#so heres an explanation of Something

[spotsupstuff]

Annoying bio nerd back at it again sorry

But do ancients have a spine? Because that is a very specific structure that anemones do not have irl. I can't see any other way for them to support walking upright than to have some sort of back stick

yeah man they do it's pretty blatantly displayed too

[knightforflowers]

if you can’t tell what this is about, i’ve had enough and i want out

[stardustdiiving]

Me explaining in terms of strictly how I read canon I think Nahida not severely punishing the Sages is just meant to convey that Nahida, even when wronged, is not a very vengeful or harsh person and makes the choice to be kind instead, but in my mind I have this idea of a Nahida interpretation which elaborates on that where her self punishing tendencies extend to her being someone who internally downplays her own experiences constantly, and as a result has a hard time feeling she’s allowed or justified in placing a lot of blame on the Sages for what they did to her So while she is following her own philosophies regarding teaching lessons/wisdom/etc in how to handle the Sages and genuinely doesn’t want to be really angry or punishing because of who she is as a person, her decision is also influenced by the fact she’s basically blocked herself out of grappling with how to handle people who hurt her by blaming herself for said hurt instead as a coping mechanism. And like this is all just me being insane about Nahida Trauma and not something explicitly implied in canon but also I really do think this isn’t a far stretch from her canon characterization especially when my vision isn’t to conclude that Nahida needs to be angry and vengeful but she should extend the kindness she shows others to herself and also every day I get tormented thinking about she was the mental equivalent of an average human child when the Sages found her and how they basically specifically discarded her for being a child and the idea of how Nahida would pick up on + internalize that and eventually need time to unlearn it

[purpleghoul87]

mike prepares for the job interview

since u guys seem to really enjoy the recently-scooped michael ... here's some more ... but it's a prequel to the first post >:D

[ part 1 if you missed it <3 ]

[genericpuff]

what people assume i'm thinking while i'm working on rekindled: "GRRR I HATE LO AND RACHEL!!! I HATE HER SO MUCH!!! THIS WILL SHOW HER AND HER FANS! THIS WILL SHOW ALL OF THEM! I HOPE RACHEL SEES THIS AND CRIES!!!"

what i'm actually thinking while i work on rekindled: "man i'm having a great time working on this but i can't wait to be done with this panel that's driving me nuts. i wonder how i can get that cool splatter effect rachel did in S1. bright colors make brain go brrrr. i can't wait to get to the part where hades clowns on himself. oof i'm hungry, i need to figure out what to have for dinner tonight. oh look, an 11 hour retrospective on the simpsons-"

[pestilentbrood]

VERY long Ramble incoming

honestly now that I'm looking at the auraboa lore situation, I'm just disappointed. There was such POTENTIAL in the idea of the Loop and the horror of a new generation inexplicably being disconnected from it, forcing the newly hatched children into a world totally separate from that perceived by their parents (I mean, hell, they perceive TIME differently!).... but then the writer(s?) just fell ass backwards into Icky Tropes.

I feel like I can see what the idea was, especially with the recent alterations to the Encyclopedia entry... It seems like staff fundamentally understands the true Horror potential here, but... Instead, through the short story, they proposed it through the lens of a condescending outsider character, turning the fears of the older generation into something trivial. And also weirdly demeaning the Auroboa's situation by portraying them as overreacting.

Why... why would you do that? Like, from a storytelling perspective? What's gained from that? Why not embrace the true horror and even Emotional significance of that disruption? Why instead go for "ohh we NEED outsider help we NEED to be saved because we are so helpless and it is so Silly that we, creatures who have never experienced such things, do not know what sleep is"????

And if they WANTED to have a condescending outsider, I feel like they COULD have done that, but it would have to have that character realize the horror at some point. And make it obvious that their attitude towards distressed parents and children facing Eldritch Shit and the Sudden Deconstruction of it was not cool!

(or at the very least be a bit more...idk. Consistent with said outsider character? Juniper just goes from "omg I am so honored that the fascinating creatures of the behemoth have chosen me to speak to" to "oh their wasting my time because they don't know what sleep is. I'd rather be sleeping!! 🙄" like girl... c'mon now. Why are we trivializing it like this. Do you want me as the reader to be invested in their plight or not.)

I mean come on. They're beings connected through one networked hivemind-like system, yet each still maintains a silver of individuality that allows them to move freely throughout the Behemoth that they care for. And they've got an eldritch understanding of time that no other dragon could understand. They're seeing the future, past, and present unfold simultaneously. They're witnessing the birth and death of the world at the same time, and have no way to communicate it to other dragons. The best they can do is maintain their home, and even then, they see its roots spread and decay all at once.

And then the newest generation is suddenly disconnected. An inherent link between parent and child and all dragons in-between, that has existed since the creation of their species, is just suddenly GONE for the newest births. With NO explanation for it. The children have no easy way of communicating with their parents. The children are experiencing time in a way that was not meant for their species. They've forcefully been shoved into a circadian rhythm that they are Not! Built for!

The only way a parent could communicate properly with their child would be when the latter is sleeping, something that is also completely foreign to this species. It would be terrifying for all involved!!!

They are literally experiencing eldritch horror from the perspective of the eldritch being forced into the mortal.

Like why WOULDN'T there be panic!!! And why would that panic be trivialized! Why are we only shown the perspective of an outsider who looks at this situation and goes "Oh the silly tree beasts are being so silly over nothing, it's no big deal!"

That and the way the auraboas talk to outsiders. Like. There was such potential there. Real opportunity to explore how ancient, time-bending beings would communicate to someone who couldn't even BEGIN to understand the intricacies of it.

Instead we got what feels more like baby talk (even described as though they were hatchlings enunciating their first words, which... I dunno man, maybe we don't want to compare them to children like That) and less like... Beings that experience all of time at once. I mean, the hatchlings and the adults speak the exact same way, and that doesn't make any sense given the literal time barrier going on.

I totally get why people thought there was just a language barrier and that auraboas had their own language, thus causing the disjointed speak, and not that it was because They Do Not Experience Time Like We Do. And I feel it would've been far easier to get it across by just... I dunno. Do anything else?? I saw someone on here suggest they speak in the "wrong" tenses, or using multiple tenses in the same sentence, which I think would've been far more clear.

Like, as opposed to "saplings wilt! saplings silent!" just "the saplings will wilt in silence, they've wilted in silence, they are wilting silently." Said all at once like all things are true simultaneously. And if we're going for hivemind, have each auraboa speak in a different tense, all at the same time, and have them switch it up every time. Have our outsider get confused and be like "which is it? are they wilting now, or have they already wilted?" and the cluster of auraboas respond in a cacophony of yes's, no's, and maybe's all at once.

Would've probably gotten across the "alien" vibe they were supposedly going for far better than wide-eyed desperation for an outsider's guidance conveyed through disjointed, in-world described as baby speech.

And also maybe would've had less accidental connotations. Because as it stands, I completely see why people have made the connections to the real world where they have. This doesn't read like eldritch timey-wimey intrigue, or even a respectful look at how younger generations can become detached from their families' cultures over time and the struggles that come with it. It reads like a culture being perceived by an ignorant outsider who (despite supposedly respecting these dragons) scoffs and rolls their eyes because the tree beasts with their funny words are being silly again, and that Hey, isn't it actually a great thing that the children are fundamentally different in all manners now? Because now they can join the rest of us in the "real world."

Yknow. Ick.

(I Personally think it would've been better to have the perspective be one of the Auraboas themselves, especially one of the children, to really understand what was going on here. Give us the full brunt of the mind of a creature experiencing all of time interwoven as one shape. The waters fall and the oceans crash with waves. They've now fallen to drought. The ocean has yet to be born. Caves have been carved out through the waters' currents. And when I break from this timeline, I open my eyes to see a child, the child not yet born, the child born now, the child born yesterday. Why can't I hear it? Why couldn't I hear it? Why won't I ever hear it?)

I dunno. People more qualified than me to speak on this matter have already torn the lore apart, I'm just... dropping my own two cents. Potential got weirdly squandered and we ended up instead with unfortunate implications and tropes that could be connected a liiiittle too awkwardly to irl situations.

*Also, before anyone points out: Yes, I know the hatchlings aren't COMPLETELY detached from the Loop and can join it when they sleep. But the fact is, these thangs never had to sleep before. That wasn't in their species' nature. So that's still weird and foreign for them on both sides. And since the hatchlings now have a circadian rhythm, they can't stay connected to the loop permanently. And also Also, seeing as the previous generations aren't experiencing time linearly, who's to say they even recognize when their child joins the loop? They'll speak with an echo of their child when that child was last asleep ages ago, not knowing that it's not them presently, because there is no 'present' for the older generations.

[13eyond13]

love it when a character that's hard to read intuitively for you has like a dedicated fandom interpreter who can just glance at their blank face in a panel and then give you a 3k word essay on their innermost thoughts & desires & fears and neatly tie it back into the themes & whatnot as if it's the most obvious thing in the world

[everykabuto]

[xenocorner]

Art Resources 01 [Facial anatomy]

Hi! First post of the Art Resources thing I mentioned a while back :) Figured I'd start with something people generally want to know more about- or something people think they already know about but could still used some lesser known tips!

Resources, break downs and tips under the Keep Reading thing :]

1. The Basics

There are thousands of methods to constructing the face. The most popular one is the little circle with the cross in the middle, and sometimes a few more lines for the jaw. While that can be a useful guideline, if you're just starting to learn the ropes it might be better to use a method that has more structure decomposition and land marks to help guide you. Here I'll leave two methods of deconstructing the face that I believe are the most useful to draw faces in different angles and perspectives as well as identify where exactly should each element be placed.

REMEMBER: All of these methods are just guidelines. In order to get different facial features, you can adjust proportions for each of these and play around with sizes.

1.1 The Loomis Method

A structural approach to drawing the head, based on first: simplifying general forms and second: identifying landmarks for the face elements. Pretty good for beginners, helps you understand the head from a more tridimensional stand point to be able to draw it from different angles.

1.2 The Reilly Method

Also a structural approach, but this one is based on understanding the rhythms of the face (proportions, harmonies, and even some general muscular anatomy). It can be a bit harder to understand and use as a building block for beginner artists, but it can serve as a way to check your proportions after an initial sketch.

Here are other two methods, a bit less known, but that go a bit more in depth about the head. If you're a beginner, I'd recommend watching the Loomis method first before diving into these other two methods. Note: these are playlists covering each method, and the videos are longer, but worthwhile.

1.3 The Michael Hampton Method

1.4 The Steve Huston Method

And here's a hybrid of a visual and structural approach too if you're interested! (Again, this one is recommended mostly if you already have a good grasp of the general structure)

Having trouble finding that reference of the head from that specific angle? Here's a 3D model that can be used as reference from any angle. Bonus: It has a built in light feature that allows you to understand which planes of the face the light would hit!

There's also a version with more feminine features.

Here's a website that lets you pick a head angle and then searches for reference images with that angle too. Allows you to pick age, gender, and other features like glasses, facial hair, etc.

2. Understanding What's Below

When drawing the head and face, what most people think of is what we see everyday: the skin. However, there's more to the head and face than just that: there's a whole structure laying underneath that builds up everything on top. Understanding that structure can lead to better execution of skin level facial anatomy.

And what's that structure? Well, bones of course. And muscles. Even if (most of the time) we don't draw them, knowing they exist and how they are placed on top of each other can help with building what we do draw. Understanding the building blocks of the face will make it easier to avoid, say, making one eye bigger than the other. Or a forehead that's too small. Or ears that are too high. Or side profiles that cut off the brain.

Something I recommend for this is making study sheets of the bone structure, muscular structure, and skin structure. For this it's important to name the main bones and muscle groups. Not because you need to commit them to memory, but because if you name them on your practice sheet, it's easier to remember later on that they EXIST (even if you don't remember the name).

Here's a 3D model of the skull

Useful guide for the names of the bones of the skull

Here's a 3D model of the face muscles with names

3. Elements of a Whole

So we now understand the general structure of a face and some useful guidelines to build it. Good! But now, a face has a bunch of individual elements with their own individual structure and stuff to look out for. Those are, of course:

Eyes

Noses

Lips

Ears

3.1 Eyes

It's important to note that the eye has a volume of its own- it's not just a sticker laying on top of the face. It can be helpful to think of the eyeball inside the eye socket when drawing it (taking into account the bone structure we learned before). When understanding the eyeball as a sphere, it becomes easier to place the skin above: the eyelids. This can help with drawing the eye from any angle.

This can also help when drawing the dreaded Other EyeTM, specially if you are still a beginner artist. If you start by constructing the eyes with spheres and approach it from the perspective of "placing" the skin above that sphere, it's easier to get sizes and proportions right.

3.2 Noses

Again, spheres can be your friend.

3.3 Lips

Spheres part 3

A funny thing with lips that often gets over looked when one is just learning the ropes of anatomy is that it also wraps around the volume of the face. Just like the eyes aren't stickers laying on top, the lips aren't either. It's important to take the curvature of the face when placing the lips from different angles and expressions. For example, when we thing of a smile, its usually this idea that comes to mind:

Which yeah, that's fine! ...As long as your subject is facing straight to the camera.

But when we have even a bit of perspective, the way the mouth looks changes, and we often don't think of that and just draw what we think the mouth looks like... which can lead to odd looking mouths, like they're pasted on. So, it's important to keep in mind the volume of the face:

This is true for all features of the face: keeping in mind the volume. But, it can be more noticeable on the mouth.

3.4 Ears

Spheres part- no.

Even if the ear is one of the "flatter" parts of the head, it doesn't mean they don't have volume. Depending on the angle of the face, it'll change how much of the ear is shown- or which parts.

All ears are different and have their quirks, but they all can be divided in three major segments, colour coded in the image. If you deconstruct the ear in these three major parts, keeping in mind they have their own volume, it should be easier to figure out which of those parts will be seen depending on the angle of your face.

4. Expressions!

Now that we understand the elements and construction blocks of the face (bones and muscles), we can play around with them a bit more. So, time to make expressions!

When playing with how the skin moves, it's fundamental to understand the muscle groups of the face and how they move, relax and tense depending on the expression. Knowing that these muscles exist and how they interact with the skin above will help you know where the eyebrow should furrow, where wrinkles would form.

A BOOK I widely recommend is Anatomy of Facial Expression, which you can find here for purchase

Or here as a PDF

This book also covers skull anatomy, so it's a useful tool to study the structure talked about in 02.

There's also an ArtStation account that uploads a bunch of useful 3D model resources for anatomy (facial or otherwise).

Scott McCloud's book, Making Comics, has a section dedicated to facial expressions too (great book in general, not only if you're interested in comics!). You can find it in PAGE 80 (or 88 in the document).

Another thing that can be helpful is studying from life! You can do that by making different expressions in front of a mirror and pay close attention to which muscle groups tense and relax, where wrinkles appear, how your skin moves. Or, if you're like me and hate staring at your face, you can also study from video references.

Here's a link to a PLAYLIST containing various videos of people making different expressions.

The previous playlist contains real people, thus, REALISTIC ANATOMY. It's important to note that even if your drawing style is heavily stylised (like anime, cartoon, etc), it's still fundamental that you understand real world rules so you later know how to bend and break them properly to implement those to your own style.

However, that doesn't mean you can't study STYLISED EXPRESSIONS too! It's actually a great idea to see how other people exaggerate certain anatomical aspects to their own work so you can also understand how to do it in yours. Here's a list with various videos of EXPRESSIONS IN MOTION for animation tests. Study them the same as the previous ones: paying close attention to how the face and muscles MOVE.

Pause the videos you study as needed! While all of this might seem more useful for animation, it's also incredibly useful in illustration, and studying things in movement can help with understanding them better, thus putting them to paper (or tablet) becomes easier.

Finally, here's some videos in a sort of CLASS FORMAT that can help with walking you through drawing expressions more effectively than a text post could lol

[ickypuppi3]

Lucas On The Line // “For instance, the clothes she's been wearing lately have been... unusual. Old and oversize, and not in a good way. They remind me of Will's clothes, how he was always wearing something of Jonathan's, or even Mrs. Byers's.”

[vagueconfusion]

Made an honestly terrible looking meme, you all can either enjoy it or hate it (or make a better one honestly) either way here it is

[jaynovz]

I do wanna say re: Silver Backstory and my rec list and my tendency to poke and prod and explore where he may have come from--

That's not me saying that the way his character is presented in the canon *needs* that, at ALL.

First off, the speech on the cliffs, the Solomon Little stories, the complete inability to share?

It's perfect for the character, as well as an absolutely jaw-dropping ballsy as hell decision to make a prequel/adaptation about the most famous pirate figure in Western media and simply... refuse to define him in those terms the way we've seen the other main characters. It's such a ballsy and brilliant move that sometimes I stare at the wall thinking about what they have done and just, god I hope one day I can write something that great. I could go on about that but it's not my main point.

Second off, many ppl have said that the point is that the story of Black Sails itself *becomes* his origin, and in many ways that is absolutely true and I agree.

However, I also wanna point out that the acting and the writing reflect all the information we would ever need to know about John Silver even if he cannot bear to speak it in specifics.

in 4.9, Silver says:

“I have no story to tell. It all might seem as though I’m trying to conceal something from you, but… truth is, there is no story to tell. ... Not unremarkable, just…without relevance. A long time ago, I absolved myself from the obligation of finding any. No need to account for all my life’s events in the context of a story that somehow…defines me. Events, some of which, no one could divine any meaning from…other than that the world is a place of unending horrors. I’ve come to peace with the knowledge…that there is no storyteller imposing any coherence, nor sense, nor grace upon those events. Therefore, there’s no duty on my part to search for it. You know of me all I can bear to be known. All that is relevant to be known."

"Other Than That The World Is A Place Of Unending Horrors."

Now, coming at this as someone with my own fucked up trauma, that one sentence coupled with the performance from Luke really tells us everything we need to know.

So yeah, in a way it both does and doesn't matter that we don't get his history wrapped up in a pretty package, both bc it's NEVER THAT SIMPLE, and bc his REACTIONS to events/ppl are... so VERY clearly the reactions of someone who has been deeply traumatized. We don't NEED to know for the story and character to work EXACTLY as intended.

We can see him, we the audience. If you pay attention, he is not some mystery at all. We may not know exactly what happened to him, but also, we do... don't we?

[elmhat]

Some thoughts about c!Dream and c!Purpled's alliance:

Purpled is outwardly cold. He talks bluntly about only getting into things for his own gain. To what extent you believe him is up to you, but that's a point he's consistent on throughout the Las Nevadas arc, even repeatedly saying it to Quackity's face. And I would argue that this is also how Dream wants to be seen post-prison: letting his enemies and his allies know that's he's still dangerous, still someone to be taken seriously, even after all his time out of the spotlight. It's the way he presents himself to Punz in their first meeting, and it's the way he presents himself to Tommy and Sapnap soon after.

It's also worth noting that Purpled's combat abilities are NOT to be underestimated. At the time of their alliance, given everything Dream has been through, I'd even say it's likely that Purpled is a better fighter than Dream. Everything Purpled already is, Dream wants to be. And it's specifically because they barely know each other that I think Dream's behavior around him could be a little… weird.

Here's the thing—Dream can put on an act for his enemies. Dream can, to some extent, put on an act for his allies. But I don't think he fully views Purpled as either, and that leaves him in an awkward position.

Interestingly enough, I do see similarities between Dream's (off-camera) meeting with Purpled and his meeting with Foolish. Purpled and Foolish are both highly skilled individuals, both with a connection to Quackity. That Quackity connection is also important; Dream might not know exactly where each one stands with Quackity at present, and that's a dangerous thing to be playing with. He already knows to be careful. But as cautious as Foolish is also being during their conversation, he just isn't cold and serious to the extent that Purpled is, and I think that's something that Dream would pick up on quickly. Purpled is not "friendly" with people he doesn't know. And I think that demeanour of his, paired with his Las Nevadas connections that Dream may or may not fully understand yet, could honestly lead to a pretty intimidating first impression. Dream needs to watch where he steps with this guy.

So what you could get is a dynamic in which Dream, desperately needing to hold onto his own sense of power, is essentially trying to impress Purpled as a defense mechanism. I could picture him coming across as unfeeling and stiff. I could picture him trying his best to subtly show off his tactical capabilities, pointing out all the steps and threats and precautions they should take down to the last detail, while simultaneously refusing to share any information about himself, even down to what he had for breakfast that morning. And Purpled would be standing there thinking bro. What the fuck is your deal. Relax.

It would just be interesting to see how a post-prison Dream behaves around someone he barely knows or trusts and is forced to work with anyway. Basically: a subdued disaster. But that's just one idea for how it could go, I'd love to know if you have others.

[discjude]

Hi prequel community. If I said that I think the reason why there were only two prequels compared to the three that the other parts of the series got (3 TSY books and 3 TCY books) AND the reasons why Rhian's eye colour changes miraculously from Rise to Fall from green to blue (I think he's described as having green eyes in Rise? someone might have to correlate me on that) is because in Rise he's supposed to parallel TSY Sophie (green eyes, doubtfully good, multiple boyfriends) and then in Fall he's supposed to parallel Japeth (blue eyes, fratricidal, insane, gets cool one liners) how would you react to that

[redinthesea]

I'm gonna be honest, I have zero explanation or excuses for this one. Self-indulgent crossover just for the sake of it. If you get it you get it. Posts with a target audience of one person (me).

[sweetandglovelyart]

Knightfall in Dream Land - Page 5

Meta Knight loses a battle and his wings to Nightmare.