#researching and making and doing things

[himblebo]

All I want in 2025 is to be able to move out

[flwrkid14]

Love and Obsession: The Tim Drake Way

part 2

Everyone in the Batfamily knows Tim Drake has… issues with boundaries. They’ve spent years trying to teach him what’s appropriate and what’s—well—deeply unsettling and completely invasive. To be fair, he’s learned. Mostly. He doesn’t stalk his family anymore (much), and he no longer pulls up files on every single person they talk to (okay, maybe just sometimes). But it’s progress.

But then Tim starts dating Danny Fenton. And, oh boy, a few screws come loose.

It starts small, as always. Just little things. Tim’s a detective, after all—background checks are second nature. Danny’s living in Gotham, and Gotham isn’t safe. So, really, what’s the harm in knowing a little more about Danny’s friends? And his professors? And maybe also his classmates? It’s just standard protocol. Okay?

“Tim, you’ve run a full dossier on my entire biology class?” Danny asks one day, laughing as he flips through a file on the coffee table. Tim shrugs. “What if one of them is dangerous?” “Pretty sure the most dangerous thing in that class is the midterm.”

Danny doesn’t think much of it. He’s a little flattered, even. Tim’s protective. It’s sweet.

But Tim’s mind doesn’t stop there. Danny’s too handsome. Too charming. What if someone tries to hurt him? What if someone tries to take him away? It’s not obsessive—it’s just concern. So, a tracker on Danny’s phone? Necessary. Cameras in his apartment? Standard. Monitoring his sleeping patterns and hangout spots? Logical.

Tim tells himself it’s love. And maybe a little insecurity.

“You have a tracker on his phone?” Dick asks, trying not to sound alarmed. Tim nods, like it’s the most normal thing in the world. “Of course. What if something happens to him?” “And the cameras?” “Safety.” “The background checks on his professors?” “Gotham U isn’t exactly known for its stellar staff, Dick.”

It doesn’t stop there. Tim knows everything. Danny’s eating habits, his favorite places to go when he’s stressed, his childhood allergies. Tim’s mapped out Danny’s entire life. He knows about Danny’s ghost powers too—of course he does. He’s Tim Drake. The moment he realized Danny was Phantom, it just… clicked.

Danny being half-ghost? That’s just one more reason to worry. Tim’s up late at night, watching for any signs of ectoplasmic interference. He tracks the energy spikes. He monitors Danny’s fights.

He doesn’t think Danny knows. He’s terrified of what will happen if he finds out.

But then he does.

One evening, Danny walks into Tim’s apartment and casually drops a folder on the table. Tim’s heart stops.

“What’s this?” Danny asks, raising an eyebrow. Tim swallows hard. “I… it’s just…” “You’ve been tracking me?” Danny opens the file, glancing through pages of surveillance reports, background checks, even analysis of his ectoplasmic energy. Tim feels like his world is about to shatter.

“I… I can explain,” Tim says, his voice tight. “I’m just… worried about you. You’re in danger all the time, and I—” Danny walks over, cupping Tim’s face in his hands. Tim braces for the worst.

But Danny just smiles. “Can I put a tracker on you too?”

Tim blinks. “What?” Danny kisses his cheek. “If you’re watching my back, it’s only fair I watch yours. I need to make sure you’re safe too.”

Tim stares at him, speechless. Danny doesn’t look scared. Or angry. He looks… fond. Like Tim’s obsessive tendencies aren’t a problem at all.

“I’ve never had someone care about me this much,” Danny says softly. “I trust you with my life, Tim. This? This just proves how serious you are.”

Tim thinks he’s just fallen deeper in love.

-------------------

The Batfamily? They’re worried.

Jason corners Tim in the cave. “Okay, so let me get this straight. You’ve got cameras in his apartment. You’ve mapped out his entire life. You’ve got a tracker on him and a heartbeat monitor. And he’s… fine with it?” Tim nods, a dreamy smile on his face. “Yeah. He even wants to put a tracker on me.” “That’s not… healthy, Tim,” Dick says carefully. “That’s—” “It’s mutual,” Tim interrupts. “We’re protecting each other.”

Bruce pinches the bridge of his nose. “Tim, this isn’t how relationships are supposed to work.” Tim shrugs. “It’s how ours works.”

Damian watches the whole thing with narrowed eyes. “This is deeply unsettling,” he mutters.

They try to talk to Danny. Intervention style. They invite him over, sit him down, and gently (or not so gently) try to explain that Tim’s behavior isn’t normal.

Danny just laughs. “You guys do know I’m half-ghost, right?” “That doesn’t mean—” Dick starts. “I spent my entire life being hunted by ghost hunters. I’ve had worse invasions of privacy.” Danny smiles. “Tim cares. He keeps me safe. That’s all I need.”

The bats don't quite know what to say.

-------------------

Tim and Danny, two slightly unhinged souls who think mutual surveillance is the ultimate act of love.

The bats? They’re just trying to keep up.

(“At least they’re happy?” Barbara offers weakly. Bruce sighs. “For now.”)

Gotham’s version of love was never going to be normal. But this? This is a whole new level.

[poorly-drawn-mdzs]

Stargazing, at the edge of the unknown.

[oidheadh-con-culainn]

also the english are weird about folk culture. we are. we've relegated our folk dances and music to the zone of esoteric nerd shit that only weirdos do, and then we go looking for esoterica in the non-english parts of our heritage because we don't think we've got any of it of our own

[mari-lair]

[unfairlyfallen]

DID ONE OF MY OG ELIAS IDEAS.

I couldn't get this diagram out of my head.

Institute Director!Elias' horrid mannequin eyes were extremely difficult to get into the exact most upsetting position, but I think I accomplished it in the end.

.

.

.

.

[canisalbus]

doodled your little guys!!! I have so many thoughts about them. As someone who lives in Italy it has been absolutely wonderful seeing your characters express the country's culture and history!!! It's not often that I see characters be based off Italian history in such an artistic manner.. But that might be me living under a rock, LOL. Anyhow, keep doing what you do, YOU ROCK!!!!

.

[myballsitchaurghouchie]

Ref sheet of OCs made specifically for Art Fight. I love how it turned out

[Image Description in the Alt Text and under the cut]

[Image description: A digital drawing showing 2 characters; one tall human man and one small alien-looking creature.

The man has tan skin, short wild hair, glasses, a white shirt over a green turtleneck, purple pants, and has a cane at his side. The alien creature is chubby, pink with lime-green accents, has big eyes with round eyelashes, and has a big slime blob as a tail. They are both drawn standing, holding hands.

There is text saying "The researcher + The subject", as well as "The subject's size changes depending on the weather of the environment: it gets bigger in humid environments, and smaller in dry ones."

Through the rest of the drawing are doodles, messy sketches of the two characters in various situations. End ID]

[shadelorde]

I think a part of ART that is so underrated by the fandom sometimes is how much affection it shows for the people it loves. It's big and intimidating and mean sometimes and has no sense of proportionate retribution, but it's also very open about how much it loves its crew and Murderbot. It's not really just a hair-trigger angry ship, it's deeply protective of the people it houses in its hull.

And I wonder how much of that is informed by, or contributes to, the fact that it's a research transport that also goes directly into corporate territory and it and its crew protect and shuttle slaves and indentured servants and other disenfranchised people out.

And to do something like that, it's no wonder that it's so willing to take down anything that challenges it.

I mean. Imagine if your job was to protect your humans and you lived in a universe where everything is being slowly eaten by massively imperialistic mega-corporations who want you and everything you stand for wiped off the face of existence. You have to learn how to Fight the Hell Back.

[babymorte]

i like this edit better and i’m using it as my pfp now

[reality-detective]

Donald Trump did 96 rallies in 2024

CNN aired only 1 Live

Butler, Pennsylvania... What are the odds? 🤔

[theartofmadeline]

new zine about asexual history! this one's been rattling around my head for awhile

[croquettish]

Claustrophobia as a Metaphor for Hans' Feelings for Henry

All right. I'm ready to go full tinfoil hat here but I have a theory, y'all. And there is a lot of evidence to back it up even if you decide I'm off my rocker for most of it:

I think Hans' claustrophobia exists in parallel to his feelings and, more importantly, how Hans feels about his feelings for Henry.

We first get the hint that Hans is claustrophobic when he and Henry get tossed into the dungeon at Trosky:

This is immediately post-divorce era. The boys haven't quite yet made up and Hans has gotten his first taste of what life is like without Henry. He did not care for it, and that realization comes alongside an incredibly unexpected vulnerability that Hans is not used to and has not had to deal with before.

The threat of losing Henry before was of course something he could conceive of before, most recently following Henry's ~terrible fall, but that would have been losing him in the abstract. If he lost Henry because of their fight, that would be (at least in his eyes), 100% his fault, at least in part because-- as you'll recall-- Henry was ready to make up literally the next morning. Earlier, even, if you watch the way he tries to look at Hans while Hans is stubbornly staring away as if to keep from being persuaded by Henry's puppy dog eyes.

The divorce era presented a different sort of loss, namely losing Henry not because of God's will, but because of his own stubborn pride. He got Henry back after, but the risk was there and it's only after getting him back that the full weight of what he almost lost hits him. At the beginning, when he's still panicking in the cell, he's still in what he perceives to be the proverbial doghouse, and he promptly follows this up by eating crow and apologizing to Henry for being an asshole.

Panic abated.

Until Henry is taken away from him, of course, and the walls truly start closing in. I have to really commend the creative direction of this scene in particular because that zoom out + transition to a Dutch angle is so fucking haunting in this scene while we watch Hans clearly trying not to have a full breakdown. It really induces the feeling of claustrophobia even if a person doesn't suffer from it themselves.

Henry was taken away from him, and as far as he knows, he might never see him again. No wonder the walls start closing in on him.

After that, things return to normal. No bad claustrophobia concerns for some time, incidentally. Henry is there, and his feelings regarding Henry are completely logical and rational. What a good friend Henry is!

The next time we see Hans' claustrophobia flare up is after Nebakov is hit by the Finger of God/bombard. Hans is trapped under a beam and is (understandably) freaking the fuck out. We also know from his dialogue later on that this scene magnified his claustrophobia even more than it was before.

What's notable, however, is that Henry at this point is barely conscious and isn't responding to Hans. As far as he knows, Henry isn't alive. That bombard could have easily killed any/all of them and tbh it's kind of a miracle that it didn't. Never mind that after his brief foray into consciousness, Henry is promptly hit by a full-length ceiling beam and (presumably, logically) knocked the fuck out. Meanwhile Hans is being crushed by his own fear of his feelings.

We obviously don't know what happens between the time of the tower's destruction and the scene in the cart after, but we do know that Henry was woken up at dawn to the commotion and by the time they get done being tortured, it's very late at night. So presumably Henry was out cold for a while there. Not only are the walls closing in on Hans here, they're literally crushing him. The fear of losing Henry is more present than ever.

And to make matters worse, he has no idea when or even if he's ever going to see Henry again. Henry has no value as a hostage. He could easily be simply disposed of without a second thought.

Henry could die, and it would, in Hans' eyes, be all his fault. At this point his feelings on the matter are guilt and a tremendous amount of self-pity (as we later learn from Brabant). As if to coincide with Hans being confronted with his feelings regarding Henry and the loss of him at this point and time, he ends up stuck in his gilded cage at Maleshov.

Once again, the walls are closing in.

We learn about how he felt about this only later when we chat with him at the Devil's Den:

The big problem with the room, Hans explains, was simply that he couldn't leave.

If we bear in mind the claustrophobia : confrontation of feelings metaphor here, this makes sense. Henry could be dead. He could have been tortured. He could still be in captivity. Hell, depending on how you play Henry being tortured, he even tells the torturer to just go ahead and fucking kill him because he's not talking. Henry was ready to die.

Hans knows Henry. Extremely well. He knows that Henry has some truly insane principles that he will stick to no matter what. There's no doubt in my mind that Hans probably knows there is a good chance that Henry doesn't make it through this. And he's confronted with all of these feelings over an extended period of time where he gets to sit and spin.

In light of that, I think it's interesting that he calls it a hole, because I would never use a word like that to describe what is effectively a fancy hotel room. But figuratively speaking, of course it's a hole for him. He's despairing. He needs Henry in his life and there's nothing he can do to get to him or to save him. He can't leave.

And then, of course, Henry shows up after all. No wonder Hans looks so unbelievably elated to see him. Of course, this is when Henry brings up the secret passageway. Hans is told that he can leave this enclosed space for another, even tighter enclosed space!

Now, if you pick the correct dialogue option here and tell him that you'll make it through, together, Hans of course discloses that the shit about how it's not ~chivalrous was bullshit and that it's because he might endanger him:

He just spent the last x amount of time (depending on how long you had Henry dilly-dallying around Kuttenberg and its environs) trapped here and steeped in his feelings regarding Henry. The fear of losing him is at the top of this list. To Hans, going into that passageway could also make him lose Henry. And it would be his fault. Again.

There's also something to be said here about close quarters. If we're to return here to the metaphors, then those close quarters force Hans to confront his feelings for Henry. Henry even says it himself back when they're in the Trosky dungeon together:

From there, it's on to Raborsch. Which is where things get very interesting.

Hans is told that he's going to be getting married. Much like in the Trosky dungeon, we get that zoom (albeit in the other direction this time) and then his POV. The way time seems to slow, the wobble of the camera... being something of a panic attack haver myself, this is exactly what it feels like. It is honestly impressive how well they mimic the feeling of it. And the way it's executed almost makes it look as though the room is shrinking.

This is my own personal headcanon that will probably not be shared by most people, but I think this is the moment that Hans realizes that he's in love with Henry. It would make sense for him to feel faint and like the walls are closing in on him in that moment.

It's also the worst possible moment for him to realize.

And then he proceeds to try and shove those feelings aside and repress them as best as possible. Nevermind that yet again Henry isn't there to help support him.

There was a wonderful post going around the other day about why Hans' responses to the romantic dialogue options Henry chooses sound so platonic. Because... yeah. He's holding that shit in TIGHT. He is on LOCKDOWN.

And we see that reflected in where he chooses to place himself physically after that point!!!!

After the announcement, Godwin can find him outside on the balcony getting absolutely hammered and talking to Rabbi Jehuda.

Even at the Devil's Den, where he's objectively free, he feels... crowded. Like the walls are closing in on him:

No fucking wonder. If he just realized that he's in love with Henry, then at this point in the story he's still trying real hard to repress that shit. Hans is erecting these walls himself as if he's trying to choke these feelings out of him. It also makes sense why he's constantly going out to get away from this confrontation of feelings as much as possible, riding out whenever he can:

Even in the group meeting with the Devil's gang, he says this:

Now it's the whole tavern! Anywhere that has walls and a roof is choking the life out of him! And of course here Henry is suddenly fucking everywhere.

When talking to him about the rides he goes on in the surrounding areas, this line of inquiry leads him to ask if he's fucking poaching again, and Hans comes back by saying this:

Allow me to just say.

And I cannot stress this enough.

He did not need to tell Henry that.

Henry tells him as much, but it feels fairly obvious that this was said with intent. It's like he's trying to reinforce his own heterosexuality to both him and Henry.

I would also like to highlight here that to Hans, it's always outside that this heterosexuality occurs. Even at the baths those hookups are merely in tents. The girl from Bohunowitz he found in (or near) a hunter's camp in the forest.

So we see a pretty direct correlation here. The inside of pretty much any building (or passageway) that also contains Henry or the Absence of Henry (in the abstract) is profoundly unsafe. This is the space where feelings always seem to happen and where Realizations™️ occur.

So! The outside is safe! Nothing can get him there, not even his feelings for Henry!

It's interesting, then, that Hans decides to invite Henry into that very space not long after:

Even in the space Hans uses as an escape (including as an escape from Henry), he still wants Henry there. Much as I discussed in this post, Hans views hunting with Henry in this scene as an escape into the past. Pre-betrothal, pre-feelings. A simpler time and a return to normalcy.

Naturally, he has to counteract Henry's presence in the Comphet space by bringing up as much heterosexuality as possible:

He brings this up regardless of how you respond.

Depending on your dialogue choices, you then learn that the girl from Bohunowitz is named Karolina. (Tbh if I didn't know better, I'd assume she was fucking made up seeing as she shares a name with the same girl he was running after in The Amorous Adventures of Bold Sir Hans Capon and there is no such girl to be found in Bohunowitz.)

Regardless of whether you chose to tease him or grumble about his womanizing, Henry makes it pretty clear that he doesn't want to hear about it. He says something similar as well earlier, when Hans says that the girl from Bohunowitz (who may or may not be made up) gave him a ~ride:

Hans quickly changes the subject, but Henry keeps them on topic and brings it up again, effectively asking him if these wenches are more important to him than he is:

(Tbh it's pretty fucking obvious from these interactions that Henry is already feeling quite a lot here and is looking for validation from Hans... which Hans then, perhaps unwittingly, provides. Maybe he just can't help himself. The truth slips through the cracks.)

Hans immediately reassures him, of course:

At which point it's Henry's turn to brush him off and put some distance between them again.

Distance which Hans immediately closes up again...

... only to freak out and instantly backpedal.

The assault on Maleshov really hammers this connection home, where even outside, he can't run from his fear.

In this case, because the Finger of God fires and hits the fortress walls.

Hans falls back and just... stares.

And just stays there for a while. For long enough, in fact, that Henry and Godwin have to come help him up.

Henry, in this instance, is both the problem and the solution: all Hans has to do is accept the fact that he's in love with him—with a little help from Henry.

And then we get to the Italian Job. Hooo boy.

It does not escape my attention that these two dialogue options come up in the same conversation, one of which of course leads to a romance choice:

Henry tries to insist on how much he enjoys Hans' company only for Hans to brush him off. Quite substantially. Like if I was Henry I'd be fucking gutted or at the very least baffled that my friend could be that obtuse when I'm over here dropping all these hints.

And then, of course, Hans promptly panics again when Henry brings up the underground passage and asks if he's joining him in going through it (almost as if those two bits of panic are related).

He even brings up societal judgment! But I think it's that last one that carries by far the most weight. He's still looking for any possible way out that he can find and asking for validation from Henry while he's doing it. Which is asking quite a lot of Henry imo.

Of course, then he suddenly doesn't have a choice anymore. Which is also where Hans actually comes to terms with his feelings. He has to go through the passageway. There's no choice. The walls are closing in and he has to accept it or he'll go insane if he keeps repressing any of this any longer. The narrative is practically telling him: you can't run from this anymore. His feelings for Henry are real and they're right in front of him and they're not this terrifying thing that he's been running from all this time.

Katherine tells Henry that Hans was trailing behind Godwin and her "like a dazed sheep" and that she hopes he didn't get lost.

The good news is that he didn't. Instead, quite the opposite happened: he finally found his way to accepting how he feels.

And when he does, he finds that he's no longer afraid of them. Suddenly, as if out of nowhere, confronting his fears meant that they're not nearly as terrifying anymore.

Again, Henry asks if he's really all right, and Hans insists that he's never been better. No fucking wonder. This was a come-to-Jesus moment if ever I saw one.

And then he checks on Henry. All this time, he's been looking at his own fear, stuck in this, quite frankly, closet, and not thinking about how Henry has been feeling.

Even so, Henry is worried. At which point Hans gets to reassure him that, no, he's all right. In fact, the one holding him back and hurting him most in all of this has been none other than himself. If anything, Henry has been encouraging all this time. He does his job well. And that includes loving Hans.

Henry suggests that he overcame his fear, and Hans insists that no, that's not quite it.

Which makes sense. You don't just overcome your fears by facing them. Certainly not something like claustrophobia. It's also unlikely that an actual miracle occurred here. If you listen for his idle talk before or after this conversation, even Hans is absolutely baffled that he just... overcame his fear. Just like that.

To me, that suggests that this is about something else entirely, and not tight, enclosed spaces at all. He's always been afraid to face this part of himself.

In fact, if we recall what happened during their successful siege on Maleshov, Hans fell and couldn't recover without aid. Here, he fell and got himself up again because... it didn't kill him. It's okay to have—wait for it—fallen in love with Henry.

Is this a stretch? Maybe. But the fact that it happens twice makes me think that it was done with intent.

(If I wanted to bring in a real stretch here, I'd suggest that there's meaning behind the fact that Hans helps Henry up to his feet several times, first after his terrible fall at the beginning, while they're walking to Bozhena's, and again after he's on the floor getting kicked at the Semine wedding. If this was meant to be a hint as to where Henry realized that he was in love with Hans, having lost him first almost to death and then again to the divorce arc, it wouldn't surprise me tbh. He fell, and Hans was there to be his solution—the only difference is that Henry wouldn't have had a problem accepting it the way that Hans did. But, like I said, this one is a stretch.)

All of which brings us to the second confession.

Henry tried telling him this same exact thing before, after nearly losing him to the noose and their temporary split. Now he's saying this exact same thing again. Which feels... pointed and frankly intentional.

And this time, Hans responds in kind. He also cares about Henry. He's just really bad at showing it sometimes.

Because of course he's bad at it. He's spent the whole game thus far stuck in a closet of claustrophobia battling against his own internally homophobic demons.

But his success in a) escaping that closet and b) battling those demons brings us to the promised land.

Where they fuck in a (relatively, considering Hans' fear from before) small room and with Hans underneath Henry, the safest ceiling to come (down) on him of them all ♥

[thebreadmantm]

Ok confession, I have not been up to date on the @hemi-demi oathbreaker fic bc I have been so busy but I read through it a few days ago and AHHHDJSVDJSHBS DRAGON GERRY AHHHH

I love him so much. I am not ok

His clothes aren’t as easy to take of as Jon’s but I pretty sure Hemi said they are worse at maintaining their glamor than other dragons. So idk maybe he’s fine

[poorly-drawn-mdzs]

hope you feel better soon!

I am riddled with ailments, but I stay silly!

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.