#this isn't my normal style but I will be trying to do more art in this style

[fried-trash]

do not let me write angst rps or get ideas for them. I can and will draw something to go along with it.

[jadenvargen]

If I want to study someone's art or style, how do I do that? Like where do you even start when looking at an illustration that they made 😭thank you!!!

Here’s stuff i think about. i don’t do that many style studies, so idunno how helpful it is! pls sound in tha comments if anyone has tips:) 

Pinpoint what stuff you like, and focus on that. Focus on technique rather than exact replication, for example ( just first thing comes to mind) if you like rostov’s disco elysium cover art and want to study it, don’t just repaint the image, find what’s key in the style. looseness, maybe? then, instead of copying the image with your technique, try to apply the same looseness. (feat. shitty 5 min sketch plz dont judge example of how i normally approax paintings, versus a study. ALSO not to say u CANT do this it's just how i would study, myself. )

That being said, don’t force yourself to make art decisions that feel unnatural to you. a lot of the time artists make decisions based on their weaknesses as well as strengths. I do very shaky, hatchy lineart because my hands are very shaky. I focus on painting what I* feel is important and fun. 

Instead of copying a style from a picture, look at a variety of pictures and find technique. For example a lot of people redrawing a screenshot in “sailor moon style” or “ghibli style” will draw… let’s say, an old man, looking like a usagi because that’s the screenshot they looked at, instead of watching what stylistic choices for example takeuchi made when stylizing an old man. So the “studies” end up homogenous. I personally find it unproductive to replicate a painting for purposes of study, but like focusing on individual elements. say you like egon schiele, replicating whole paintings at a time IMO isn't gonna do much, but maybe you can set out on a series where you sketch copy his hands or feet from different paintings, and then try stylizing your own hands the same way? Or maybe your fave artist draws moonlight like a blue stream, or a red one? Try applying only that light to your paintings.

You could also color pick or look at the colors they make and paint whatever you want with those same colors, to understand how they work together and what can be done with them.

Also, if you can, look at their influences! Everyone learns art by seeing others art. Chances are they saw art they liked and picked from there what elements they enjoyed. Looking at the inspiration can help make some of the techniques more obvious.

Basically focus less on copying(not that copying is bad- but not always helpful for studying), and more on what you like. If you find what you like, you can work from there and try to think about your own art from the same perspective.

IDK if this helps as i said, feel free to add onto^_^

[adorkastock]

So I don't know who to ask about this, and since it's your profession, I figured you'd know most! I like to use Magic Poser to help me draw my characters' poses, but I feel like I always wind up altering the proportions to fit the models rather than my style without meaning to just because I'm drawing what I'm looking at. It feels less like looking at a reference and more copying a picture, and it makes me feel really bad, like I'm cheating at art. Do you have any thoughts or word of advice on this? I'd greatly appreciate it. Thanks!

Hey Nonnie! Hmmm there's I feel like kind of two questions here. One, using Magic Poser or any other legit reference to make your art is not cheating. It's just using a tool the way it's meant to be used (as a reference). There's nothing at all wrong with that. ♥ However, if you are getting Not The Results You Want from this process that's another issue entirely. So, two: what do I do if the art I'm making from reference doesn't look like *my* art? If you find that working from a reference is changing your style in ways you don't like, I have suggestions: 1) do a sketch from the reference just like you normally would in whatever style comes out naturally using the reference 2) look at the drawing you did and put the reference away 3) draw another drawing from the drawing you did but try to make adjustments towards the stylization you prefer (your first drawing is your reference for your second) OR, if your brain will do this for you: 3b) after sketching from the reference (maybe a few times for good measure) put the reference away completely and try to draw the pose from memory* and see what happens. If you think you're overly reliant on references to the point you think it's holding you back then you can start to wean yourself off of them but doing more and more drawing without them. Maybe start with a 20min warm-up on my Sketch App drawing a bunch of poses really fast from reference, then pull up a new pose, look at it, and try to draw it without checking back in at all. Honestly the best way to get to a style you like is to just draw A LOT. Draw lots of different ways. Mess around with line weight and shapes. Make things swish, make them pointy, make lines that cross over a lot, make a mess, make it neat, keep going. Do a lot of drawing and investigate what feels and looks right to you. And if a tool isn't serving your goals, you can let it go. It might be hard at first but you will find your way. ♥ * Side note: I have aphantasia which means I don't have head pictures. If I look at a reference and walk into the other room, I am not going to be able to replicated it very well from memory. That being said, if I sketch a pose over and over and over a bunch I will retain it somehow, somewhere (I don't know how brains work). The next time I go to draw that pose it will be easier. Just popping this in here in case you have the same trouble.

[danadiadea]

Basically my whole deal with the pretty/ugly/normal Snape discourse is the fact that people behave like Harry is flattering Snape for some reason, build fanon assumptions on that belief, and then behave like those are book canon and the only correct interpretation forever and ever amen.

if Harry calls Snape's nose hooked and prominent – it probably doesn't mean it takes up 70% of his face (people behaving like "hooked" and "huge" are the same word make me kinda tired), if Harry says Snape's greasy hair hangs in curtains around his face – it probably doesn't clump in icicles, if Harry calls his teeth uneven and yellowish – they probably aren't extra crooked and rotten and of a bright yellow colour, if Harry points out his skin is sallow and pallid and white – it probably isn't of greenish shade and with acne, if Harry tells us Snape is thin and haggard – it probably doesn't mean he looks 25kg underweight. Believe it or not, but Harry doesn't actively try to embellish the man he hates! He rarely uses any extreme language to describe Snape – and that's what bugs me when people insist he must have extremely unusual features, because even a pretty lookist boy who hates the guts of him and is ready to misinterpret him at any given chance, is actually being relatively mild. If Harry could debase Snape more – he would!

Harry calls Pancy ugly too, but Rita, for example, thinks she's pretty and vivasious, and I know it's assumed Rita is exaggerating because she and Pancy are both awful people, but Rita wouldn't publically call a girl that objectively had a face very unfitting to beauty standards pretty, especially when it's so uncalled for! Pancy must've looked at least somewhat cute so that it doesn't sound like a mockery.

Severus probably "wasn't pretty" to Harry's taste – just like Eileen, whom he greatly resembled, but he also didn't look extremely out of the ordinary and wasn't repulsive to look at, just tired, a bit unkempt and with intense traits (which can be handled in a whole lot of different ways of course). Enough so that people who hate him can make some derogatory comments on him, but honestly, go to any visual based social media and look at people who receive derogatory comments on their appearance out there and tell me that all of them (if any) are unbearably ugly and barely human looking.

So basically erasing Snape's traits and giving him a straight nose or full lips or rosy skin is misinterpretation just as much as exaggerating every feature of his to the extent that never was even remotely mentioned in canon (and especially since we know we have a negatively biased perspective almost at every instance) is. And it's fine, especially if we talk about art, when artist's style would naturally enhance certain aspects and try to deliver different messages. Some prefer to draw more standardized faces or softer appearances, while others tend to give their characters strong, stylized features and make them visually challenging – and this is all great and good and valuable. It's also fully okay to headcanon different traits for the character, both recognised as attractive or unattractive, depending on how each person wants to interact with the fandom. My problem is exclusively with people misinterpreting the book text, claiming it as canon and saying what people can or can't do with characters based on those misinterpretations.

[hestzhyen]

So, About That Drama...

After seeing the Kagurabachi community meltdown play out on Twitter, Discord, and Reddit, I'm pretty sure it's safe to say that the era of peace towards all is over. I'm so glad I put down roots here instead of the other places.

Whatever might have been true when the fandom just started out, the gen spaces are no longer safe for fujoshi/shippers.

Katsu, the biggest artist in the Western fandom -and someone I consider a friend-, was bullied out because of two individuals with personal vendettas and not enough resistance against them. Her final message is here:

https://x.com/Katsutacle_/status/1879888982886224206

I'm not going to write an in-depth essay about everything that happened. It's been less than a month since I got back from the hospital and the last thing I need in my life is stress over online "discourse". I've just been trying to help the main victim behind the scenes and speak up when I'm able. I so sincerely do not want to be involved in this bullshit... I just want my friend to be okay no matter what she decides to do in the future.

I usually don't get involved in fan spaces because I'm tired of trying to exist in places I'm not wanted. I don't expect everyone to enjoy things the same way I do. I just want to talk about them with the handful of other people who see things the same way... but it's so tiresome to be punched down on because I think it would be neat if two fictional guys fell in love.

I wanted to believe that Kagurabachi could be different. I did at the start, which helped me embrace the series wholeheartedly where I would normally hold back. And I don't regret letting this manga take over the precious few working brain cells I have. My only regret is believing the warmth and acceptance would last. As of now, the Kagurabachi fandom is far more interested in keeping a false peace that only benefits the usual suspects instead of making the space truly welcoming to all fans.

I won't stop posting about this manga and I won't write off everyone else- a lot of people sent well-wishes to Katsu and got their accounts banned on Avizie's Discord and subreddit to support her. I'm just putting expectations for the general fandom's behaviour back down to where they should have been all along.

I simply won't be telling people that it's worth joining the community any more or that it's wholesome compared to others. It's just more of the same with a thin veneer of acceptance over the same old tendency to belittle and ostracise. I'm glad I decided to keep to myself for the most part and only toss my thoughts out to the void instead of engaging on a deeper level. I should be sad or upset over this, but... I've been in fan spaces for long enough that it's just normal now. Not once have I ever felt at home in a main anime/manga space even if I didn't ship any characters from the series. Seems like I'll have to keep waiting for a place to belong.

And if anyone tries to cast this as a "ship war" because it involved the two most well-known shippers in the fandom and their "rival" ships, that's not it. That's misconstruing what actually happened to write it off as dumb fandom drama. Trying to cast the bullshit as a moral argument because Hakuri is 17 or because Katsu drew clearly labeled NSFW YuraChihi isn't the point- it's a deflection. Katsu was bullied out because Yuna (YunAris) and Avizie hated her guts despite her giving them every possible chance to act like decent people.

Avizie never liked her after she called him out for trying to get JJK-style leak culture in the fandom, and Yuna... I don't know her, but seeing how she stalked and harassed minors for weeks because they called Chiyuki and her art mid (without tagging her or anyone else!), then kicked off all this drama by pulling in Katsu and simbay who had nothing to do with it... she needs to get a grip on herself and grow up. Both of these individuals are adults, mind you. And both of them cannot stand Katsu for very personal and petty reasons.

So here we are.

It was never about the HakuHiro vs. Chiyuki nonsense, Hakuri's age, or anything else for Yuna and Avizie. All of it was merely an excuse to harass and slander Katsu until she was driven out. And good for them I guess because it worked. I hope they find the healing they obviously need to grow and become better people, but for now, I'm going to further distance myself from the fandom at large and be there for my friend.

Not much else to say really. If you have a choice, be kind.

[deesea-ao3]

Fun Lore Ideas for Fawcett City

I've been sitting on these concepts for ages and need to get them out of my system. For my current WIP, it was important that I have a strong concept for what kind of city Fawcett was going to be. While the plot isn't technically taking place in Fawcett, a huge amount of my lore interpretations/characterisations rely on there being a solid original setting to draw from. Also, it's super fun to extrapolate history and economy for a fictional magic city to try and make it feel as plausible as possible.

Now, to start with, I had to establish where the city would actually be located. Fawcett is typically represented and/or thought of as being in the Midwest, so I was able to whittle down my options even more. I couldn't have it too close to Central City, Keystone City, or Smallville since I wanted Fawcett to retain its isolated feel. It'd be harder for it to get away with being magic if it was a stones throw from speedster stomping grounds, for instance. In the end, I looked up old maps of America DC Comics had officially released for inspiration. What I got were these:

The first didn't have Fawcett at all, and the second had it placed near the border of Wisconsin. The latter was serviceable for my purposes. However, I wanted something more to draw from. I wanted to make Fawcett feel like an actual city with history before I slapped on the magic superhero. It technically was just an ordinary city until Shazam placed a portal there after all.

My second go of looking for inspiration was much more fruitful. I looked at a few fan-made maps and eventually stumbled upon this one in a reddit forum:

Upon closer inspection, I realised something.

That's fucking Chicago.

The idea that then formed was brilliant, my best one maybe ever. If I don't want to write a 2K+ document detailing an organic history of fictional Fawcett City, coupled with local industry and culture to boot, I can just STEAL a real one!

The existence of IRL Chicago is not necessary for my story, and its absence would be barely noteworthy in the grand scheme of things. Functionally, it wouldn't even be gone. Its location and major historical events would still have occurred, just under a different name. It not only saves me tons of labour as a writer, it's also fucking hilarious.

The heart of ALL of magic lies in an abdoned subway station in downtown Chicago Fawcett, the Windy city that houses pagan subcultures, talking animals, cursed objects and people who still think it's 1945.

Southern Lake Michigan has freshwater mermaids. The flat lands of the city proper are surrounded by bluffs as old as the ice age, which thrum with prehistoric magic. The sunset is always pink, and moonbeams are brighter somehow here. In the river that flows through art-nouveau styled skyscrapers swim fish with rainbow scales. The people are happy and chatty and full of little secrets, kept close and safe for rainy days. The woman who dresses in leaves and sleeps on park benches is liable to be simply human, but the jolly old milkman who visits you every morning is fae through and through. Weird is normal and normal is weird.

All while in Chicago, Illinois, one of the most populous, wealthy cities in America since the 1870s. The mechanic who enchanted your car to not break down anymore was raised by regular steel mill workers. The politician who dreams of addressing the city's entrenched class divides is stuck doing paperwork to establish legal protections for the local gnome population's tree houses. When it snows in winter, Yetis clear driveways and salt the sidewalks. No one talks about it much because what is noteworthy about public servants doing their jobs? So what if they're Yetis? You got a problem with that?

Fawcett blows Gotham out the goddamn water for weirdness, but because they're so nonchalant and humble about it, Gothamites walk around smugly assured of their tolerance for insanity, unaware of the bigger fish, which is the average Fawcett citizen. When tourists come to visit, the very genre of reality changes the second they step foot within city lines.

Fawcett solos, tbh. DC writers are weaksauce for not seeing the vision that is mystic Chicago city, home to all of magic.

[thetepes]

Not to play devils advocate, but I feel like lilys opinion on the usage of the n word is valid. Regardless of someone’s race, I think it’s a little backwards to dictate what someone has to say about another races cultures just because they’re white (or not of that culture), differing opinions aren’t the end of the world and hers wasn’t inherently racist I fear the same goes for the anime thing too, I’m sorry but Japan DOES have of a loli problem, even if her wording was extreme

I’m not white myself (to be fair, not black/japanese either), not that I think it matters to what I can and can’t say about this but I don’t want you to assume I am white because I somewhat defended lily, which is someone I did NOT want to run defense to but maybe I’m too conservative for this space but I mean this in the most respectful way possible, it feels like some of you are reaching on some things just to paint her in a worse light, as if she wasn’t already famously bad 😭

(Feel free to correct me, I’m not trying to be intentionally ignorant for the sake of it I’m just tired of hearing of a lot of echo chambers about the issue without getting to WHY what she says is racist when I think like pretty reasonable??)

Anon, my friend, I do not know how to break this to you, but that is racist. I know you do not mean to be. I know you're trying your best to be as inoffensive as possible. I'm going to do my very best to answer you genuinely because you seem genuine.

Saying Japan has a Loli problem is like saying America has a child pageant problem. It's there. It's a problem, but it's not something floating on the surface everyone in Japan is aware of the magnitude of. It's a niche genre of ero fiction that comes up about as much to your every day Japanese person as child pageants in America.

In the 80's there was this loli boom that took place where it split off from your more typical bishōjo into lolicon. You would find stuff like Future Boy under that genre long before you'd find any ero.

It wasn't until an otaku named Tsutomu Miyazaki was arrested in the late 80s that the darker side of loli came to the awareness of your every day Japanese person. It was a popular genre so there was a LOT of hentai of it. He killed and murdered several little girls between the ages of I think 3 to 6 and it started a panic very similar to the Satanic Panic that happened in USAmerica. He had a massive collection of anime and hentai. I mean massive. From normal things you'd see in Walmart to stuff you could only buy from very specific websites online no normal person would even know about. It wasn't just Loli that was effected though it was all anime.

It's why Otaku culture was so repressed and shameful for a long time and it even killed the Loli boom because the style was associated with the killings. It wasn't until very recently that Otaku culture made a come back, but still Loli isn't making that come back because of the online opinion on Lolicon. It's gone from an art style to something a lot darker and I think that's where the communication sort of faulters? Because if you say to a Japanese person "you have a loli problem" they're going to think you're having a Satanic Panic moment at them.

At least that's been my experience.

This whole thing is why there was the Moe boom in the 2000's, it was an over correction on the part of artists. Trying desperately to get away from that label and people taking advantage of that as well to make slop.

The rise of the Lolita in Harajuku also muddied the water on this because there's an entire beautiful subculture there that branches into a thousand different expressions. "You have a loli problem!" What's the problem with girls in frilly dresses?

You as someone online, who is adept at being online, in critical spaces and animation/anime spaces have so much more exposure to this stuff than anyone on the daily in Japan.

The entire world has a porn problem. The entire world has a sexualizing little girls problem. To point at Japan and specifically repeatedly deem the entire country as having an issue with pedophilia is racist. To go out of your way to bring it up when you're not even discussing anime or Japan is racist. When your hate and ignorance for a place and it's people bleeds into everything you do

That is racism.

[thewadapan]

thoughts on Transformers Animated

I would've been the perfect age to get absolutely oneshotted by Animated when it started airing on Cartoon Network, but my parents didn't pay for satellite TV, so after Transformers: Cybertron finished airing on CITV I was pretty much shit out of luck for Transformers cartoons for a while. I remember watching clips from the show on Monkey Bar TV, a section on Hasbro's website. The art style didn't really appeal to me. I do wonder about that alternate reality where I did get to see Animated as a nine year old. Would that have fucked me up?

This isn't a proper essay, I'm not here to tell you Transformers Animated Sucks And Here's Why, it's just some off-the-cuff thoughts I had, having now sat down to watch the cartoon in full for the second time in my life. I am going to have to break out the roman numerals, but only because I cannot shut up. So that's the epistemological status on this one.

I. Be a Hero

The thing with Transformers Animated is that it's a great Animated cartoon and kind of a terrible Transformers cartoon. My friend Jo recently put out an essay taxonimising the two different approaches to writing Transformers stories into Budianskian ("human-meets-robot") and Furmanist ("robots-fighting"), pointing to Animated as an example where the first season is grounded in human affairs and culture clash, only for the show to become progressively more preoccupied with conflicts between Autobots and Decepticons until, by the third season, Earth is basically just a backdrop used to create the illusion of stakes, a damsel-in-distress just offscreen. Well, having now revisited it, I honestly think it was Furmanist from the start?

I think the best way to approach Animated through a critical lens is to think of what it means to be an American boy/tween. What do you find cool? What do you want to be when you grow up? My equivalent to Animated was probably Ben 10, which I thought was the coolest shit; it was probably the best of the overtly-boy-aimed cartoons available to us Freeview plebs at the time. Ben 10 is a very empowering fantasy because Ben 10 can have pretty much any abiliity he wants at a particular moment. As a kid growing up you kind of do wish you could turn your flesh to solid crystal, or buzz around as a mutant bug, or just bowl over your enemies like a human bowling ball. These are normal emotions.

That's how Transformers Animated is written. A big part of Sari's character, as the obligatory audience-surrogate-human-child, is that she has an insane amount of freedom for a kid. She has a palatial penthouse, she's homeschooled, except she mostly ignores her Tutor-Bot, so in practise she can do whatever she wants. She gets given a magic key that lets her make any machine do whatever she wants it to, hilarity ensues, etc, etc. Some of my favourite parts of the show are when it teases out some of the pathos of Sari's character; her disconnection from other kids her age, the way the Autobots sometimes treat her more as a pet than a peer, her distant father with his Tom Kenny racist accent, the overly-mechanised and consumerist world she's adapted to thrive in.

The idea of Transformers Animated as a Budianskian story rings false to me because future-Detroit is about as alien from society as Cybertron itself; which is to say, not super alien, but still pretty unmistakably unreal. It's not trying to feel real. In fact, it's clear that the setting was chosen precisely for the sake of injecting Transformers sensibilities into the "human world" of the story, so that the show can be, on balance, more Transformers. This deliberate homogenisation strikes me as intrinsically Furmanist, which shies away from two-worlds-collide storytelling. Animated definitely has its moments of culture-clash, but they're not The Point, they're set-dressing.

Fundamentally, we're invited into the world of Transformers Animated through the eyes of the (all-male) Autobot cast. Between them they account for most of the episodic "learns an important lesson" character arcs, and as the show goes on, more and more of the screentime is devoted to their affairs. It's similar to how BIONICLE has two audience surrogates: the Matoran, who are weak and stupid like human children, and the Toa, who are cool and aspirational like teenagers or adults; the foundational text Mask of Light is preoccupied with the onscreen transmutation of the former into the latter, as if to say, this isn't just who you want to be, it's who you can be. The Autobots in Transformers Animated reflect the five key aspirational archetypes for young lads, as identified through extensive focus-group testing, these being: combination cop/firefighter, ninja, street racer, Engineer from Team Fortress 2, and angry old man.

Everything in the pitch slate for Transformers Animated is geared towards this being a superhero show that Hasbro doesn't need to pay license fees to Marvel for. It was literally called Transformers Hero at the start of its development. So like, taken as a superhero story in a toyetic kid sense (that is to say, there are no "secret identities", Superman is Superman full-time because kids find Superman sitting in an office boring), it's fine for what it is! This isn't like my Transformers One review where I'm going to try to convince you that the creative team weren't fucking trying, no, they were definitely trying for the most part, and they did a good job. It's purely a matter of taste.

Anyway! So!

Probably what had me be like, "man, fuck this"—and I've never heard anyone else mention this—was actually the Constructicons.

I know, right? Weird! If you're a veteran of the Transformers Animated discourse mines, you probably think of stuff like all the sexism, or the Tom Kenny Funny Accents, or maybe even something more abstract like the undercooked politics of the war. I dunno, maybe I'll talk about some of that stuff while I'm here. For me, though, there was more or less this hat trick of episodes at the start of Season 3, nearly three in a row, where for entirely different reasons I was like "man, fuck off".

II. Beneath the enemy scrotum

When the Constructicons are first introduced in Season 2, there's a genuinely tragic bent to their story. They're born into this alien world as fully-formed New Yoik Construction workers, they form this friendship with Bulkhead, the other Autobots are disproportionally suspicious of them, they get seduced by Megatron, they wind up getting their memories wiped. It's giving "Transmutate". And the arc that this introduction sets up for the Constructicons is like, hey, maybe when it counts, they'll remember who their friend really is, and they'll come back around to the side of angels. The thing with the Constructicons, right, is that they're stupid, and they're lazy, and they're selfish, and they think they're owed something when they're not. They operate on pure id, catcalling at cars, tossing back barrel after barrel of engine oil, and never really doing any actual work. And there's definitely an inherent humour to this image of an alcoholic digger sexually harassing random sportscars. So long as the show seems ultimately sympathetic towards the Constructicons, as if they might have a heart of gold under it all that separates them from the Decepticons, maybe it feels okay to laugh at them, because they're good people who just haven't worked it out yet. It's just a farce, a comedy of errors.

But every time the Constructicons come back, the show just... does an encore. They do more and more overtly evil things, and the show leans more and more on how crude these guys are. In "Sari, No-One's Home", they're cast in the roles of the robbers from Home Alone; if Transformers Animated can be said to have sinned, then it's an old sin, one drawn from a rich tradition of scorn for the working class, the ne'er-do-well, the wrong'un, the layabout. The Constructicons clearly have some valuable skill, when they can be motivated to work; the problem is that they're stupid and directionless. They're often banging on about their workers' rights, and making excuses not to work. While I don't think it's intentional on the part of the writers, the contrivance whereby they are "animated" (lmao) by shards of the AllSpark from regular human machinery does sort of separate them from the rest of the Transformers on an ontological, biological level. Wreck-Gar is similar, portrayed as basically just crazy, not quite a "full person".

Through a lens of writing as observation, the Constructicons are great; they're a distillation, a caricature, a cartoon of lots of specific things you've ever heard a workman say. But through a lens of writing as empathy, they're just kind of cringe, sorry. The show does not afford them the same internality as the Autobots, or even most of the other villains. It's hard to read them as anything other than a mean-spirited stereotype of labourers. On a narrative level, the purpose they serve is related to the Bush-era political morality play of the show; in fact, within the show itself, they provide perhaps the clearest view of who exactly Megatron is, what he believes, how he operates.

Again, I would've been eight when this show was airing. I had some consciousness of who the Prime Minister was, and I was cognizant of the election of President Obama, but it's fair to say that I had literally no perception of Bush-era American politics. Sue me. Most of what I know about it now, as an adult, comes from the spectre of the War on Terror on American culture. What I find striking about Megatron is just how abstract of a threat he is for almost the entire show. He almost never actually gets into fights with anyone. He's always lurking in some hole somewhere, making schemes to compel patsies to carry out acts of terrorism on his behalf. There are some occasions where he talks about Decepticons as a revolutionary movement, but only ever with a sneering self-consciousness that makes it clear that this is all talk, an obligatory performance he puts on in case anyone is dumb enough to believe him. Dude is in it for the power. He wants to be the boot. His complete immorality is what makes him dangerous more than anything—he doesn't care how many innocents get killed in the course of him getting what he wants—because even though he is a powerhouse, he's still just one guy, and he achieves most of his goals by being a liar, a schemer, a coward. And yeah, in the show, we see him take advantage of the Constructicons' stupidity/naivete (take your pick), playing on their sense of entitlement and resentment towards authority, directing their frustrations towards an invented scapegoat, the Autobots, who they've never met and don't know anything about. To me, that's political.

"Three's A Crowd" was what did it for me. Megatron's not even in that one; instead, there's this new guy, Dirt Boss, who forces the Constructicons and Bulkhead to fall in line. For their part, the Constructicons are basically onboard with the whole thing, and the language used in dialogue frames the situation as a workers' revolution (as the Constructicons see it) ruining everything. Scrapper gets something of a redemption later in the season, in "Human Error", but this is kind of unrelated to anything else involving the Constructicons; Mixmaster was always the brains of the operation, and he just exits the narrative after his attempted strike Goes Wrong. To me, the way it reads is something along the lines of like... look, the workers are stupid, and they're looking out for themselves, and wannabe-tyrants are always going to prey on that, so we shouldn't really blame the workers exactly... but also the workers should just stop fucking complaining, they should stop being lazy and contribute to society like the rest of us, and let the actually smart people tell them what's right and what's wrong. Maybe it's not exactly that. But it reads as something basically like that, to me, and sorry, but it just does nothing for me except make me feel bummed.

I realise this is probably more ink than has ever been spilled on the Animated Constructicons. Look, I don't want to get some sort of reputation as the Animated Constructicons crank. It's not that I feel particularly strongly about this, and more that it's difficult to articulate. We'll be going back to more familiar discourse territory for the rest of this blogpost.

III. Green with envy

Moving along, we come to "Where Is Thy Sting?", which is the climax of the Wasp subplot introduced in the Season 2 episode "Autoboot Camp". I think this subplot is typically very well-regarded in the fandom zeitgeist; people like the reinterpretation of loyalist Shockwave as a deep-cover Decepticon double agent in the Autobot Elite Guard ranks (his sick design certainly helps), and people enjoy the reinterpretation of Beast Wars Waspinator as a foil to Bumblebee, and people especially like the twist where you're led to believe Wasp is the double agent, right up until the episode's closing stinger.

Did anyone actually believe that, though? I'm genuinely asking. I can't remember if I got fooled the first time I watched "Autoboot Camp", or if I had already been spoiled on the twist through fandom osmosis, or if I just worked out that Wasp was innocent while watching the episode. On rewatch, it felt to me like the episode was really struggling to sell the ruse; Longarm is overtly suspicious from pretty much the moment he first speaks. This paragraph has gone on too long already, this is a cartoon for nine-year-olds, this probably literally was Baby's First Plot Twist for some number of children.

Anyway, the idea of a Decepticon double agent has a lot of narrative potential, so it's a shame that its largest footprint on the narrative of Transformers Animated is the stock-plot-iest mistaken-identity-slash-doppelganger plot to ever stock. If you ask me to point at one part of Animated and accuse it of Not Even Trying, "Where Is Thy Sting?" is that part. The auteur theorist in me notes that the writer of this one was Todd Casey, whose other credits are the aforementioned "Sari, No One's Home", which is another mid stock plot, and "Nature Calls", which is so forgettable that thirty seconds ago I reacquainted myself with TFWiki's synopsis of it and now all I can tell you is… it's about space barnacles?

And you can totally see how it happened, because on the surface, on the logline level, it seems very fun and clever. Wasp is depicted in the show as a green repaint of Bumblebee… so what if he used paint to literally swap identities with Bumblebee? This is the kind of thing that would make a brilliant Ask Vector Prime entry, but it makes for a rubbish 22-minute cartoon. The problem is it just doesn't work. If you stop and think about how to contrive the situation for more than a second, it becomes immediately obvious that it doesn't work at all.

Wasp swaps helmets with Bumblebee and keeps his faceplate up to hide his face. Their voices swap, but their speech patterns don't; one of the episode's big running jokes is that Wasp-as-Bumblebee keeps making obvious slips like referring to himself in the third-person. He hopes to get rid of Bumblebee-as-Wasp as soon as possible to minimize the risk he's exposed, but he also wants revenge, for Bumblebee to suffer as he did. As for Wasp's plan as Bumblebee… well he mostly just wants to enjoy freedom, kick back and play video games, he hasn't really thought past that.

What makes an identity-theft plotline good (I mean, when they are good), is not what it says about the character being impersonated, but rather how it tests the limits of their relationships with the other characters. What makes "Where Is Thy Sting?" bad is that it doesn't tell us anything about anyone—expect perhaps, "all the Autobots are really fucking stupid?" Is that anything?

Like, sure, if we're imagining a character thinking realistically, it's a bit of a leap for them to start entertaining the possibility of bodyswapping. But one of the first things Bumblebee-as-Wasp says to his friends is "I'm not Wasp, I'm Bumblebee! Wasp swapped our paint jobs and is trying to steal my identity!" And the other Autobots are like, "Pssh, that's crazy," despite the fact that Wasp-as-Bumblebee is in fact behaving extraordinarily odd. It's proper "hollering at the telly like Dad three cans deep watching the Green Rectangle" territory. I think this episode needed like three more drafts.

From an Animated liker's perspective, hey, maybe this is one dud amongst what's otherwise a consistently great series.

For me, this episode is sort of a flashpoint for a wider problem with contrivance in the series. That problem has a name.

IV. Sentinel Prime

As the series goes along, it builds up this kind of hilarious impression of Sentinel Prime as being singlehandedly responsible for everything that goes wrong in the show: from his mishandling of the boot camp that let Shockwave slip into the Autobot ranks, to his Archa Seven field-trip that led to the creation of Blackarachnia, to his decisions as acting Magnus nearly allowing Megatron to snatch victory from the jaws of defeat. Anything Optimus Prime's crew manage to achieve, they do so in spite of Sentinel Prime's actions. In "Where Is Thy Sting?", Sentinel is the last holdout, who'd sooner believe that literally every other Autobot is "in on it" than admit he was wrong about Bumblebee-as-Wasp. The show relies extremely heavily on Sentinel Prime's too-dumb-to-live personality for humour, but also relies on it to contrive conflict.

So yeah, I just don't "get" Sentinel Prime. I am actually doubtful that most Animated fans "get" Sentinel Prime, from the opposite direction, because I know y'all are for the most part, like me, too young to actually remember the Bush administration. Did you know that the title of Season 2 Episode 3, "Mission Accomplished", in which the Elite Guard prematurely declare the Decepticon threat on Earth to be nonexistent, is a direct reference to a famous speech by George W. Bush given at the start of the US invasion of Iraq in 2003, a bloody war that was still ongoing by the time of the cancellation of Transformers Animated in 2009? I didn't know about that speech until just now. Man, I would love to read a long-form, well-researched essay analysing Transformers Animated through the lens of the Bush presidency.

I can't help but observe history repeating itself with the release of Transformers One, where Sentinel Prime is used as an analogue for another idiotic Republican president.

If you squint, maybe there's something to it, in the Animated worldview, where this absolute brain idiot somehow blunders his way into ruling the whole planet by the show's finale, through no particular competency beyond craven opportunism and a delusionally-inflated sense of his own worthiness. Maybe Animated is a show that saw guys like this in positions of power and just wanted to laugh at them, bitterly, because if your president is bombing the shit out of people on the other side of the world, then if nothing else you can depict him as The Tick.

I dunno, it just doesn't do anything for me, never did. It's not particularly cathartic or entertaining for me when Sentinel Prime gets his head cut off—I would just rather be looking at any other character. My gut just tells me that I'm not looking at a character, I'm looking at some kind of narrative voodoo doll, who's getting humiliated to prove some point about something that exists in some other reality altogether. Put plainly, maybe it's precisely the fact that depicting Trump as the blue-and-orange man… didn't stop his election, and certainly didn't stop his re-election. If there can be said to be a culture war, then shit like this was on the losing side, y'know? It's as if we're conceding that all good people can do is console themselves, and pride themselves on their righteousness, while all bad people can do is whatever the fuck they want.

IV. Animated is cancelled

To be fair, Sentinel does get some actual depth at times, shades of nuance that gesture towarads the illusion that he could be a guy who really exists in a three-dimensional world. One of the best examples of this is in "Predacons Rising". Sidenote, weird that they reused that title for the Prime movie, isn't it?

These exchanges between Sentinel Prime and Blackarachnia are some of the best in the whole series:

"I just never knew, never imagined that something this… unspeakable could have happened to you. How can you even live like that?! It's horrible! It's disgusting!" "Okay, okay, I get it! It's bad, but it's not that bad, all right?!" "No. It's worse. You should have gone offline." […] "So that's it?! You just slag your old friend Elita-1?" "Don't say that name! You don't deserve to say that name! You're not Elita-1, you mutant freak. Elita-1 went offline a long time ago."

Sentinel Prime's xenophobia towards organics is played for laughs in most of the show, and he doesn't get many opportunities to actually act on it. This episode is different! In this scene, a healthy reaction from Sentinel would be relief that his old friend Elita-1 is alive after all. But he's so revolted by her mutant appearance—and, unspoken, by his own hand in disfiguring her—that he actually can't suffer her to live! As I've said, Sentinel Prime is often depicted as a delusional liar, an Autobot equivalent to Starscream, and this episode is special because we see him rewrite the narrative in his own mind in real time. At first he feels that Elita-1 should have died. Then he convinces himself that Elita-1 is already dead, so he doesn't have to feel bad about killing Blackarachnia.

I think this dialogue is very raw, and it's extremely distinctive—Blackarachnia's "Hang on, it's not THAT bad!" is hilarious—and it was only after watching the episode that I remembered it had been written by Larry DiTillio and Bob Forward, which certainly explains why. Beast Wars always walked a knife-edge between great comedy and messy feelings.

Ultimately, though, "Predacons Rising" has kind of a nasty aftertaste. It establishes this deliciously fucked-up dynamic… and then kind of doesn't interrogate it at all?

Some of the earliest criticisms I ever saw directed at Transformers Animated concerned its handling of female characters. In terms of recurring ones that matter, it basically boils down to Blackarachnia and Sari, with Arcee and Slipstream to a lesser extent, and the shared thread I would draw between them is that they all have something fucked-up going on with their bodies. Specifically, they exist in this state because of various men in the show. Blackarachnia's hideous mutation was caused by Sentinel and Optimus, frequently framed as "look what you did!" Sari's technoorganic body and abnormal development are effectively thanks to her father, and her relationship with him in Season 3 is coloured heavily by this. Arcee's memory wipe and millennia-long coma were done at Ratchet's hands. Slipstream is implied to be Starscream's "feminine side", defined explicitly in relation to him. There is a sense that female characters are just treated differently by the narrative, and I personally think it's reasonable to term this a misogynist streak, though it's complicated by the fact that both Sari and Blackarachnia have some of the richest characterisations in the show (contrast Elita-1 and Airachnid in Transformers One, who have literally nothing going on).

A curious thing about Blackarachnia is that the show typically presents her deal as being "I'm hideous!", but many of the male characters in the show are depicted as infatuated with her. Cinemasins ding? Derrick J. Wyatt's design for her may not be as horny as the Beast Wars original, but it's still horny. The "mutation" aspect of her design is a little hard to parse out, because despite her supposedly radically altered biology… well, she looks like a cartoon character, same as any other Transformer in the show. Because Blackarachnia is the only female Transformer for most of the series, it's unclear whether the male bots react to her this way because they've never seen a woman before, or if it's a specific factor of her horrible spider swag. I mean I guess it's the latter? And I dunno, it just bums me out. Everyone is into her, but only in a way where it's taboo, she's Othered. Blackarachnia thinks she won't be accepted back into Cybertronian society because she looks like a monster.

And she's right! In "Predacons Rising", Sentinel Prime's view of Blackarachnia is tacitly acknowledged as being basically correct on a narrative level; in fact, at the end of the episode, Optimus Prime surprisingly describes Sentinel Prime as a "good bot"... when the most unusual thing that Sentinel Prime has done this episode is just be very xenophobic. As the show presents it, Blackarachnia is a monster who no longer values the lives of others, and her trauma response has turned her into an evil influence on the universe. At the end of the episode, the problem is "solved" only because Blackarachnia is accidentally shunted into another fucking universe; to Sentinel and Optimus, it literally seems like she's died, and they seem relieved about it, glad they can finally have closure on the whole affair, which was entirely their fault. This was the "original sin" which got Optimus Prime kicked off onto the space bridge repair crew, the entire driving impetus for his arc to prove himself as a hero; but this arc isn't resolved by him "saving" Blackarachnia in any way, rather by him washing his hands of her, this little blemish on his record expelled from the universe. I'm pretty sure Blackarachnia isn't mentioned again.

(You actually see something very similar with Omega Supreme. Animated is pretty clear about the Autobots being fucked up in their own ways, and a big example is Omega Supreme being programmed to heroically self-sacrifice himself if needed. In the Season 2 finale, Ratchet only brings Omega Supreme back online as a last-ditch effort to stop Megatron, and is conflicted over the fact that he's reviving Omega only to have him sacrifice himself again. The resolution to this conflict... is for Omega to sacrifice himself to stop Megatron, because there's no other option, and then Omega pretty much exits the narrative in any way that matters.)

If you're an Animated liker, the obvious argument to make is that the writers did in fact have plans for Blackarachnia… they just didn't get the chance to put them into place. We know that early pitches for Season 4 were very beast-focused, that the show staff were kind of bored of Megatron and wanted to do more with Blackarachnia. It's true! But I dunno, actually watching the show, I just don't see it. I look at the Constructicons, where it seemed like the can was being kicked down the road until they just got bored of it. We have a lot of behind-the-scenes insight into Animated, and it just does not strike me as a meticulously planned show. When Blackarachnia was introduced, I can't imagine there was a strong idea of how her arc might resolve itself, because the tension of leaving it unresolved is in fact the whole point. To me, Animated is a show constructed entirely out of these tableaus, these dynamics, which build towards a season finale but never a series finale. While people generally agree that it was a shame Animated was cancelled, if you probe deeper, you'll find a bit more of a split on whether or not is was cancelled prematurely; more accurately, it simply wasn't renewed. I think part of what confuses people about Animated is that it was never being written towards a definitive conclusion—but rather, with the intent that it it could go on indefinitely.

There's a lot to mourn about the show; it was really the last time—in fact, if you discount the Beast era for the Beast-ness of it all, the only time—that a Transformers cartoon was permitted to radically reinterpret pretty much whatever aspect of the franchise it wanted, to make up new characters, to rewrite the mythos. The "mythos", such as it were, did not exist yet; the Binder of Revelation had yet to be codified. In anything made after Animated, "Prowl" could never, ever, have been a motorcycle ninja. The ossifying brand-alignment that began with Prime and continues with the so-called "evergreen" production bible has stifled innovation in the brand; unless there is a radical change in brand management internal to Hasbro itself, there will never be another take on Transformers as radical as this.

But I guess the necessary flipside of this is that I don't think Animated is really the purest expression of Transformers that many people treat it as. Its writing and visuals achieve a basic level of consistent quality that is otherwise absent from most stories in the brand, sure, but this doesn't make it the "best" Transformers cartoon ever. Perhaps there's no such thing. "Transformers", whatever that is, it's something else. It exists in your mind as much as it exists in mine. True "Transformers" has never been tried.

Just kidding there is a best Transformers cartoon and it's Beast Machines, obviously.

[thescarlettbitch]

Worshipping Inanna / Ishtar

This is an informative post about how Inanna was worshipped, or believed to be worship, back in her time, and at the end I'll share how I worship her.

Ritual sex - her high priestess would have ritual sex (whether it was true sex or symbolic is unknown) with the new king to ensure his fortune.

Gender non-conformity - her cult was primarily composed of those outside the binary, and shows men and women adopting the opposing dialect and engaging in sex with each other.

Music and art - most of her myths are in the form of Hymns, and most of her followers were artists, musicians, or dancers. Specifically, war dances would be done in her temple.

Libations - a libation is the ritualistic act of pouring a liquid offering straight from a container onto the earth. In depictions, the person doing the offering was naked.

Unfortunately, due to the passage of time, many specific rituals have been lost. I've scoured and this is really all I can find about her ancient original worship, and a lot of it is disputed because no one knows what was a metaphorical ritual or an actual ritual.

That being said, here is how I worship her in the modern day.

Self-confidence - Inanna was not one to be meek, it is said by many experts and proven in her myths that she was headstrong and didn't care how she was perceived. To honor her, I wear whatever I want. I have a very alternative style and I used to fear people looking at me. She has helped silence my worry and in turn, helped me gain confidence.

Non-conformity - I'm nonbinary, and although my femininity is a major part of my identity, so is masculinity, and so is androgyny. Learning that she had a queer cult following was so liberating, as before learning that I felt like it was wrong of me to work with her. So every little thing I do that isn't in the social construct of the gender binary is for her.

Libations - lucky for me, this is one area of her ancient worship that can be done in a modern setting. I don't have a "proper" container, I just use a normal glass. I've done it with water, coffee, tea, lemonade, and even kool-aid.

Honey/Butter cakes - in, I believe, Inanna and The God Of Wisdom, Enki welcomes her with honey/butter cakes and alcohol. I have only made a honey cake once before and it was shit, but I plan on trying again soon to combine both into a honey bourbon cake. I know they didn't have bourbon back then, but it's a local good I can find and adds a personal touch.

Self love - my fiancé lives across an ocean, so some things we can't do together (both living with family and thin walls), so to honor and worship her, self love is a great way for those in similar situations and she enjoys it from what I've seen.

Offerings - usually dates, sometimes cherries, often lemonade or tea, and more recently honey whiskey. These offerings might not be "traditional" in style, but they work for me and her. I have a small glass from an old Costco tiramisu and an iridescent bowl I got half off at our local grocery, both have an 8pointed star on them. Usually I sit them out for days at a time, or at least over night, and then either ingest them or just toss it in the trash (any other alternative isn't doable in my current situation)

Music - I listen to a variety of music with her, songs about sex, love, anger, fighting, injustice. She loves it, and if you want more detail on this I have a post about the songs on her playlist here.

Driving with the windows down - I love driving, and I feel like doing so with the windows down is an easy multitasking way to cleanse myself and invite good vibes in. Usually I do this while playing her playlist.

Making posts - it may seem a little silly, but a way I honor her is keeping her and her family alive. They are old deities, their civilizations and worshippers lived about 6,000 years ago, and some of her family have had their names lost to time. Making posts about them helps get word out, and keep them "alive".

Digital temples - I play the sims 4 and I saw someone talk about how they wanted to make a temple to their goddess in the game, so... I'm making my own. And will probably have my sims "worship" her via a club. Some people don't see this as an act of worship, but I do. As @thrashkink-coven said in this post, the gods are as modern as they are ancient. I know she enjoys it.

I will go through and make a full post detailing specific UPGs (personal practice things not backed in historical fact) with her, for anyone interested.

[serendark]

Source illustrations by @ancharan: • https://ancharan.tumblr.com/post/773860555406655488/theyre-cuties-and-i-think-they-should-kiss • https://ancharan.tumblr.com/post/767336447230492672/this-was-a-really-fun-stream-thank-u-all-for I traced their artwork for personal practice, and they gave me permission to post it when I asked. (Thank you so much for that!)

Me yapping about my thoughts and process under the cut

So! I've been practicing drawing Ford recently, and figuring out how exactly I want to draw him. Lots of artists approach his features or character in many varying ways, and over time I've come across some that really feel like the perfect Ford for me, like those are the Fords that I wish I could draw and want to strive towards being able to on my own.

I think the ideal in my head is this blob of vibes that does not look like any one artist, and I'm getting closer to being able to see it manifest in my own style the more I practice.

Naturally, ancharan's Fords have left a strong impact on me! I really like how they handle facial anatomy in general and also how they make use of it for strong emoting and expressiveness. Their Fords feel so unique, yet also so very like Ford, and it's just amazing!

My goal isn't to be able to imitate ancharan's art style, nor is it to draw Ford exactly how they do. I wanted to figure out what it was that I found so appealing about their Fords, and then I wanted to figure out what I can learn from that as I continue to iterate and practice my own. What is it about my depictions of him that I feel like need work, what are things I can improve on? How can I draw him so he feels better to me?

I find myself already feeling pretty happy with what I've learned from ancharan's work, and it was what helped me out with that latest Ford drawing I just posted. It turns out that the major thing I need to work on is, unsurprisingly, facial anatomy, particularly how to set the eyes into the face. Just in general and also for masc adult or older men, which is completely predictable when I've nearly exclusively been drawing anime magical girls for years, haha. (RIP Magia Record.)

For the above drawings, I started off by tracing my construction lines directly onto ancharan's illustrations and copying various details. My main goal with the faces in particular was not to copy their lineart exactly, but to look at where they put things and how, and try to draw it in my own style, I guess? Like, when I'm constructing the face, here's where I'm used to putting the eyes and nose, and then here's where they are in this image, so what does it feel like when I deviate from what I'm used to and try something closer to this? What is the version of an adult male in my head and how I would draw them right now, versus how ancharan depicted that idea here? That kind of thing.

These drawings are clearly extremely close in appearance to ancharan's and that was on purpose, as I did trace or otherwise draw over the top of them. But I do like the differences between my art and theirs despite that. I like a differently shaped jawline for Ford, and I think larger eyes and a larger nose? It feels like their Fords and mine have different faces, even with the copying, and that feels like success to me. I really, really adore how my top image Ford here came out, and I think it's probably the best Ford I've drawn, period.

That brings me to the Ford I posted earlier (not traced, to clarify, nothing else I have posted has been traced). First, I drew the face just off the top of my head, the way I normally do, while trying to think about and consider what I liked about the above Fords and felt like I had learned. My attempt was....idk, it felt uncanny to me, and not at all like Ford as I was imagining him. I'm pretty sure it was due to anatomy and facial proportions issues?

So I took that bad Ford and tried to figure out how to make it, well, "good", based on what it was that I liked so much about my outcome in the top image Ford here.

I ended up with a much better Ford that I felt way happier with (old on left, new on right):

Honestly, it's amazing how big of an impact seemingly small changes can make when it comes to this. Like, these have such similar lines, but they feel SO different from each other, right? Small details also do SO much work here, to an astonishing extent.

I think the Ford I really like on the right also feels pretty different from ancharan's, and doesn't feel exactly like my results from the tracing, either. It's the most "me" that a Ford I've drawn has ever felt, I believe, and I'm pretty stoked about that. I think that feeling also comes from it being closer to that ideal Ford in my head than I've been able to draw before.

There's a lot I still need to practice and improve, and eventually I want to draw different facial expressions and angles (I am filled with fear). I am glad for the progress I've made though, and thankful for other artists in the community whose work has been inspiring for me and also just fun to see in general.

I'm deeply appreciative of ancharan for letting me post these! I feel like these drawings are such obvious copies of their artwork to where I didn't feel comfortable calling the drawings my own original artwork, and I didn't want to post them publicly without permission.

I am happy to be able to share them here. Thanks again, ancharan! Go check out their artwork!! Their whole gallery is awesome! There's also this cool espresso machine AU☕ that may be of interest...

If this post is incoherent, it's because I haven't slept yet whoops

[olderthannetfic]

www.tumblr.com/olderthannetfic/768526246295502848/i-feel-sad-when-you-as-a-tactic-for-telling-a

I have thoughts about this! I’m that anon who was panicking because I had received some AI “art” that I didn’t want! And I got advised by OTNF and others to ignore the “gift” and if anyone tried to start shit, to tell them AI art “makes me sad” and keep repeating that without further information so as not to give anyone the chance to make me justify myself. (It worked a treat btw, thanks OTNF and everyone else who commented! 🙏)

I thought about it and why it works a lot after that. I realized that’s called “weaponizing feelings” and I had not thought to do it because it’s not part of my character? Communication style? Something.

So like any weapon, I realized that it would work better in some situations than others.

Like lots of people pointed out in the comments, this wouldn’t work on them either because they wouldn’t notice, or think it’s their problem, or at most will find it mildly irritating. I think that’s because they’re just like me and don’t normally do “weaponization of feelings.” It’s just not how some people operate.

But this tactic works amazing in environments where everyone is playing the “feelings game” like it is in anti- and anti-like circles. They operate on disgust, kneejerk reactions, fear, guilt, “moral superiority” etc and so being seen to “inflict” a bad feeling on a “good person” makes YOU the bad guy and so you'd avoid it at all costs. And thus this tactic works in ALL environments where people play that game.

And if you've been in such environments a lot, then, even when the “I'm sad when you__” comes from a close friend or family member, you can still end up taking it as an attempt to play feelings games instead of a genuine sentiment and attempt to have a honest conversation. (Or when said family member or friend has been manipulative or emotionally detached or something in the past.)

So yeah, thinking about this advice I got here really put into perspective for me a lot of behaviors that seemed odd before!

(Also, I think there’s some therapy talk involved in this exact phrasing! The good old advice about making I-statements like “I feel sad when you…” instead of “YOU are being a bitch/abuser/annoyance when you…” so as not to come off as a bad person.)

--

Exactly. Weaponizing feelings is disingenuous and annoying, at least to me, but it's also the language some people understand. My instinct is that the context where you're getting AI art is also going to be one where this is the local lingo. And the I-statement is indeed key. It's claiming the biggest victim seat for yourself, and we all know that the person with the most pain must be listened to absolutely. The bigger the victim, the more sanctified the opinion.

Specifically, some AI-sharers are likely to either pull "I'm sad you didn't thank me for this art" or, when challenged, "I have to use AI because [disability wank]". The latter is absolutely the kind of thing you can head off with "Wah, my feelings!" as long as you get there first.

In person or on my tumblr, I'm more likely to point out when someone's playing the feelings game and tell them they're being. manipulative to try to ignore a boundary (or whatever the situation is), but that requires control of infrastructure (to block them from the space) and a tolerance for them getting angry. If you just want something to go away, this isn't always the best tactic.

You don't owe some annoying rando your honest opinion or an in-depth discussion.

[quiet-cabin]

Omamori PostMortem!

Here it is folks! The final Omamori devlog 🥹. In it we'll be taking a look at how everything began, some of the ups and downs we had along the way, including some looks at behind the scenes work, and finally, what's next for the studio!

I'm going to try something a little different here. Normally I link back to the devlog on itch so you can read it there, but I'm wondering if people might be more inclined to read the full thing if they don't have to leave to another tab lol (Although I also worry that tumblr just isn't really great for really long post reading..) But! I shall put the choice in your hands. Here's the link to it on itch.io! Or you can click the read more below to see it here!

I'd be really interested to know what Y'ALL are interested in seeing next 👀

Hello everyone!!

It’s been one month since Omamori released which sounds incredibly fake but here we are! As of posting this, Omamori is sitting at 454 downloads!! Which is really, REALLY exciting and so much more than I ever thought to hope for. Thank you so much!

Today we’re going to be talking a little bit about the process, how things went, what we learned, and what’s next! This is going to be a bit of a longer post but some of you have been with us since the very beginning, and it might be nice to look back, and some of you are new, and have no idea how it all went!

HOW IT STARTED

(The original mock up I made to help Rob visualize what I was thinking for the main menu screen.)

In the beginning of April 2023 I started telling Rob about a 'totally not real' idea I had for a serirei dating sim. It was very much in the 'haha jk wouldn't that be fun, but it'll totally never happen' category. Then I thought, since it won't ever happen, it could be fun to do a little mock-up. Just a fake screenshot of a character and some dialogue. Then I thought, maybe I could try to animate it to show some additional dialogue. THEN I thought, well if I'm going to do all of that, I might as well just put together a slice in a game engine and just do a screen recording.

So I sat down and installed an entire game engine, learned how to navigate its interface and how to use its visual scripting language, how to create & use variables so that you could enter your character name, how to put in a dialogue choice screen, even made a tiny pixel art takoyaki... all to create a 20 second screen recording of a game that was totally not going to exist.

Totally.

I even shared it on Tumblr! It uh, as of typing this, still only has 3 notes lol. You can see the original post here, but here's a screenshot of it.

I won't lie, it was actually really disheartening to see basically no engagement with it. I know there wasn't much info on the concept itself, since the game wasn't going to be real (I thought), and maybe that would have helped, but it definitely did a blow to the ol' self esteem. (Although I can say, looking at it now, I really like this! I'm really insecure about my visual art and style, but y'know what, this is pretty cool! )

I didn't let that deter me though. I was really excited about this game and the story, and at the end of the day, it was a silly little project with my silly little blorbos. So I kept thinking about it and poking the idea and pretty soon the fixation was churning full blast. I was developing the plot, I had snippets of dialogue in mind, I was thinking about GUI elements. And all the while I was yelling all of this at Rob. Eventually I worked up the courage to ask him if he wanted to do the art, only to discover he was working up the nerve to ask if he could help out! After that, it was just a lot of excited yelling about this project.

Looking back at this original mock-up, I think it's really great to see how Rob took my original concepts for layout and design and breathed some actual life into them. At some point I'd done some additional iterations on the dialogue boxes:

And from there we got:

Which ultimately gave us:

HOW IT WENT

There were definitely some ups and down on this, for sure. Getting the demo out was a huge accomplishment and we were both eager to just keep working on it. In fact, the original plan, after releasing the demo October 2023, had been to release the full game by the coming March, for Serizawa's birthday. Ambitious? Without a doubt lol. Obviously that didn't happen, and our next hope was to release it for Reigen's birthday 2024. This way it'd be full circle. Then we hoped to release it for Valentine's day maybe. (This is why we didn't announce a release date until it was well and truly DONE.)

Some of you may remember that Rob injured his hand in early 2024 and so we took quite a bit of time off to let him heal. We're not about that crunch life. Even if this wasn't entirely a passion project, there's absolutely no reason to crunch. So we took a step back so he could heal up. While that was happening.. we had the Great Engine Switch.

The demo for Omamori was originally made in GDevelop. An open-source, no-code engine. And it worked great for the demo! But once I started adding in features that people would come to expect in a visual novel, like saving and loading, or a history of the text, things got a little more complicated. It reached a point where I was essentially building a visual novel engine within the Gdevelop engine. Which, while incredibly fascinating and a great mental challenge, wasn't exactly the best use of my time. Not when there are engines specifically made for creating visual novels, like Ren'py. Which has things like saving & loading, dialogue history, text size options and dyslexic font options, all ready to go out of the box. So, I changed engines.

Changing engines was a long process, partly because it took me some time to finally come to terms with the fact that I just needed to do it, and partly because while some things did come out of the box, I did still have to re-do other things all over again, like entering all of the dialogue and choice options for the prologue and part of chapter one that was used for the demo. I was also learning a whole new engine, which isn't no-code (although it IS really streamlined), and I had to find my way around.

We had a lot of plans for some things that ultimately had to get cut. Early on we planned to have more splash screen images for pivotal moments, which would also be accessible from a Gallery page on the main menu. We even toyed with the idea of reaching out to other artists in the community to see if they would be interested in doing guest art to be featured in the gallery! But as we made progress we had to decide what was essential to the game, to telling the story, and what was a Nice To Have. Learning how to nip that scope creep early is an essential skill in gamedev!

Still, all things considered, as a team of two people we made an entire game in only two years, even with the obstacles we faced. And I think that's pretty damn impressive.

Q&A

What was your favorite part?

ROB:

Getting to work on a passion project with Jace! Getting to see this through to the end with them was very rewarding. Like, did you know you can just make cool things with your friends?? It's awesome and makes for a unique blend of cheerleading, flexing, and teamwork. Definitely recommended.

For the art, I got a kick out of trying to develop a visual identity that was as much our own game as it was a Mob Psycho fangame. The first season opening sequence was my main touchpoint. This poster was a source of inspiration too, notably for the paper cut out look for the sprites. It was fun and a nice way to appreciate the series from a different perspective.

JACE:

This is actually a tough one lol! Part of what I love about being an indie dev are all the different roles you play. Jumping from writing to programming to creating mockups to resource sourcing for background music or sound effects, I think that's the part I enjoy most. It's hard to get bored when you're wearing so many hats and that really appeals to me.

If I had to pick a favorite part, I would say sharing the original drafts of the script with Rob and getting to see his reactions to Reigen's impressive levels of fumbling was a lot of fun. Also, figuring out a piece of code that had me stumped for days is nothing short of euphoric.

What was the most challenging?

ROB:

Mostly mental hurdles. Like, accepting that “good enough” IS actually good enough was sometimes a challenge. On top of wanting to tweak old sprites (we started this two years ago after all!) I had wanted to make more splash art and character poses, and add silly details like giving the face on Reigen’s pj outfit different expressions. But as it turns out, if you want to finish something then at some point you have to stop working on it. Great lessons for battling perfectionism.

JACE:

Changing engines and learning an entire new one was definitely a challenge. I'd dabbled with Ren'py before so I wasn't completely in the dark, but I hadn't done more than dialogue and some choices. With this I had to learn how to navigate Ren'py's screen language so I could build my own screens, I had to learn how to create and manipulate variables in the engine, I watched a LOT of youtube tutorials and got real familiar with the Ren'py subreddit lol.

Something that was really, really challenging for me was learning, and re-learning, how to start. I would work on the game for weeks and be doing great, really have a nice groove, and then Life would happen and  I wouldn't touch it for a little while and suddenly the thought of opening up the code was terrifying. I was convinced I couldn't do it, I had no idea what I was doing, and that I was going to get stuck. And it got harder and harder to just start. Even when all signs pointed to that I maybe DO know what I'm doing!

What helped a lot was that I kept a mini-devlog. Every day that I did gamedev work I journaled about what I worked on, how long I spent on it, and what my next steps were. This helped in SO many ways. For one, it was just really nice to see a calendar view of my productivity. Time is fake and its easy for me to think I haven't been productive "enough". Then I look at my calendar and see this:

Not every month looked like this of course. There's a couple where it's pretty damn barren. But that's where the other data points came to help. It was really helpful to see how long I worked on something as well.  For example:

It took me literally twenty minutes to create all of the idle and hover images for the icons on the corkboard. I remember I did this quickly before running out to work. And this became a point of constant reference for me. Every time I felt myself getting caught in the swirl of, I can't do this, opening the engine feels scary and overwhelming, or I only have .. two hours... three hours... before I have to go to work or go to an appointment or go to bed, what could I get done in that time, I would think of how much I got done in just twenty minutes. Because ultimately, any time spent on the project is productive! But having these little reminders helped a lot. And each mini devlog also had a section for my reflections and what I hoped to work on next. So if it was a few days, or a month or two, before I was able to get back to it, I could reread the most recent devlog to see what Past Me was planning to do!

What might you do differently?

ROB:

Oh man. Organization. I frequently moved the working files between tablet and desktop and ended up with duplicates all over the place. It was a pain after we came back from that long break for my hand injury because I had different expressions and sprites spread over a mess of nearly identical files.

The worst part is this was not the first or last time this happened. Why? Don't live like me.

JACE:

Well, if we're talking about Omamori specifically, knowing what I know now, I'd of course just start working in Ren'py from the start. I'd had the thought that I could learn one engine (to rule them all). Because I have ideas and plans for other games, and had hoped to find one engine that could do everything, and I wouldn't have to jump around, potentially learning a bunch of different coding languages. But, there's something to be said for using the right tool for the job, and in this case it was definitely Ren'py.

If we're talking about future projects and what I might do differently, that's a toughie. I think every project is going to require different set up and preparation. If I were to do another visual novel, I think I'd start tackling any special screens or gameplay mechanics as early as possible. Writing is one of my strengths and I know I can do that. And I'm familiar enough with the engine that I know entering in my writing and dialogue is pretty straightforward. But making those custom screens and troubleshooting them always takes much longer than I think it will.

In terms of organization, I have a Notion template I created for my game projects, and Omamori largely served as the trial run for what I would and wouldn't need. The mini devlog calendar is absolutely a keeper. But the way I organized the programming vs writing task lists definitely got reworked in the final month of Omamori, and I've already started updating my template and other already existing projects to reflect the new workflow!

I think with every new project I'm going to do things a little differently and, for me, that's part of the fun!

Do you think you'd work on a game again?

ROB:

Yes! I'm currently taking time off from commission work, but I really enjoy creative collaboration in general, so I would definitely work on a game again in the future.

JACE:

Oh honey, I already am 😏.

What's next for you?

ROB:

I’m looking forward to diving in to some original work this summer. Not sure where it will take me yet, but I've been itching to get back into making comics, so that might be next! If you'd like to keep up with my work, I update my Tumblr most frequently.

JACE:

I'm so glad you asked! While Rob moves toward exploring comics, Quiet Cabin is also going to shift gears. I'm going to focus on games with original characters and stories. I don't have any plans to make another fangame but I do have a LOT of other ideas! (Some of which were hinted at in Omamori 👀 .)

So what can you expect? Stylistically, I've always had a love for pixel art so there will be some of that going forward. Depending on the project I might seek out another artist to collaborate with for things like backgrounds or character sprites, especially if I do another visual novel. So if you're an artist and have read this far and would be interested in collaborating on a future project, definitely reach out! I have a lot of ideas, a lot of different vibes and genres, so don't worry if your style is different from what you see in Omamori! And who knows, I'm finally reaching a point where I'm happier with my artistic abilities so maybe for one of these projects I'll attempt the art myself!

As far as genres go, I've got more romance, some horror, some fantasy, maybe some monsters you can date.. 👀

I know we all came here for the blorbos but I truly hope you'll stick around for my next projects, I've already started writing one of them and I'm really excited about it!

Up-Coming Projects include (in no particular order):

Garage Sale Skull: A short, in-browser text game where you find a weird skull at a garage sale. It’s fine, it’s not real, it’s just some weird art project. …right? (Romance with a sprinkle of horror.)

Untitled Dating Sim(?): A visual novel dating sim. Maybe. The dating part is up in the air. It's VERY fresh conceptually and I'm still ironing things out so I don't want to say too much but I will say: time loops. Sorry. Wait. Maybe you didn't hear me. Time 👏🏾 Loop 👏🏾 Visual Novel👏🏾

Apartment 102 : There is something wrong with your apartment.. A very short top-down pixel horror game.

Reyna's Remedies: As a young potion and remedy maker, you open up a new shop on the side of a busy road in the kingdom. There's a lot going on, there's a monster in the Deep Woods, a monster the Princess went missing trying to hunt, there's a constant flow of adventurers in need of healing potions and everyday townspeople with mundane needs. With the help of your animal assistant, you have one month to raise enough money to secure another month of rent, to prove you can do this, and in the process help the different people that knock on your door. (A time & resource management game with an overarching plot. Queer romance with a bit of horror.)

My hope is to release Garage Sale Skull this summer. Untitled Dating Sim(?) is new and uncooked, but rattling around my head pretty loudly. Meanwhile Reyna's Remedies and Apt 102 are games I've been brainstorming on for literally years..  Either way, there are two more steam next fests this year and I'd really love to submit a demo for ✨ something ✨for at least one of them. We'll see!

Once a new project launches I will of course be posting devlogs here on its project page. I'll also be sharing quick updates & general gamedev thoughts on ko-fi, bsky, and tumblr. At the end of the day I'm still just one person, and I may forget to crosspost to a platform, but itch.io will always be the first place to get updates. I'm also considering making video devlogs in the future that will showcase more art and gameplay, especially as I shift toward games that have more action, so you can also follow the YouTube channel!

Again, I cannot thank everyone enough for their continued support and enthusiasm!! I'm really grateful to Rob for jumping into the abyss with me on this one. The game wouldn't be what it is without his help! All the cheerleading from followers as we worked on it and now, all of the comments about how the game has touched or inspired folks has been so, so amazing to hear. Thank you everyone!!

Finally, one last Ekubo for the road.

Thank you everyone, see you next time!

[calpalsworld]

My biased self-indulgent amateur kinda stupid opinions on Look Outside:

Mild spoilers for the game

It didn't hook me in right away, but after things got going I felt obsessed with the characters, world, and gameplay.

I haven't played that many horror RPGs, but I was reminded of Fear and Hunger, but a bit less dark. Where Fear and Hunger seems to relish in outright suffering and cruelty, (sometimes to excessive amounts that turn people away), Look Outside delights in monster transformation, which was more enticing to me due to the creativity and thematic exploration.

Writing/tone:

There was less dialogue than a game like Undertale, but I was reminded of its writing style, with quirky encounters and party members. Interestingly, obtaining companions and engaging with lucid monsters was completely optional.

It seems like being alone rather than finding party members can cause bad mental health affects as a hidden mechanic, which makes me want to replay the game again under a darker tone. Despite the route I took being more lighthearted, the game had several moments that made me very scared.

Gameplay:

I played on Normal mode, which made saving harder, definitely adding to the horror. Being uncertain what enemies were friendly/easy/challenging, and trying to figure out what to run from was fun. When the monsters actually chased me down, like the Boiler Beast in the sewers, it was freaky. Needing to explore and take risks in order to be allowed to save again made for exciting game sessions.

I thought the party members had creative mechanics. The final party members I comitted to were Sophie, Dan, and Roaches. Sophie needing to remain hidden to inflict status effects, and Dan being able to switch between rage and healing, were very creative to me. I've seen it done before with Roaches using HP to protect/attack, but I loved it because it made perfect sense for the character being a swarm of cockroaches.

I found myself using a lot of items in battle, which I never do in RPGs. I applaud this game for bringing that out in me.

I hardly ever felt like I was grinding/not engaged with a fight.

Art style:

100% yes. Awesome. Id stare in awe of some of the lategame monster designs due to how bonkers they were. And the scene on The Roof had my eyes coming out of my skull. I also appreciate how some of the art looks a bit silly/amateurish (complimentary) at points. Its crazy impressive how many unique enemies with numerous transformation states there were.

A critique I had of the art was that a few designs resemble blackface/minstrels/other anti black caricatures. I think the game could've put in more thought and tweaked things to avoid that. Based on the game not reflecting bigoted beliefs in its writing, I assume this was accidentidental.

Story:

Simple concept (Looking Outside = you become a monster = apocalypse) that kept getting more engaging without overcomplicating things.

I enjoyed how the game was somewhat non-linear exploration. A lot of paths were optional and I kind of wish they had more of a reward, but just seeing the cool fights and art was sometimes rewarding enough. I was squeeing when the Hellride attacked me. Why did this happen? What does this have to do with anything? Whats the point? No reason. It was just awesome.

One critique I had of the story was that I did not really feel compelled to help the people in robes except for that I could tell it was the central plotline. Neither did I feel like Sam the character himself had particularly good reason for helping them. I feel like Sam would just wait out the 15 days! This isn't a major flaw, just something that I wish was tied together better.

(mildly spoiling things) I really enjoyed the endings, as most of them were catastrophic and horribly upsetting. That was super unique.

Themes:

I personally kind of interpreted Sam as a kafka-esque protagonist -- HEAR ME OUT. Kafka's metamorphosis' central metaphor is the fear of how others will treat you and what would happen to your life if you suddenly became disabled / ill. Due to him being an unemployed isolated middle aged man, I personally interpreted Sam as having a chronic illness / undiagnosed disability / mental illness. I really enjoyed seeing him this way, because the concept of being a person who others may interpret as going through a subhuman metamorphosis, but rather his world around him is what goes through metamorphosis, is super fresh and juicy. This is some good shit. I think the text itself only vaguely implies this theme, but I was getting 100 miles out of very little fuel.

Otherwise, the general theme of nonhuman transformation being treated in a complex way is 😋😋😋 TASTY SHIT. In one of the endings, there is narration that takes the time to explain that the Cursed are integrating with humans, but they suffer poor medical care and mental illness. And I was like surprised that the game would go out of its way to explain that.

I loved companions like Leigh who enjoy being a monster over their mundane pre-apocalypse human life. Most games just treat once-human monsters as utterly horrifying things that should be put out of their misery, so the game allowing you to help/save/ally with monsters is 💥💥💥💯💯💯 to me.

Conclusion: It is probably in my top 5 games I ever played, which might be partially due to personal tastes. I can vouch that it is at least a very solid and creative game.

[bloomeng]

I don’t normally share personal projects here but I'm happy with the art so why not. Anyway these are some character concepts for a game pitch assignment I've been working on. It's still very much in its infancy but the idea is a dating sim/visual novel-style game based around the concept of a support group for the henchmen of supervillains, called "Henchman Anonymous."

You-- the player-- are the familiar to Carmilla de Villeneuve, the Vampire Princess (pictured left). No, she isn't royalty. Yes, you're pretty sure she stole her name from popular vampire media. But yes, she's actually a vampire, a vampire supervillain more specifically, and a very mediocre one at that. After years of thankless work executing her extravagantly stupid schemes (that might also just be a wee bit genius) and styling her finger waves you've about had it. That's what Henchman Anonymous is for, breaking up with your abusive boss! Only one issue you might sort of actually be a bit in love with her... Perhaps what you need is a little help getting over her.

As of right now I only have two main routes planned.

Route #1: Amélie is one of Ring Master's many henchmen and she is also her daughter. Let's just say crime runs in the family, as in they're literally a crime family. Amélie is the fourth eldest of eight, meaning her smack dab in the middle and often overlooked. Between the size of her family and her mother's controlling tendencies, Amélie feels more than a little stifled. She hopes that Henchmen Anonymous will help her break free and lead a normal life. It's too bad her boss just happens to be your boss' villain rival— not that Ring Master knows that.

Route #2: Dorian is a man of mystery, well it's more accurate to say he's a stubborn jerk who refuses to share anything, despite being in a support group. You swear he looks familiar though. Little do you know the reason Dorian won't talk is because he's not-so-secretly the sidekick to the Ebony Knight-- your city's resident vigilante-- who's undercover trying to get insider information on supervillains so that maybe his boss will fully take him under his wing. Unfortunately for you, the reason he looks so familiar is that the Ebony Knight might just be Carmilla's nemesis and absolute obsession. (Lego Batman and Lego Joker vibes)

Main Route:

Ideally, I would like to have a non-romance-based route for those who want to explore the plots of both stories. This route would allow players to learn about both Amélie and Dorian's connections to Carmilla and allow you to befriend them. There are also a couple secondary non-romanceable characters that I haven't mentioned because I don't have concepts drawn up for them that would get more emphasis. I haven't decided if it would be something activated by not scoring high enough with either of the romanceable characters or if it's something I would let players choose.

Secret Route:

In my head, I'm calling this the "I can fix her" route, because that's basically what it is. It would focus on getting to know Carmilla. In all versions of the story, there would ideally be a plot about learning to set boundaries with Carmilla, but this secret route would basically allow you to then romance her. Unlike the other routes, Carmilla wouldn't be something you could choose, you'd have to earn it through the main route.

Notes on the designs:

Carmilla died in the 50's and is old Hollywood-inspired, specifically Marilyn Monroe who I used as a clothing reference. Overall I wanted this whole series to read very campy and lean into tropes, so I tried to also capture as many vampire motifs as I could. While she loves to look glamorous she's actually not all that good at styling herself. I sort of based her on the wwdits vampire logic of them being dated but not completely tied down to whatever century they died in. Committing to the aesthetic is the most important factor.

Amélie is based on court jesters and is absolutely supposed to be a Harley Quinn knockoff. I mixed several eras for her clothing. Court jesters are associated mostly with being medieval so I pulled some references there with the headdress, which I heavily stylized to look like devil horns. The ribbons are a call back to the veils women used to wear. The collar and sleeves are more Elizabethan, while the stays are based on 18th century fashion. (I've been drawing too much ofmd fanart my bad everypony) Don't ask me where the chemise is, maybe it's cropped. For the bottom half I referenced DC comics silhouettes. It might also be worth mentioning that I was listening to Chappell Roan while drawing her initial designs, so that really carried over in the make-up, but I swear she was always going to be a redhead!

Dorian's outfit I have to be so real about, I'm not super satisfied with. I wanted to do a more modern, street-wear look. The best way to describe the vibe I wanted to go for is "if DC's Nightwing were to try to style Marvel's Prowler." I wanted this sort of uptight, hyper-serious sidekick to dress like what he thought villains dressed like. So I opted to put him in stereotypical "bad boy" clothing; leather jacket, studded belts, fingerless gloves. I looked at a lot of Shadow the Hedgehog gijinka fanart. I don't hate what I came up with, but I definitely want to push the design more next time, really amp up the emo, bad boy-ness of it all. 

some notes on the design of the game:

Because I'm still very early on in the hypothetical process I don't have backgrounds or specific graphic design elements selected. However, my initial idea would be to use the classic comic book style font with the text bar emulating speech bubbles-- well, closer to the bubbles they use for inner dialogue or establishing shots. I want to play up that comic book vibe.

And for funsies here’s a facial sprite in action:

(ingore her lack of feet it's a sprite draft)

[dataglitch]

how do you draw so well (I saw your ultrakill art of Gabriel and V1 fighting and it looks gorgeous) (I want to know how you give it perspective like that and overall make it look so 3d but more importantly alive)

Thank you! I try to think of a concept first before attempting anything, but sometimes that doesn't work out so I go and look for references and bg inspo. For this one tho, I just played the level over and over until I caught on to an idea that I wanted to attempt! For sure wanted to showcase their fight, but also make them stand out as much as possible(which isn't too hard with Gabriel since he's has more color than V1). Cutting things short: 1. Play with angles(above/below/etc). I put both in the air because since they have aerial abilities, it made the most sense and that kinda was my idea from the start. 2. Choose your main subject. Gabriel is the main character in the pic since he's that's being targeted, so I made sure to have V1 aim the focus towards him(the whiplash disarming him, the gun reaching out, his 'face' not showing in order to not draw focus away). 3. Use atmosphere to your advantage. The transition from enraged to normal was crucial, but I really wanted to keep the blue water and red setting somehow, so I had play around with colors for a while. I did get stuck here for a long time, but eventually the transition from his red to white armor made the most sense. The point of contact was his arm so everything around that section reverted back, thus giving me the excuse to keep the red lighting and the blue flooring. Finding reasoning like that was probably not necessary, but wanted to keep it as close to the original fight as possible lol 4. Blurring and zoom. The easiest way to make it seem more 'alive'. Just blur out the corners and slowly make way towards the main subject. Of course you're going to need to play with this since it's not as straightforward as you'd think, but there's many tutorials that explain it better! 5. Effects. My go-tos are Filter>Sharpen>Sharpen and Layer Style> Advanced Blending>Select R only and shift. Can never go wrong with these!! Hopefully this wasn't as confusing, but there's many more tutorials I've done under the tutorial tag in my blog, so hopefully this helps:'D

[pyrosomatic-metamorphosis]

rough art tips to learn and then break at your leisure.

the distance between your eyes is roughly one eye. the corners of your mouth dont extend past the middle of each eye. ears are roughly in the middle of the tip of the nose and the eyebrow. the eyes are in the very centre of the head. the neck is just a Little slimmer than the width of the head (varies with fat distribution, but fat tends to build up under the chin). hair is easier to draw when you plot out the hairline and then where it parts. leaving appropriate distance on the side of the face (cheekbone area and back to ear) contributes to making characters look more realistic/hot as hell. i dont know specific tips for that so use reference. an amazing reference/study site is lineofaction.com . if you think of the face in planes it makes it easier to construct (look up tutorials). if you draw a spiral like a tornado it can help you figure out awkward perspective for extended limbs (look up foreshortening coil technique). tangent lines are when two lines intersect and cause visual confusion (when it looks like a line that defines an arm is part of the line that defines a building, for example) and avoiding them makes your art way easier to comprehend. quick trick to good composition: choose a focal point (where you want your viewer to focus), detail that area the most, and make sure various elements of the piece are pointing to that focal point. you can use colours to contrast hue, saturation, and brightness and make certain elements of your drawing stand out. drawing in greyscale can help you figure out values. using black in a piece isn't illegal but you should know what you're doing when you do use it- it desaturates a piece and if used as a shading colour can desaturate and dull whatever youre shading too. if you use almost-black lineart and then add black to darken the very darkest areas it will do a lot to add some nice depth. the tip of your thumb ends just above the start of your index finger- your thumb also has two knuckles and all your other fingers have three. if you see an artist doing something you like (the way they draw noses or eyes or hair or anything else) you can try to copy that and see if you want to incorporate it in your style <- this is ENCOURAGED and how a lot of us learned and developed our styles. there are ways to add wrinkles to faces and bodies without making the character look a million years old, you just have to keep experimenting with it. The smile wrinkles around your muzzle dont connect to your mouth or to your nose; there should be a small space in between smile or nose and the wrinkle line. eyes when viewed in profile are like < aka a little triangle shape. think of the pupil like a disk and apply foreshortening to it (it looks like a line when seen from the side instead of a full round dot). subtle gradients can add a LOT to a piece. texture can also add a LOT. look up Tommy Arnold's work (his murderbot pieces are some of my FAVOURITE) and zoom in. find those random little circles he added and try to figure out why he added them there. light bounces. there's lots of way light bounces. sometimes it even spreads through the skin. i do not know these light tricks yet but i want you to know that they exist. draw a circle to indicate hand placement, draw a straight line between that circle and the shoulder, and then (normally at a right angle) draw a straight line on top of that line to find the placement of the elbow. elbows are normally placed Just above the hip when standing and your arm is at rest. there are no bad colour combos if you're brave enough about it, just fuck with the saturation and brightness until it works. keep playing. try new things. add your own tips to this post if you want or even expand on some ive mentioned here. good luck go ham etc