#maybe better if smaller but

[eightfinity]

🔥 ‘HOT’ MV - Minghao 🔥

[ganondoodle]

(concept 1)

(refined design)

more totk rewritten/botw 2 concept wips

im removing the mayoi (frogs in caves) bc i dont like how satori and its aesthetic was turned from something mysterious and otherwordly to yet another collectable-

so im turnign the frog idea into a single thing living in the underground as a counterpart to satori itself- perhaps it resides in a giant tree growing from the ceiling bc i ASLO didnt like how there was that at first cool looking underground tree with all the rumis (rabbit things) but then it was quite literally nothing (again)

this idea is pretty new so i am still working on the details, im all ears for suggestions :P

[clamoridoll]

personally i didn't mind the original "childish" g3 outfits; it made them look more like 15 year olds, y'know?

[synthshenanigans]

The Mind but wearing some pjs that I own cos it seemed very mind like to me

eepy mind real

[Alt versions cos I always make those lol ↓]

[gideonisms]

I love arranging it's like YES YES THE OBJECTS ARE IN LOCATIONS

[lucalicatteart]

A few silly little small sculptures that I made with some of the leftover clay from the main one I did recently

[peacereturnedtothevalley]

I feel like I'm very much "guy who's only seen boss baby" about fatt bc I'm both like everything reminds me of it and also being like who is doing it like them. but also who is doing it like them???

fatt is a ttrpg actual play podcast and it is shaped by the different games that they play and the genre conventions they're working in and the collective media reference points of seven people all collaborating together and doing it all without shying from their clear political convictions and like who is doing it like them

[bridgyrose]

Something it feels like a lot of people miss in RWBY is how often the villains are pushed into their roles by others or society.

Salem was forced into the role of villain by the gods, punished with immortality after trying to get Ozma back, then pushed deeper when she tried to fight back, lost everything, and wanted to try to end her curse on her own terms. Now with the God of Light using Ozma as his tool, Salem keeps getting pressed deeper into her role becoming the villain everyone wants her to be.

Cinder was abused by the orphanage and the madam, only ever catching a break with Rhodes until she saw no other way to save herself than fighting back against the madam. Rhodes pushed her into the role of villain by treating her like one and forcing her to fight again.

Hazel was used because of his grief of his sister's passing. We dont know much, but it can be inferred that Gretchen died while as a student in Beacon since she died in a training mission, but Hazel was pushed to find Salem. After meeting her and trying to kill her, his grief and anger was pointed towards Ozpin, turning him into a weapon for Salem.

Tyrian's a serial killer and seems to be the odd one out at the moment.

Watts gave into his jealousy after Pietro's project was chosen. From the sound of it, Ironwood never fully appreciated everything he did for Atlas, but that's all speculation and possible unreliable narrator.

Emerald was a street kid living on her own. She fell into Cinder and walked the line of villain because it gave her a place to belong until she found something more.

Mercury was abused by his father and trained as a killer. He sees no other purpose for himself and gladly lives that lie for now.

Neo was neglected and abused by her family, initially turning to shoplifting as a way to get attention, only to find herself getting deeper into crime after meeting Roman. She found someone who understood her and cared about her in him, so it wasn't a hard choice.

Adam was branded by SDC workers and gave into his anger when the White Fang wasn't getting the results he wanted. He treaded a slippery slope of wanting to help and defend the White Fang, eventually getting pushed to want humanity to fear faunus and serve them like the faunus did humans.

Ironwood gave into his paranoia and anxiety, isolating himself more and more as things went wrong. Noble goals were pursued in the worst of ways, bringing his fleet as security for the Vytal Festival, closing kingdom borders to help ease tensions of war between kingdoms, redirecting supplies from Mantle's wall repair to Amity, every act playing right into Salem's hands until he was pushed to do things his way to stop Salem and save Atlas, isolating himself further until he sank with his kingdom.

Every single one of them have been pushed into their roles because none of them had the support they needed to do better. For some, like Ironwood, Adam, and Watts, that was on them for giving into their feelings, blinding them to what was going on around them. Salem, Cinder, Mercury, and Tyrian haven't had much of a choice, pushed into being villains by their actions and by others. Emerald, Hazel, and Neo never had the support they needed to tread a different path, and once they did, that support led them down the path of villains.

Villains aren't born, they're created. Pushed down a path to follow as the easy way out because no other doors open to them. Which will make it all that more interesting to see how the remaining, living villains will be dealt with. Will they be given a hand and support needed to change? Or proven right that all they are are villains with no hope of change?

[hedgehog-moss]

[1] `there are often translations available in other languages long before English ones` This is really interesting! I'm familiar with translation in games, where english is often a very early target (a small game might get 0-5 translations, depending on amount of text) because the size of the market is larger.

[2] Do you happen to know why this is different for books? Is it faster to come to a deal about publication rights for some other languages to get started on the translation? Is translation to english harder (at least from French) than to say, Spanish?

The literary translation situation has long been very dismal in the English-speaking world! I don’t know a lot about video games, but are localisations provided by the company that makes the game? Because if that's the case it makes sense that games would get translated into English as a priority. For literary translations which are imported rather than exported, other countries have to decide to translate a foreign author and anglo countries (US, UK and Canada at least) are not very interested in foreign literature. There's something known as the "3% rule" in translation—i.e. about 3% of all published books in the US in any given year are translations. Some recent sources say this figure is outdated and it’s now something like 5% (... god) but note that it encompasses all translations, and most of it is technical translation (instruction manuals, etc). The percentage of novels in translation published in the UK is 5-6% from what I’ve read and it’s lower in the US. In France it's 33%, and that’s not unusually high compared to other European countries.

I don't think it's only because of the global influence of English* and the higher proportion of English speakers in other countries than [insert language] speakers in the US, or poor language education in schools etc, because just consider how many people in the US speak Spanish—I just looked it up and native Spanish speakers in the US represent nearly 2/3rds of the population of France, and yet in 2014 (most recent solid stat I could find) the US published only 67 books translated from Spanish. France with a much smaller % of native Spanish speakers (and literary market) published ~370 translations from Spanish that same year. All languages combined, the total number of new translations published in France in 2014 was 11,859; in Spain it was 19,865; the same year the US published 618 new translations. France translated more books from German alone (754) than the US did from all languages combined, and German is only our 3rd most translated language (and a distant third at that!). The number of new translations I found in the US in 2018 was 632 so the 3% figure is probably still accurate enough.

* When I say it’s not just about the global influence of English—obviously that plays a huge role but I mean there’s also a factor of cultural isolationism at play. If you take English out of the equation there’s still a lot more cultural exchange (in terms of literature) between other countries. Take Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead; it was published in 2009, and (to give a few examples) translated in Swedish 1 year later, in Russian & German 2 years later, in French, Danish & Italian 3 years later, in English 10 years later—only after she won the Nobel. I’m reminded of the former secretary for the Nobel Prize who said Americans “don't really participate in the big dialogue of literature” because they don’t translate enough. I think it's a similar phenomenon as the one described in the "How US culture ate the world" article; the US is more interested in exporting its culture than in importing cultural products from the rest of the world. And sure, anglo culture is spread over most continents so there’s still a diversity of voices that write in English (from India, South Africa, etc etc) but that creates pressure for authors to adopt English as their literary language. The dearth of English translation doesn’t just mean that monolingual anglophones are cut off from a lot of great literature, but also that authors who write in minority languages are cut off from the global visibility an English translation could give them, as it could serve as a bridge to be translated in a lot more languages, and as a way to become eligible for major literary prizes including the Nobel.

Considering that women are less translated than men and represent a minority (about 1/3) of that already abysmally low 3% figure, I find the recent successes of English translations of women writers encouraging—Olga Tokarczuk, Banana Yoshimoto, Han Kang, Valeria Luiselli, Samanta Schweblin, Sayaka Murata, Leila Slimani, of course Elena Ferrante... Hopefully this is a trend that continues & increases! I remember this New Yorker article from years ago, “Do You Have to Win the Nobel Prize to Be Translated?”, in which a US small press owner said “there’s just no demand in this country” (for translated works); but the article acknowledged that it’s also a chicken-and-egg problem. Traditional publishers who have the budget to market them properly don’t release many translations as (among other things) they think US readers are reluctant to read translated foreign literature, and the indie presses who release the lion’s share of translated works (I read it was about 80%) don’t have the budget to promote them so people don’t buy them so the assumption that readers aren’t interested lives on. So maybe social media can slowly change the situation by showing that anglo readers are interested in translated books if they just get to find out about them...

[andr0nap]

You mentioned the deal w seeds in the plane au — what IS the deal w seeds in this au, if you don’t mind me asking?? 👀

bwah okay its not that much different from canon. they were still a deep space colonization fleet but in this au their mission was technically a success

seeds established an research outpost on no mans land to study the planet and test it for potential permanent habitation in the future. basically the fall doesnt happen. or at least not when and how it does in canon

vash and nai were born when seeds began constructing proper long term facilities on the surface

2 years later the research facilities have turned into small cities, terraforming projects kicked into gear and a decent human population was slowly being woken up from cold sleep. the colonization mission for this fleet was deemed a success

the twins were part of a project testing independent plant capabilities and the utility potential of reality bending (the ability to both power and control machines and expanding the storage capacity of small fast aircraft for transportation efficiency), later named project gemini in their honor. during that time the jets g-01 and g-02 and their prototype engines were constructed

at some point nai found detailed info on the project and noticed the discrepancy in their unit numbers, their engines being numbered 02 and 03 in the blueprints. more digging led to the discovery of tesla and her fate as an integrated part of the fleets onboard ai, knives went mad and began plotting the downfall of humanity. over a few weeks he secretly gained control over the local aircraft fleet and one of the production lines and launched an assault on the main ships in orbit

the one man war against seeds (and poor vash, who was caught in the crossfire, not wanting to fight either of them and trying to stop them from fighting each other) lasts a few decades and only ceases when nai shoots his brother out of the sky by accident

by then little was left of the original seeds project, losing the battle in the end. the sky and desert are a graveyard of ships and aircraft a century later. most of humanity doesnt remember the project or know what happened. a majority of the population abandoned seeds and fled the facilities to establish their own settlements during the war

and thats the deal with seeds! i think? did it explain anything? i got so caught up in writing this that i wrote down some of the early plot dhgfjhdfg

[mapoptart]

Furby bag

[distance-does-not-matter]

Nothing hits like a nap on any surface that’s not a bed

[skrs-cats]

thinking about cinderlion kits and how hollytufts reaction to flywhisker and snaptooth leaving to become kittypets was to aggressively call them traitors

[ganondoodle]

sorry about that last rambling post, i didnt mean to sound like its worse than it may be, but i got no ... lense to view it through but my own, and the main reason i wrote it out anyway was bc i needed to get it out (even if posting it might be not the greatest idea) .. and bc it kinda showcases, i think, how my stories kinda write themselves, involuntarily in a way? its not like im not putting in any effort- but its like .. i cant STOP it always keeps going and even the dumbest idea stays in some form, its very hard to get everything in place bc theres so much going on all the while i am very slow at making anything, writing or drawing anything, especially anythign coherent is very hard bc not only do i get constantly distracted, i get distracted by my own thoughts suddendly skipping to a certain scene and me having to go throguh imagining in detail NO MATTER how many times i have done it before for the same scene that i already decided on how it goes, when theres a new idea it can take over my entire day bc i cant let go of it-

not trying to sound either like im the only that has that sort of problem, but i think its a big part as of why i start tso many projects without being able to finish them, or even start them bc i constantly have to fight my own thoughts from derailing into another daydream session, thinking of too much too fast than i can ever draw or even write about and not knowing what is worthwhile and what isnt (im telling you i have no idea what is good and what isnt, idk why but for all i know all things i do could be trash, or they all could be bad, maybe the one i thinnk is decent is actually worse than the things i deem not good enough and once i start to think no this isnt good enough i stop having fun making or thinking it bc im trying to do better

honestly its kind of impressive that i can get anything out at all, not to pat myself on the back there but even if i hate how long it takes me, considering how much im having to work just to start working on something at all, the fact that i could post stuff coherent enough for some people to understand AND LIKE is something i should be a little more proud of

[janadraws]

oc doodles mwahaha

(she/he/they)

[druidshollow]

the um. violent urge. to just redesign the twins. honestly