#quality in interpreting

[newttxt]

my may fanart for fanfic is from

morning dew by zhelaniye

i loved the writing style from the very first paragraph, and the balance of hope and melancholy that they give law is perfect to me!! plus its cute to see the crew watch law fall hard

[anakindoodles]

Happy Revenge of the Sithiversary

Had to jump on the trend of redrawing that one scene where anakin looks like the painting of the devil

(references and alt lighting under the cut)

[orbch]

I cant find anyone, so i run into the red fog. Look straight in front of me, the cloud glides and rushes into the darkness.

[faunandfloraas]

fav skz // He's always pretty.

[theannoyingmosquitoinyourroom]

so. i just read the interpretation of shadows. (thanks to @ghosts-in-season <3 )

very tasty 100% recommend :3

[eddiebloombug]

all comic fans know how to do is: develop superiority complexes based on their personal perceptions of a character, eat hot chip, and lie

[ghostzart]

@midnightstar789 absolutely!!! (Part 1)

[therewillbenoromance]

yeah ykw i'll post this here

also if you don't know this is based on a danny gonzales vine ^_^

[paradoxbeta]

there is never going to be a normal way to put this but can we see your iterator designs naked

like. just. how'd you design them under their clothes

yeah of course! heres a moon i whipped up

and now for some talking, because ive thought a bit about clotheless iterator designs:

moon's design was inspired off of the atlas models from boston dynamics (and probably all subsequent iterators i draw will be at least somewhat inspired off the same). theyre pretty handy sources of inspiration considering they look awesome, and since their movement is astonishingly fluid, theyre great models for what sort of joint and limb designs create articulate results. i think its obvious which one had the heaviest hand in inspiring looks to the moon

moon is an older model so in terms of squishiness (for lack of a better term) there is none except for the face. actually, little related detail, the base of her thumb is not flexible, its essentially a small solid block. if youve ever owned a poseable mannequin hand with an inflexible thumb base you probably know that it can cause issues with fine motion in specific circumstances: its just a hiccup of being an older make. the more recent you go then usually the less bare-bones the designs are, they get filled-out midriffs and more "pinchable" areas. take this guy for example:

this is old art and there's things here i would do differently now, but note the squishier underarm: that sort of thing (generally) becomes more common the more recent your models are.

another thing that changes over old to new models is the amount of variation in how the body is constructed, at the beginning i imagine there were only a few select tried-and-true "right" ways to do things, but as time goes on and more avenues of construction become available, designing an iterator's puppet becomes more and more of an art form that is influenced more and more by the judgement and creative tastes of the puppet designer(s). paneling becomes more a matter of aesthetic instead of functionality, and you start to see vanity features appear more frequently (like nipple adjacent markings as seen above, lol).

id say that while older models are closer to the atlas models in appearance, the newest iterators would probably bear more resemblance to the cyborg bodies found in the alita: battle angel film

anyway all of that is to say naked iterators are cool

[number-one-vee-fan]

inspiration (on twitter)

Warm

[lmktreasure]

Reality Unobscured ~ also known as monkie jumpscare ᕕ( ᐛ )ᕗ

Something-something reading bout the eight trigrams furnace.... the unconditioned celestial state and the conditioned human state something-something~ and it had me thinking of MK getting the reality pep talk he needed to combat the self-inflicted insecurities bogging him down. A little one to one with the spirit within, Just with a little extra truth added in lol

ref image and stills below!

[bigmoon-is-bigwife]

This is my interpretation of Aimsey moving into the castle that Ros very clearly designed for Clown. It's genuinely so funny to me. I'm going to believe that Clown also lives there and but more in a way where sightings are rare and he's more like a cryptid that you aren't really sure if he is real or not.

[heroesriseandfall]

Introduction to Batman: A Lonely Place of Dying, April 1990

Introduction by Dennis O'Neil for Batman: A Lonely Place of Dying (1990 collected edition)

Transcription below the cut/readmore.

INTRODUCTION by DENNIS O'NEIL

Robin was gone. We needed a new Boy Wonder. There had been two previous Robins. The original first appeared less than a year after a new costumed hero called Batman made his debut in DETECTIVE COMICS #27, to instant success. Some time within the next eleven months, his creators, artist Bob Kane and his writer-collaborator Bill Finger, decided to give their dark, obsessed hero a kind of surrogate son, Robin, who was hailed on the cover of DETECTIVE #36 as “the sensational character-find of 1940—Robin, The Boy Wonder.” Over the next 40 years, Batman’s fortunes varied: always, however, Robin was at Batman’s side.

He served a couple of functions. If Batman were real (and it may shock some of our more avid readers to learn he isn’t), and if he were the grim, obsessed loner he is often portrayed as, Robin, with some help from Batman's faithful butler Alfred, would keep him sane; a man whose every waking hour is focused on the grimmest aspects of society, who is unable to release the effects of seeing his parents murdered, whose life is an amalgam of sudden violence and lonely vigilance, would soon skew into a nasty insanity if he did not have someone to care for, someone to maintain a link with common humanity. But Batman is, of course, not real. (My apologies to avid readers.) He isn’t exactly a fictional character—more on that shortly—but he does not and could not exist as a living, breathing human being. That doesn’t make Robin any less useful: he serves the same functions in the Batman stories as Watson served in the Sherlock Holmes canon and the gravedigger serves in Hamlet: like Holmes’s faithful doctor, Robin is a sounding board, a person with whom the hero can have dialogues and thus let the reader know how brilliantly he’s handling matters and like the gravedigger, he occasionally provides a bright note in an otherwise relentlessly morose narrative.

Which is why I was a trifle uneasy when we—the editorial staff of DC Comics—decided to let our audience decide whether he would live or die. It came to be known in our offices as the “telephone stunt.” We had a character, Robin, the readers didn’t seem terribly fond of. This wasn’t the original Robin, the “character-find of 1940”; that Robin was Dick Grayson and he had graduated from sidekick to bona fide hero who fronted a group of evil-fighting adolescents, The Teen Titans. In 1983, it was decreed that Robin should grow up and assume a crime-fighting identity of his own—become his own man, as befitted the leader of the mighty Titans. He left Batman’s world to assume the name, costume, and persona of Nightwing. Gerry Conway and Don Newton replaced him with a second Robin, Jason Todd, whose biography was virtually identical to that of Dick Grayson. Why not? Gerry and Don were not trying to innovate, they were simply filling a void. The assignment they were given was simple: Provide another Robin. Quickly and with as little fuss as possible.

In 1986, Max Allan Collins inherited the Batman writing assignment and told his editor he had an idea for an improved Jason Todd. Make him a street kid, Collins said. Make his parents criminals. Have him and Batman on opposite sides at first. Sounded fine to the editor and, since DC was in the middle of a vast, company-wide overhaul of storylines anyway, Collins was told to go ahead. I was the editor; I did the telling. And I’d do it again, today. Collins’s Robin was dramatic, did have story potential. But readers didn’t take to him. I don't know now, and will probably never know why. Jason was accepted as long as he was a Dick Grayson clone, but when he acquired a distinct and, Collins and I still believe, more interesting backstory, their affection cooled. Maybe we—me and the writers who followed Collins—should have worked harder at making Jason likeable. Or maybe, I guessed, on some subconscious level our most loyal readers felt Jason was a usurper. For whatever reason, Jason was not the favorite Dick had been. He wasn’t hated, exactly, but he wasn’t loved, either. Should we write him out of the continuity? It didn’t seem like a bad idea, and when we thought of the experiment that became the telephone stunt, Jason seemed the perfect subject for it. The mechanics were pretty simple: we put Jason in an explosion and gave the readers two telephone numbers they could call, the first to vote that Jason would survive the blast, the second to vote that he wouldn't.

It was successful—oh my, yes. We expected to generate some interest, but not the amount or intensity we got. As soon as the final vote was tallied—5271 for Jasons survival, a deciding 5343 against—the calls began. For most of three days, I talked to journalists, disc jockeys, television reporters. We got a lot of compliments. They ranged from a critic’s liking our stunt to the participatory drama of avant garde theater to the brilliant comedy team of Penn and Teller expressing mock envy that we beat them to “the kill-your-partner-900-number scam.” But then came the backlash, ugly and, to me at least, totally unexpected: one reporter claimed that the whole event had been rigged—that, in fact, we had decided on Jason’s demise ahead of time and staged an elaborate charade; a teary grandmother said that her grandchildren loved Jason and now we’d killed him; several colleagues accused us of turning our magazines into a “Roman circus.” Cynical was a word used. And exploitive. Sleazy. Dishonorable. Wait a minute, I wanted to reply. Jason Todd is just a phantom, a figment of several imaginations. No real kid died. No real anything died. It’s all just stories—

I would have been wrong. Batman, and Superman, and Wonder Woman and their supporting casts are quite a bit more than “just stories” if, by “stories,” we mean ephemeral amusements. They’ve been in continuous magazine publication for a half-century, and they’ve been in movies, and television shows, and in novels, and on cereal boxes and T-shirts and underwear and candy bars and yo-yos and games—thousands of ventures. For fifty years. Fifty years! Although the circulation of our magazines is relatively modest, these characters have been so enduring, so pervasive, they have permeated our collective consciousness. Everybody recognizes them. They are our post-industrial folklore and, as such, they mean much more to people than a few minutes’ idle amusement. They’re part of the psychic family. The public and apparently callous slaying of one of their number was, to some, a vicious attack on the special part of their souls that needs awe, magic, heroism.

We had promised to abide by the telephone poll, and we would. But within a few days, it became apparent that we’d have to begin growing another Robin. We had forgotten that Batman exists outside the pages of our comics, is not the exclusive property of DC’s editorial staff; because he is both popular and imperishable, hundreds of others have some legitimate interest in him (not the least of whom are the readers who, for one reason or another, had missed the voting.) Our medium may have kept him alive, but others have added immeasurably to his success. When we began hearing from them, the consensus was that a Batman without a Robin wasn't quite a Batman. I wasn’t surprised. Nor did I disagree, particularly. So our problem became: how to create Robin III without generating the hostility that plagued poor Jason. Dick Grayson was the answer. If, as we thought, readers felt Jason had somehow usurped Dick’s place, then we should link the new Robin to Dick—give Robin III his predecessor’s stamp of approval. One writer had done almost all of the Dick Grayson material DC had published for a decade: Marv Wolfman, co-creator (with George Pérez) of the New Teen Titans. That made Mary the first, and really only, choice to undertake the task of giving Batman a new helper. And if we were using Marv, why not have some of the story happen in the pages of THE NEW TITANS, which he was already writing, and thus be able to take advantage of the very considerable talents of Marv's collaborator on the Titans, George Pérez? George volunteered to co-plot the story with Mary and do layouts on the TITANS episodes, and editor Mike Carlin enlisted Tom Grummett and Bob McLeod to complete George's graphics work. I asked the regular BATMAN artists, Jim Aparo and Mike DeCarlo, to handle the BATMAN issues. Finally, we chose a name for Robin III—Tim Drake—and, after a couple of editorial conferences, six gifted gentlemen retired to do what they do best.

The result seemed worthy of being collected between one set of covers, to be read as a graphic novel. We decided to do that and you’re holding the result. I hope you enjoy it. But please don’t think it’s the end of the Robin III saga. Dick Grayson’s lasted 50 years, after all, and Tim Drake does have his blessing.

Dennis O’Neil

April 1990

[dian-mian]

Lil warning: Painfully bright saturated colours (My eyes also hurt after handling this lmao)

Do you love me? Do you need me? Do you want me?

[thimbleb3rries]

I had a more finished version of this but my file got corrupted and I lost it 💔💔 I’m disappointed to say the least

But hey! Kagami and Marinette :DD

[theworldisabrokenbonebutitishome]

Pied Piper - BTS (English translations from doolsetbangtan)

first Devil Judge gifset I make has to be for the bestie <3

check out mid-n0vember's TDJ playlist here