsaw puzzle.

Dialect and Dialogue: Give characters distinct voices through their speech patterns and accents. Engaging dialogue can showcase personality and culture.

Emotional Rollercoasters: Take readers on an emotional journey. Make them laugh, cry, and experience every emotion alongside your characters.

Settings with Personality: Make the setting almost like another character. Show how it impacts the characters and the story's mood.

Evoke Empathy: Share characters' vulnerabilities, fears, and desires. Readers relate to flawed, authentic characters with whom they can empathize. Let them fail.

Experiment with Structure: Play with non-linear timelines, multiple perspectives, or fragmented narratives. Challenge traditional storytelling conventions.

Clever Wordplay: Incorporate puns, wordplay, or clever language usage to add humor and depth to your writing.

Cinematic Scenes: Write scenes that readers can visualize as if they were watching a movie. Use dynamic action and vivid descriptions.

Leave Room for Imagination: Don't spell everything out. Allow readers to use their imaginations to fill in some blanks.

Remember that storytelling is an art, and there's no one-size-fits-all approach. You can use these techniques to improve your unique style and the story you want to tell. Most importantly, have fun writing.

And remember to drink enough water!

If you want to have more of this , than click below and follow me.

[janmisali]

I think what the game really is a call and response of emotional reaction, not inherently bullying. It's trying to invite a conversation partner to care about what your saying, because that's a nice feeling. Similar I guess to being rick rolled that instantly rewards the conversation partners of opening-link to emotional reaction. If I send a friend a link to an interesting article that makes us cry I'm connecting with them in some very visceral way. Allowing an avenue for that connection, if a bit over convenient (that can definitely be overdone) is a form of connection. All of that being said I dont know how people get scooby from that

god I hate every single argument defending The Game they're all like this

like oh you know. the shared experience of having a fun time pretending to angry, which counts as a "nice feeling" apparently.

the reason I describe The Game as a bullying technique is because that has been my experience with it. I'm happy for you if you've been able to enjoy something I can't, but I have never encountered The Game in any context other than people either being mad at me or acting as though they're mad at me (I'm autistic and can't tell the difference!) because I'm not reacting to the trigger phrases correctly (which. again, is because I'm autistic).

[batmanisagatewaydrug]

So this is another "my vagina's/vulva's orgasm behaviour is confusing to me" question, but I did not find this explicitly in the faqs. So I have a vagina that js probably pretty standard. I get an orgasm pretty easily when I use a vibrator/massager or similar sex toy. I cannot, however, get myself off using my hands. Neither can my partner. We do fingering, oral or penetrative sex, all of which I enjoy a lot, even though I never (literally never) orgasm if no toy is involved. My partner and I are a bit curious as to why getting an orgasm with a toy is so easy for me, but so far, literally no other technique we tried that doesn't involve a vibrator has worked. I'm always having fun when we're having sex, I don't feel pressured about getting off, and my partner is very attentive and has tried many different things during sex. So my question is: Can you sort of "numb" your clitoris if you use toys too often? I've started masturbating pretty early, but I always used mechanical helpers, for example an electrical toothbrush. And I've been entertaining this weird theory that this has maybe led my nerves to only react to quite strong and strictly repetitive stimulation. But maybe this is ridiculous? Do you know anything about this? Coming due to my partner fingering me or going down on me or maybe even during penetrative sex would be something I'd like very much (and also being able to masturbate without toys would be a practical skill to have) so I'm wondering why this is not working so well. I love your blog btw and I've learned so much reading through your asks! Thank you for taking the time to answer so many questions!

hi anon,

you've actually pretty much nailed it! while you can't numb your clitoris, you can teach your body to respond only to particular types of stimuli - some people find themselves only able to get off in certain positions, for instance, or, as in your case, with a very specific intensity and repetition. vibrators are great for a lot of people who have difficulty with orgasm strictly because they deliver such powerful, consistent stimulation! and that's awesome, but it can also make it difficult for the comparatively weak and unpredictable human body to compare lmao.

I'm super glad that you and your partner are already in a place where you feel secure in the way sex works for you, rather than taking the need for a vibrator as a kind of shortcoming (... no pun intended). I think that puts you in a really good place to start experimenting and trying new things together and have fun doing it!

if you want to learn how to get off minus a vibe, there's really on foolproof solution: get that vibrator out of there. not for solo or partnered sex; from now on it's body parts only. that may mean no orgasm for a while, but it sounds like you already have a really good attitude about that, so I hope that won't be too much of a bummer during the adjustment period!

it may take a while, but what I'm hoping for it giving your body a nice long break deprived of stimulation that intense to help it grow more sensitive to touch from a hand, mouth, or other body parts. don't put too much pressure on yourself to be orgasmic right away; just try out different things, pursue new sensations, and try to be playful and pressure-free. even if it doesn't result in orgasm, I hope it can be a fulfilling and fun experience that lets you learn new things about how you like to be touched and experience sensation.

also, pro tip: if you go long enough without using a vibe there's a very good chance you will, in scientific terms, nut yourself senseless pretty immediately when you reintroduce it, so that's something to look forward to.

[jesncin]

Chimera Constantine breakdown, refs & nods mega-post

Welcome to the master post of behind the scenes for the Chimera Constantine comics. In the style of the Sons of Mars ones I made, this post archives our research and process. So here we go! This will be a mix of showing references and personal anecdotes for how we cobbled this project together.

I'll be repeating some things I've mentioned across blog posts because I like having all this info in one place.

So! There's a lot of ways to go about re-interpretation and re-imagining a story, and one of my techniques is to not get overly attached to research. While it's good to be informed about a character, sometimes knowing every little thing about them can make one hesitant to innovate and try something different with them. So I'm purposely mindful about how much material I research.

But how does something like that work when the character in question has only 2-3 total appearances, one arc, and a quick revisit several years later? We play twin telephone.

For this project, Cin read the Hellblazer Golden Boy arc and vaguely retold it to Jes, who would then write a story based on assumptions and half-remembered memories of the story. Letting personal experience, influences and bias fill the blanks. We're inspired by how Naoki Urusawa wrote Pluto based on his mis-remembered memories of reading Astro Boy. Also when I was a kid I used to look at book covers and summaries and make up a story based on the limited information I was given. It's fun for me. Part of why I love obscure characters so much is that the lack of content about them lets the reader fill in the blanks about their lives and try telling new stories about them that aren't constrained by a saturated canon.

The original Golden Boy arc written by Jamie Delano (#39-40) is about John Constantine coming to the realization that he strangled his twin in the womb. After taking some 'shrooms, John...manifests into another reality, it's very surreal. There, John meets his twin from a universe where John had died, and his brother gets to live. The twin (taking on the name John Constantine, we'll call him Golden Mage to keep it simple) is John's opposite in every better way. They decide to merge their souls to restore...the universe. You kind of had to be there.

John's twin returns many issues later (#249) to wrap up a different arc, there he and the story are written by Andy Diggle.

The first panel of our full comic references the tarot cards John gets from his reading with Zed.

This panel is a direct reference to this scene where John sees his own shadow on a curtain after his reading with Zed. I like the imagery of this arc, even when the dialogue describing twins is really cringe. We changed it to a mirror to reinforce the mirror imagery throughout the comic. Speaking of which...!

Through Jes' reworking of the story, mirrors were streamlined to be the main way alternate universes were portrayed in the story. They'd be the main motif that paralleled the twins too. In issue #249 of Hellblazer, John uses the mirror to confront his twin who resides within himself after their soul-merge years ago.

The line "He's so beautiful, he frightens me." is spoken by a doctor witnessing the Golden Boy's birth in his universe. We repurposed it to be John's dialogue for when he's describing the man he sees in the mirror.

John's twin uses a sacrifice involving these candles to summon his sickly twin. Jes repurposed the use of candles to a magic salt circle that contains spirits like the Golden Boy (he's nicknamed "Goldie" in our take).

The Golden Boy! Even though he died in the womb, he's portrayed as a boy. Probably because a floating fetus wasn't what they were going for. We wanted to give him a distinct look that foreshadows how much he would grow his hair out. I like that his mouth isn't visible! We use the shape of his eyes and posing to get across how he's feeling. It gives him a vacant-toddler-stare I find really endearing.

We made some minor adjustments to the Golden Mage's design. Initially, we followed his canonical pulled back long hair. But since he was a challenging character to emote when we had one less arm to work with, we decided to part his hair so that it could carry how he's feeling. I like when I can get it to cover a part of his face for intense moments! If it was animated, it would 100% be expressive Ghibli hair.

Our main goal for Golden Mage's characterization is to make him feel like his own person. In the original arc, he's less of a sibling and more of an au of John Constantine himself. He doesn't get his own name. Despite gloating about having a better and more fulfilling love life than John, he also shared the exact same love interests John does. Being a twin is less about a family story and more a vehicle to talk about self hatred and potential here. Which isn't fair to the individuality of the characters!

(note, this is not how the panels look in the og comic, I've rearranged them so that they display on this post better)

So we characterized the Golden Mage to still have his canon charisma (albeit with the dialogue toned way down from his original appearance), but to have a thinly veiled temper under all that bravado to foil his con-man trickster brother. The Golden Mage was vaguely described as not being particularly attached to the love he receives. Golden Mage is also dismissive of his womb twin's death, saying it's something he shouldn't grieve since he never really knew him. We reinterpreted these lines as him being in denial over his brother's death, thinking himself as above his own feelings of grief.

Also as a tiny note, we kept the Golden Mage's name ambiguous to keep with the vibe of the original comic, but in my mind I headcanon his full name to be Marigold "Goldie" Constantine. The yellow flower is culturally associated with prosperity, but also grief and jealousy. It's perfect for him! So we made references to the flower in the cover and first panels of the comic. I also headcanon that as a kid he called John Constantine's ghost "Johnny".

My influences for how this whole beginning meeting scene is staged and played out is E.M Carroll's When I Arrived At The Castle. The "animated" panels of Golden Mage looking back at John and breaking through the mirror is a direct call back to the keyhole sequence in that comic! The premise of daydreaming about how your life could have been and not realizing that you're staring at an alternate universe is loosely inspired by Junji Ito's Hellstar Remina. I really like the concept of staring into the unknown and then something sentient staring back from that. "What if our day dreams are just other realities we're dreaming of" kind of deal. I don't see that sort of thing in the saturation of multiverse stories these days.

Next reference is the Dead Boy's Heart! While I like that this story's its own thing, I was surprised it wasn't linked to John's dead brother in any way. It felt thematically relevant, so we brought it over as a device to trap Goldie while the brothers merge souls.

Twins can be positioned in a bunch of ways in the womb. I think canonically, John and Golden Mage were positioned like they are in the cover for Hellblazer #39, ideal for strangling I guess! We changed it to echo the motion of yin and yang. I do think the inclusion of yin and yang is a little cringey in the original comic even though I get what it's going for (balance and all that, it's just kind of simplistic to the philosophy). But I do like it as a way to echo card imagery we established in this comic. We combined the imagery of the tarot cards featured in the Golden Boy arc and King/Queen/Joker playing cards. So it felt right to bring back that whole upside down twins in the womb thing. Special fact, this is how my twin and I were vibing in the womb.

The scene where the twins hit Ctrl + E to merge layers! It's a pretty iconic pose! I like how their heads peaked out of the panels so I brought it back for our comic too. In our version, the twins fail to merge their souls entirely. In the revisit to the Golden Boy character in the comics in issue #249, it's revealed that the merging "failed" in some way, trapping the Golden Mage within John's soul.

For John's ghost counterpart from Golden Mage's universe we took Dave McKean's portrayal of him very literally haha. I know he doesn't literally have one eye, but we thought it gave him a really distinct look for us to stylize. We decided to keep the ghost kids consistent with no mouth and vacant pupil-less stares. We gave ghost kid!John a sort of bedsheet ghost form to contrast against Goldie.

Speaking of one eye! That's another motif we decided to emphasize throughout the comic. It's not in the source material at all, but we liked it as a way to both hint at chimerism and visualize how the two brothers serve as incomplete halves of each other. Special fact! Heterochromia can show up in chimera twins. Of course in the case of identical twins like the Constantines, their chimerism isn't as detectable since they have identical sets of DNA. But! It's still fun to stylize in a supernatural way. For our take we show the glowing golden eye as the soul of the Golden Boy manifesting in his brother. I like to think that John takes advantage of how undetectable his chimerism is to have an upper hand in any soul-related deals he makes.

This stylized heterochromia is inspired by @ratblazer 's Constantine design! I made a subtle nod to it with young punk John's make up echoing the scar in her design too.

For John's dynamic with Goldie the Golden Boy, we built the conflict of the story around making him doubt his attachment to his dead brother. There's a line of dialogue in the revisited Golden Boy arc about John needing to "let go", so we repurposed it into the Golden Mage assuring him that his attachments make him weak.

Even though the Golden Boy doesn't show up nearly as much as I think he should in canon, John has been shown to be really sentimental about him. John wants to be the Golden Boy's friend because he's so beautiful John mistook him for Jesus as a kid. Canonically, the Golden Boy ghost rejects John's friendship, likely still not over the whole strangulation in the womb thing. It still breaks John's heart though, he's a sobbing mess about being owned by a dead kid.

We changed this whole dynamic! The twin murder in the womb felt very X-men Xavier vs Cassandra Nova, and it's hard to get behind babies having that much motivation before they're even born. In our version, Goldie is a vanishing twin absorbed by John, the sickly twin. Infants being accidentally strangled by umbilical cords does occur in reality. However, we changed their origin to being that of Vanishing Twin syndrome because it was more specific for the ideas we were going for.

I feel this crucial change is more in tune with the overall themes of Hellblazer. John always cheats death at a cost. People are constantly sacrificed for John's continued survival. But the Golden Boy's case would be special, because he sacrificed himself out of love before he even knew what it means to love. Unlike the other ghosts that haunt John Constantine, Goldie isn't resentful of John. I think it makes more sense for the Golden Boy to be attached to John because he's all the Golden Boy's ever known. As a chimera twin, John is like a horcrux holding his brother's soul in his body. This reaffirms survivor's guilt to be something John experiences since his birth.

Canonically, although the Golden Mage initially feels sorry for the ghost of John that haunts him, he rejects John as well. John's ghost in canon is like a nuisance that keeps bothering Golden Mage. There's an instance mentioned of Golden Mage trying to recreate his murder in the womb? It's cryptically written. But Golden Mage does keep using the phrase "banished" to describe his brother.

We took this and made it so that he performed an exorcism on himself to remove his supernatural chimera-bond to John's ghost. The Golden Boy arc is pretty unique when compared with how saturated multiverse stories are nowadays since it doesn't share the science fiction sensibilities. Grief comes up a lot in multiverse stuff, in these stories characters use parallel universes to save a loved one as they're bargaining with their loss. For our take, we wanted a character to use the alternate universes to hurt and lash out at the loved one they're grieving. I pulled influence from Everything Everywhere All At Once's concept of a self destructive character on a search for the one familial connection who could understand what they're feeling.

References! The first panel is a nod to issue #36 where John is sleeping with Marj. We changed her to Kit. The second panel is a direct callback to issue #67, an iconic visual for his break up angst era.

Trivia; this page was added at the last minute! I needed something to bridge the birthday cupcake page and the final panel of Golden Mage's breakdown, so I linked them through candles! In this weird case, I reference my own work! This is a callback to Birthdays, a short comic we made for John Constantine's canonical birthday. It sets the premise for his relationship with Goldie based on the habits and experiences of survivor twins. The pages referencing this comic are meant to re-establish that John shares meals with his twin.

I wanted this page to feel like John's lighting an incense for his dead brother, and to contrast it with the snuffed out candles from Golden Mage's flashback. The candle has a yellow and blue intertwined spiral pattern that calls back to the color of John and Golden mage's dialogue boxes and speech bubbles, along with how twisted they look when they merged. Implying that in this universe, they're together in some way. I really wish I did this intentionally but it was by complete coincidence of making the cupcake pink and balancing it out with pastel primaries. But I sure can acknowledge how cool it looks symbolically okay???

The dialogue here is a nod to John's monologue in issue #19 where John is comforting Simon Hughes. It's re-contextualized a bit to be about sharing grief together in our comic.

This is a really goofy one but- since Golden Mage is supposed to be the fully realized potential of John, we thought that he would have a successful career as a musician and singer where John didn't. I don't think Golden Mage would be a punk singer though, he probably does something he'd consider more elevated.

BUT-! In the 30th Anniversary edition of Hellblazer, Sting (the guy John's appearance is based on) wrote an introduction for the edition while roleplaying as the Golden Boy. Which is nuts. The Anniversary edition basically canonized Sting as being a Constantine variant in our universe with the soul of Golden Boy. Sting, as Golden Boy, describes himself as a musician and singer too. Absolutely bonkers for Sting to throw me a bone this late in the game since no one's touched this character in ages.

Another E.M Carroll influenced panel sequence. This is from the digital comic Out of Skin.

So that brings us to the end of the comic! We've had the ideas for this comic cooking for some time, and it's people's continued interest in our takes on these characters that gave us the chance to finally bring the story together.

I'm very fascinated by the Golden Boy story, not because it's particularly strong compared to other stories in Hellblazer's run, but because its intriguing premise is bogged down by its surreal take on typical Evil Twin tropes. og Hellblazer's strength was always in its raw humanity. John Constantine's character countered the sensational spectacle of his superhero contemporaries. He may be able to outwit a vampire but he's can't fight back against being brutalized by the police. In one of his most iconic arcs, he finds out he has cancer- not because of any supernatural shenanigans, but because he literally smokes too much. In another arc, John's long time girlfriend breaks up with him, and he lashes out by saying the cruelest things to her. When he hears that his abusive dad is murdered, John still cries about it.

I think the Golden Boy arc and the retcon that followed his brief return actively undermines what makes Hellblazer special. Suddenly John's having X-Men-level evil twin escapades in the womb. Suddenly, merging with his twin will help save the universe. Suddenly, it's not smoking that caused John to have cancer! It was actually because he merged with his twin and his twin became the cancer from inside him! Suddenly it wasn't a moment of lashing out that caused John to say all those cruel things to his ex upon their break up, that was actually the Golden Boy controlling him from within, so you see it's not really his fault! Also what followed the break up was extra devastating because of the Golden Boy, somehow.

Often I hear in fandom that when you change a character too much from their canon counterpart it's basically "just an oc" at that point, but in the case of characters who get to be re-imagined and passed through many creative teams, I think that kind of mindset is deeply limiting for transformative work. The line I draw between "just an oc" and an interpretation is if the changes involved engage with their source material in any way or if they're just superficial. Big changes and 180 flips can work because they still respond to the history of said character. It's why we see that kind of thing in canon a lot. These characters are inherently built to be passed through many hands in meaningful ways to varying degrees of success. So I hope that by showing all this process that goes behind big changes to a canon character, people better understand what can go into transformative creativity.

Our thesis for this re-imagining is to take what makes Hellblazer special and re-examine the arc that we felt undermined that. Despite the grief John has for many characters in his cast, mourning isn't brought up at all in the Golden Boy arc. It's dismissed by the characters in narration, and the Golden Mage himself isn't even recognized as a sibling by the narrative, no matter how many times John calls him "bro".

Survivor twin grief over dead womb twins especially is a real thing that's often dismissed because in the words of canon Golden Mage himself "I couldn't mourn for those I'd never known". This is not true to the experience of twins. They play with and remember each other from spending 9 months growing in a tight space together. So when one of them doesn't make it out with the other, that survivor feels a grief they can't comprehend. It can manifest in unresolved trauma, commitment issues, and survivor's guilt. All things that feel so relevant to the themes of John Constantine's character. I think that by integrating the real lived experiences of survivor twins, the Golden Boy arc could've been one the most human and personal parts of the original Hellblazer run. It's could've been a story that helped a community of people so rarely validated in their grief feel seen.

[pixelglam]

hey amelie! i just wanted to ask, how long did it take for you to learn how to build? did you watch youtube tutorials or anything like that? idk, i’ve always wanted to build a house for my own sims but it’s so hard for me to like what i’ve made. did you feel this way too? do you have any tips? sorry i’m such a yapper 😭 have a great day! <3

Hello! Watching simmers like bojanasims, lilsimsie and simlicy on youtube helped me a lot especially when I started building lots myself about one and a half years ago! I listed a few tips for you below!

I also received a similar message from another anon so I'll be answering both here. 🤍

'hiii i recently discovered your yt channel and i love your builds. how did you improve your building skills and how do you make your builds so realistic? 🩵'

Study Real Architecture: Look at real-life houses, apartments, and buildings to understand architectural styles, layouts, and details. This can give you inspiration and ideas for your own builds. My favorites are pinterest and real estate/architect websites.

Plan Your Build: Before starting, come up with a plan and layout for the build. Decide on the overall style (modern, traditional, etc.), number of rooms, color scheme and any special features you want to include.

Get Acquainted with The Basics: Understand the basic tools and controls in Build Mode. Practice using the wall tool, room tool, roof and terrain tools to create a solid foundation for all your builds. There are a lot of really informative tutorials on youtube! (important for beginners)

Pay Attention to Scale and Proportions: Ensure that rooms, windows, doors, and furniture are proportionate to each other. This helps in creating a realistic and cohesive look.

Use Realistic Colors and Textures: Choose colors and textures that are realistic and complement each other well. Consider the overall color scheme of the house and how different materials blend together.

Add Detailing: Pay attention to small details like trim around windows and doors, roof overhangs, and landscaping. These details can make a big difference in the overall appearance of your build.

Experiment with Roofing and Terrain: Roofs and landscaping can significantly impact the realism of your build. Experiment with different roof shapes, angles, and materials. Use terrain tools to create realistic slopes and landscaping features.

Furnish Thoughtfully: When furnishing your builds, think about how real people would use the space. Arrange furniture in a way that makes sense functionally and aesthetically.

Utilize Custom Content (CC): Explore custom content to expand your options for building, furniture and decorative items. This can often help to create a more realistic look as well.

Seek Feedback and Learn from Others: Share your builds in sims discord groups or on Simblr to ask for feedback and look for inspiration. Look at tutorials and speed builds by other players/creators to learn new techniques and tricks. (please don't copy or steal other people's builds to post online though)

Practice Regularly: Like any skill, building in The Sims 4 improves with practice. Experiment with different styles and challenge yourself with more complex builds over time.

Have Fun and Be Creative: Building in The Sims 4 is a creative outlet, so enjoy the process and don't be afraid to try new things in your designs.

[sgiandubh]

So in other words, you agree, Sam and Cait are not very good actors as exemplified by the scene being them and not Beauchamp and Fraser. On that, agreed. She might be a C actor, he's definitely a D

Dear Beauchamp and Fraser Anon,

I suspect you might be a returning one, by the way, hoping to catch me unprepared with a very cheap sophism. Check this concept on Wikipedia if you wish, but I will give you my definition: manipulated or derailed logic, i.e. formally sustainable, but in reality just a fallacy; or, if you prefer, a bunch of crap, just for the sake of it. Also, it would be wise not to try these cheap tricks on someone trained to work with words and doing so every single day: you might find no satisfaction, ultimately.

Fun fact: I don't agree with any single word you just wrote. Sam and Cait are very good and gifted actors. Both of them. They did wonders with a very inconsistent script and under barbaric public pressure. What dragged you in here, Anon? Mrs. Gabaldon's florid, even luxuriant prose? What kept you in here, Anon? Blood and sperm and rape galore? I should wish you were honest, at least for once in your life, and let your answer be 'not really'.

What I meant by that phrase was something very simple: the actors' life experience deeply informing and sublimating their performance. If you think real and creative lives are strictly separate affairs in any intellectual endeavor, then you are probably completely unfamiliar with anything remotely related to writing, singing, playing (an instrument), acting, composing or painting. All these are akin to magic and all of the above are a summoning of sorts: ask any 'content creator', you will probably get a very similar answer. In Cait and Sam's case, their real life story nurtures and elevates their acting, despite people like you.

I am not an actor myself, but a long time ago it was acting that liberated me and taught me to not be afraid of anything. I did not make a living out of it, but I will always have the tools making me able to access that very special energy, any time I should need it. So, I can only offer you an educated opinion of These Two:

C is a very, very good actress. She is classy, sophisticated and knows instinctively how to occupy a stage or a set. She worked and progressed a LOT since Season 1, when it took me a good while to warm up to her. Add to this what I think is arresting beauty. Not really a C-level, in my book.

S is a wonderfully gifted actor who, unlike C, does not have any idea of this potential and, to be honest, gives the impression to even not care about it. He singlehandedly dominated some of the most difficult moments of the series (that unwatchable Wentworth episode comes to mind). His mastery of the Stanislavski and Lecoq methods and techniques is excellent. He is likeable, personable and has an innate emotional intelligence, helping him navigate and compensate the weaknesses of (yes, I insist!) an often insufficient script. I have already written about it, with arguments, when I found some very interesting parallels between The Fiery Cross episode and Laurence Olivier's performance in Shakespeare's Henry V. I will say it again: this guy has been grossly miscast, spare for JAMMF.

Perhaps you are unfamiliar with the whole preparation and rehearsal process when producing a movie or a series or a theatre show. These people don't just learn their lines by heart and turn up for readings and rehearsals. They also read and watch a lot of things that could help them build better, more credible characters. But what makes the sometimes very subtle difference between a decent performance and a stellar one is the amount of themselves they allow inside their acting. And in this respect, I think Sam and Cait have been very lucky, in what is a very clear case of Art (instinctively) imitating Life.

I doubt this answered your question and to be honest, I don't care.

[ellaenchanting]

WHAT IS MINDFULNESS VS HYPNOSIS ACCORDING TO ELLA ENCHANTING (haver of opinions)

One misconception that I often hear amongst hypnosis geeks is that "mindfulness" is basically a normie-safe word for "hypnosis"- that hypnosis and mindfulness practices are essentially the same thing.

This is a hard misconception to disprove- in fact, "hypnosis" and "mindfulness" are often defined really vaguely and in different ways by different people so- they could often very well be refering to the same thing!* I know when I first learned about mindfulness practices, I dismissed them as "just" repackaged hypnotherapy- something I already knew a lot about. However, in doing so, I was neglecting ideas that turned out to be a really useful self-improvement tools.

If you're of a similar mindset, drawing a distinction between the two may also be really helpful for you.

MINDFULNESS:

So, the end goal of mindfulness is learning a kind of grounded way to self reflect. It's a potentially really helpful skill for people who get caught in thought spirals** or overwhelming emotions. A big goal for people learning the skill is to be able to observe thoughts and emotions without entirely buying into them OR dismissing them. Let's say I have a train of thought that keeps looping in my head- I'm worried about something stupid I said yesterday at work, for example. Imagine that train of thought is an ACTUAL train- maybe a toy train running on a looped track. Normally, when you're having the work worries it's like you're on that thought train- riding it around and around in circles while you're getting increasingly anxious and kind of limiting yourself from doing other things. With mindfulness practice, the goal is to get you OFF the train- it's not gone, but you're kinda watching it from the sidelines instead of ON it. It's still happening but with a bit of distance you can see the thoughts more clearly and better take care of yourself while that thought track is running.

Another example- let's say I have a big feeling. I'm going to pick overwhelming shame***. In mindfulness practices, the goal is usually not to ignore the shame or entirely give into it but to be able to sit with it and understand it without DROWNING in it. So, in that state of mind, I might sit with the shame and kind of question why it's there and what it wants from me. I might find some kindness for myself as someone who is experiencing shame (which is harder to do when I'm more inside it). I might work to conceptualize the shame differently- what does it look like, what sounds does it make, etc. In that way, I'm paying attention to an emotion that might be helpful- but not overly giving into it.

If I were teaching someone mindfulness techniques, the goal there is for them to be able to use the techniques entirely on their own whenever they need to. I'm not really trying to overly influence or control what's happening for them- I'm keeping my language as permissive as possible and encouraging them to accept whatever comes up. "Notice what's there without feeling like you need to change it" is a common mindfulness instruction. The practice encourages curiosity and bravery in the face of the overwhelming STUFF of life.

HYPNOSIS:

There are lot of different ways people do and experience hypnosis- and I'm definitely not going to be able to address all of them here. But, at least in kink, my goal in hypnotizing someone is to directly influence their thoughts. In fact, when I'm hypnotizing someone, a lot of my "induction" is convincing someone that I'm already in their head- that they're responding automatically to my suggestions. There's the kinky control fun of that and also the mutual shared feeling of intimacy- we're so close we could be one. (Or, in more D/s-ey terms, we're so close that now you are an extension of me!) In 101 classes you'll learn about the pacing and leading technique- basically matching your subject's experience and then taking them a step further. (Ex. You're reading my words and focusing on the screen and that reminds you to take a deep breath NOW.)

Explaining it by cold control hypnosis theory****, during an induction I'm helping someone kind of flip OFF their awareness of their agency- creating the illusion that things are happening internally because I'm MAKING them happen (and disguising the part where they're in complete control of their actions).

Especially in kink, what we're doing in hypnosis play is often a really conscious power exchange. You're giving me power over your thoughts because you want me to have it. I direct them where I want them to go and away from where I don't want them to be (ex. the actual reason why you're relaxing is, in part, because that's a natural thing that happens for most people when they close their eyes for more than a few seconds). (That's an excellent babysitting/parenting pro tip from me to you btw.) It's not that subjects aren't actively contributing their own images/ideas/metaphors/desires to the suggestions and play (really often they are!) but usually their whole goal is to be directed.

Even in hypnotherapy, that directedness and control is implied. You're not coming on (nearly) as strong as you would in kink, but your goal there is usually more in direction (with teaching self hypnosis techniques as an added bonus).

Sometimes the hypnosis and mindfulness methodologies can be incredibly similar with really subtle differences! For example, I might start a mindfulness-teaching body scan in the same way that I might start a progressive muscle relaxation induction- "Go ahead and get into a comfortable position and close your eyes". But continuing with the hypnosis induction, I'll usually be more directive ("Notice your feet. As you're noticing them, imagine sending a wave of relaxation down to your toes.") whereas with the body scan I'll be more exploratory. ("Notice your feet. What do they feel like? Are they hot or cold? Do they want to move or stay still? Whatever is happening for them right now is fine- just notice them") The pmr induction is intended to move someone into a suggestible state, the body scan is intended to teach someone a particular mindset and focusing skill they can use later. *****

Like I stated before, things that I consider "hypnosis" ideas and techniques and "mindfulness" ideas and techniques get mixed up all the time- with both lay folks and the actual professionals who teach them. There's a lot of surface similarities. "Mindfulness" has become such a therapy and corporate buzzword that it often DOES become synonymous with things like guided relaxation. Both concepts are vague enough that there's a lot of things that can easily be either/or- I'm thinking self hypnosis specifically here******. But- I hope if you're curious about mindfulness at all, you'll find this explanation useful and will maybe go out and explore some helpful resources for yourself.

Good mindfulness 101 books:

Full Catastrophe Living- Jon Kabat Zinn

The Mindful Way Through Depression- J. Mark G Williams et all

Just an FYI here at the bottom- like all self-help techniques, mindfulness stuff can be extremely helpful to some and not at all helpful to others. If it hasn't been personally helpful to you that's fine! I hope you've found some other things that are. Also, you can feel free to take my self help advice just as seriously as you would of any other kinky fetish blogger. :p I'm not your therapist, feel free to check in with them about things that might help you.

*I think people expanding the definition and ideas around both of these can be really helpful, in fact!

**Of the not-fun kind

***You know, like I normally do

****One of many hypnosis theories! And often not the best one for kink! If hypnosis doesn't feel like this for you, that's perfectly ok!

*****OK, in actuality both probably do both things! But the emphasis is different.

******A big difference in my mind- if you discover pain or discomfort, hypnosis-style techniques are usually directing you away from that while mindfulness-style techniques are usually directing you towards curiousity about those things.

[cat-and-fox-hub]

[Yōkai AU] Fiend & Menace

Made by Cat, aka Researcher Serif/AW

"I know I'm quite the catch but for you to look at me like that, you trying to tell me something, Master~? You don't need to look from so far, you're free see my true self as close and as often as you please~. Just know you aren't escaping me that easily~."

(The Kitsune no Mado, or "Fox Window", is a Japanese hand technique believed to reveal hidden Yōkai through your fingers as with above.

It's comparable to the Celtic hag-stone or adder stone, a stone found in riverbeds with a naturally formed hole which can reveal witches or faeries through it.)

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Sometimes, I really hate colors. I spent so long agonizing his color palette it ain't funny, I swear. At least I think I did better on colors this time. Not by much but decent enough... (lighting's hard)

Either wae, here's @cosmica-galaxy's Fiend and Menace! They're apart of my Yōkai AU, very much based/inspired on @twstedforyou's own original Yōkai Twisted Wonderland AU.

Below is some lore if you wanna know! I recommend reading up this post for further AU lore if you wish.

Do hope you enjoy either wae!

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For those who don't know what Yōkai are, "Yōkai are a class of supernatural entities and spirits in Japanese folklore."

They can range from your classic demon, in this case Oni, to objects gained spirit and sentience such as Kasa-Obake, a friendly and playful one eyed, one legged sentient umbrella.

So now that that's outta the way...

[Yōkai AU Lore]:

꧁ღ⊱ | Oni!Fiend |

Fiend is an Oni, a kind of yōkai, demon, orc, ogre, or troll in Japanese folklore. They're known to be big, terrifying and having great strength. They're also known for their violent and short temperaments with a hunger for humans and alcohol.

In this AU, since people are pretty much wiped out, skibidi's are the suitable replacement. While not as fun as human prey at times, there's something a bit more satisfying playing with them. (The answer is abundance and the fact no one cares about them. He can be as sadistic and cruel as long as he wants with his food, something he couldn't with humans to avoid getting caught with his pants down so to speak.)

Fiend is a young Oni, reflecting his canon self being a Gen 0 mimic born after the fall of humanity, but he's still quite older than a century at least.

Due to his experience and the fact that the Yōkai District is quite traditional, he's a bit different. A tad wiser and more eloquent in his words for one. Not that he chooses to be, preferring to be a bastard most times. He's still the tsundere little shit who gets turned on when you make the battlefield red with the blood of your enemies.

Due to his heritage, he's quite the alcoholic. Because of that, he's also quite a bit more aggressive with skibidis because there's just some types of alcohol exclusive to the human realm that isn't made or sold in his District.

In this AU, Yōkai can shift forms to disguise themselves as the most dominant species in the human realm via shapeshifting or illusions. For some more humanoid Yōkai like Yuuki-Onna, it shows in their true forms. The believability of a Yōkai's disguise vary between Yōkai and those with skills more inclined to disguise like Tanuki and Kitsune are better at it than most. Fiend has an unusual competence in the art for Oni, Yōkai known to be quite dog shit at their disguises, especially for one as young as him.

With his surprising competence in illusions and Menace being too young to create his own disguise, Fiend extends his own over Menace until he can learn for himself. It also means when his transformation goes, so does the tuggle's.

Before the War, Yōkai had the option of either human or mimic guises but considering mimics themselves mimicked humans, it was mostly human disguises. Now though, the option is either Alliance members or mimics who mimicked them. Fiend in particular chose the mimic option because it gave him more freedoms so to speak. Disguising himself as an Alliance member would've burden him with the role of acting like one which, as apart of a military operation, is a heavy one to play.

Fiend spent most of his time in the human realm. When the fall of humanity came, he was mostly wandering and hunting alone and only rarely going back into his District when bored. Despite the solitude of the empty cities, not even he knew why he stayed in the wasteland as a TV mimic as he did. At least, not until he met you.

In this AU, his meeting with you was much like his canon self. He decided you were interesting at first and pretty much stalked you. Though, he was much more… open, so to say, with his less than mortal nature. He didn't necessarily show off he was of an Other nature but he didn't necessarily bother with blending in too much. Humans are pretty much dead and gone and he only kept a thin veneer up for the Alliance to not get up all over his ass after all.

Let's just say it was quite a surprise when he confronted you for the first time and found out you were his beloved Master all along. (He did not let go for the next week, still closely shadowing you for the rest of the month after. Your presence— no, your existence is simply too much— too intoxicating— for him to simply ignore and leave be.)

Bonus! He'd never admit it but sometimes, he'd head over to his District and find baubles for you that he makes seem like they're old belongings he'd never touched and left to dust. He's always terribly smug when you like it and gloats it over the others with a smirk.

꧁ღ⊱ | Oni!Menace |

Menace is also an Oni, a very young one

He's pretty much canon Menace but more of a little shit with a nasty temper when really angry

Though, instead of the whole 'parents dying leaving bby orphaned', its more he was orphaned at birth

Unless a hybrid of sorts, Oni are traditionally born from the death of a horrible human's spirit which is why Oni, at their base nature, are cruel and violent. By using the dead spirit of a horrible human to bring them into existence, they're bound to take bits of the violent and cruel parts that make up said spirit. Luckily for Fiend and you, it's something that could be taught to be managed but anger is always something present that'll have to be managed for the rest of his life.

Despite being essentially a toddler, he still has the absurd strength Oni are known to have. He can easily carry you with no problem which is a bit troubling considering he likes get mischievous. Often with Byte at that...

He's also a a bit of a nipper considering human flesh is apart of the natural diet of Oni. He knows better than to harm, Spirits forbid consider you prey and eat you. Adopted Papa Fiend is hovering over his back with a critical eye after all.

Bonus! Menace, underestimating his own strength and your human constitution, had accidentally thrown you once. Luckily, it was at Fiend. Unluckily, it was at Fiend. Possessive shit extraordinaire. (Yōkai won't let any slight against their Master stand, kid or not. Someone boutta get their little ass cooked.)

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Check out my main blog: @researcher-serif

Here's my NSFW blog if that tickles your fancy: @grandfather-of-sin

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[Read under cut for those that can't see the image text or colored text]

Fiend: "Hmm...?"

Fiend: "Oh..."

Fiend: "I see~"

Fiend: "Ahuhu~"

Fiend: "How flattering~"

[books]

Writing Workshop Week 1: Show & Tell

Hello, writers of tumblr! It’s @bettsfic again with this week’s generative workshop. 

Today we’re doing what might be my favorite class activity: Show & Tell. 

You might be thinking, do you teach kindergarten or something? No, I teach college. But my students are often weary, downtrodden 20 year olds who are more than happy to go back to basics. Tumblr—being a website of people who care deeply about things and share that passion with others—seems like a great place to host Show & Tell.

Speaking of basics, let’s first talk a bit about…

The Writing Identity

The goal of many writers is to become better at writing. While I think this is an admirable goal it’s also a complicated one, because good writing is entirely subjective. Everyone has their own definition of what good writing looks like based on their knowledge base, history, and personal tastes. And so I often encourage my students, before they begin their journey of becoming a better writer, to step back and ask themselves, “What does good writing look like to me?”

And that’s the thing: you can’t really become a better writer. You can become a more patient writer, with the ability to write and revise multiple drafts of a work. You can become a more ambitious writer, with the ability to write longer stories and deeper themes. You can become a more detailed writer, with the ability to render images and the small details of living that maybe other people don’t notice. Writing is a skill that requires practice, but it also requires joy. You have to enjoy the work more than you fear the potential for failure. And to enjoy the work, you need to honor yourself, your interests, and your ideals. In other words, to become a better writer, you have to become more you.

I remember when I first started writing, I frantically sought out writing advice. I clung to simple adages and rules: active verbs are stronger than passive verbs; remove words like “think” and “realize” and other indicators of your characters’ interior experiences; take out adjectives and adverbs. If you were to adhere to all this advice, your writing wouldn’t become stronger, it would become colder. You would write like Hemingway. There’s nothing wrong with Hemingway, but Hemingway already did Hemingway, and that means you’re free not to be Hemingway. 

Don’t we read to feel closer to people, to experience that which we couldn’t otherwise experience? The beautiful thing about prose is that it’s the only medium that conveys consciousness, because language is the way we contain our thoughts, and writing them down offers others the chance to understand them. E.M. Forster in his book Aspects of the Novel says that the only difference between a character and a person is that a character’s secret inner life can be known, but a person’s can only be understood in observed behavior. Novels are stories of consciousness; biographies are stories of deeds. 

In my early days as a writer, those inane adages of “good writing” began to weigh on me, and I found myself frequently opening a blank document and telling myself, “I’m just going to write something for fun, for me, and so I don’t have to follow any rules.” Every time, that lawless thing I wrote would become better than anything I’d written when I followed the rules. And in this case, “better” means I was proud of it; in writing as close to myself as I could, I was able to help my technical skill reach the level of my personal taste. 

Good writing advice doesn’t spout shallow adages of what should be, it tells you all the things that could be; it opens your mind to possibilities and techniques. “Should” restrains creativity; the entire point of writing is to be creative. To be creative means to make something that has never existed before. And so one of the first things I tell my students is: You already know everything you need to know about your own writing. You already have good and important stories in you. You just have to sit down and write them.

“Show, Don’t Tell”

One such adage that still really gets to me is “show, don’t tell,” which a lot of writers believe. Many people take it to mean that you should describe the exterior circumstances of your narrator in order to allow the reader to interpret meaning. Instead of describing how your narrator feels, these people would rather have you describe their facial expression. But if you’re so interested in rendering the exterior rather than the interior, you’re better off becoming a director. 

Others take it less literally: you show your story instead of tell your story, which, sure, is a valid personal belief for your own work but it’s ambiguous and impractical, and also denies the nature of people to tell stories. Fairy tales and fables are stories that are told. Telling stories came long before showing them.  

In some ways, “show, don’t tell,” can be useful. If you spend a thousand words of character A lovingly and carefully describing every detail of character B, you don’t then need to say something like, “She was pining for him,” because you’ve allowed your description to do that work for you. So no, you don’t need to say it, but maybe you want to. Maybe you want to make it inarguable that character A is pining for character B; you don’t want a reader to say, “I think she’s paying that much attention because she wants to kill him and she’s looking for his weak points.”

And so that’s what it comes down to—choice. Ultimately, writing is about making decisions, and those decisions are stronger when you understand all your options.

Behind the adage is a more difficult truth to swallow: prose is both infinite in its potential and also frustratingly limited, because you have no control over your audience. You can lovingly describe every snowflake that falls in a blizzard, and your reader will be taking their own meaning from it—for people who can mentally visualize things, it’s the images their mind conjures; for those who can’t, it’s a mass of facts. And there are also those who are sleepy and missing details, or who are skimming to get to the bits they’re most interested in, or who accidentally dropped their book in the bath and now the bottom half of every page is warped and unreadable.

Or you can say, “It snowed.”

No matter what your beliefs are on “show, don’t tell,” the truth is that it’s a false dichotomy. The very nature of prose is to navigate this divide. Some stories call for more showing, for example when your narrator is at a distance, when we don’t have much access to their thoughts or feelings. Other stories will ask you to tell, especially if we’re deep in your narrator’s head and they’re giving us everything. Showing lends itself to setting, imagery, and plot. Telling lends itself to character, voice, and style. One is not inherently better than the other, in the same way that a screwdriver isn’t better than a hammer—the tool you use depends on the task at hand.

Any time you encounter a trite rule in writing, it’s usually pointing to something much greater and more fun to think about. In this case, showing and telling are two integral tools in meaning-making. For this week’s activity, we’re going to use both show and tell to make meaning.

Prompt time!

In Donald Barthelme's essay “Not-Knowing,” he calls objects magical. “What is magical about the object is that it at once invites and resists interpretation. Its artistic worth is measurable by the degree to which it remains, after interpretation, vital.” 

So what does that mean? Although this essay is a hot mess (lovingly), part of its intended work is to be a mess. In fact Barthelme describes the mess of his desk and allows it to define him. It’s covered in coffee cups, cigarette ash, unpaid bills, and unwritten novels. In reality, those objects are just objects, but when rendered in prose, they give us an impression of this particular world and the character within it. The writer renders; the reader interprets. The things we own, that mean something to us, are also things that can define us. Who is the person who carries a leather wallet embossed with their initials, with the inside holding credit cards and a stack of neat bills? Who is the person who carries a canvas wallet with a faded Punisher logo on it, attached to a chain, and the only thing inside it is a Subway rewards card?

Objects are important. Especially in this world we live in where so many things have become virtual, tangibility will always be integral to us. We are a species that reaches out and touches. We like to hold things in our hands. We love things which cannot love us back. 

For this week’s prompt fill, I want you to find a magical object for Show & Tell. Ideally, it’s something with a long personal history that’s important to you. Maybe it’s the object you would save in the event of a fire, or maybe it’s something you lost long ago. 

First, I’d like you to show us the object by describing it. Then, tell us the story of it.

You can write about how you acquired it and the memories it conjures. Allow yourself to link and associate memories and feelings. Don’t box yourself in too much—just see where it takes you. 

But you can also put a spin on it. Here are some ways you can do that:

If you want to try fiction, you can write the same story about your favorite character’s beloved object, or you could completely make up an object and its history. 

If you want to try something experimental, you can write a story from the perspective of the object, and maybe its beloved thing is you. 

If you want to try poetry, write a poem of your object. This is a separate lesson, but T.S. Eliot’s concept of an objective correlative may be illuminating to consider. 

The purpose of this activity is to dig through your memories and/or observations, connect them, and use something external to conjure meaning from them. You begin with what your object is and it will eventually lead you to what it means.

Questions? Ask ‘em here before EOD Tuesday so @bettsfic can answer them on Wednesday. And remember to tag your work #tumblr writing workshop with betts if you want her to read your work and possibly feature it on Friday!

And, for those just joining us: @bettsfic is running a writing workshop on @books this month. Want to know more? Start here.