#trying to make a character reference sheet and figure out what I style I should draw these characters in | Explore Tumblr Posts and Blogs

the-owl-tree · 10 months

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not to be cringe but do you have any advice for running a character ask blog? Aiming for something kinda lowkey like with Bean (also I love bean. I love to see what she’s up to)

not sure how helpful some of these will be since they're just what i do for my personal projects but for sure!!!

uuuuhhh basic overview stuff

if you're doing an oc blog, chances are it probably won't receive as much attention as a canon character/story blog. just sort of the way things go! if you want to draw some attention, you might want to think about non-ask related stuff you can post (clangen blogs do this with the mini event posts, keeps the world moving!)

even with canon character blogs, giving pieces of character lore, worldbuilding, mini stories can help keep the world more alive. but that's when you got time and if it seems fun, you should just do things if you want to tbh

i keep all my stuff in a doc and add and edit whenever i put new info on the blog to keep things consistent. i just put them in little sections to help me find things (beanie lore, worldbuilding, spirits, etc.) but simple bullet points are easy.

if you're doing an original character and world, i would highly recommend giving your readers some worldbuilding and lore to help them invest themselves. people don't know the boundaries of things and while you can have them ask, a little nudge definitely helps.

for a canon blog, i'd pick a specific time period. it'll save you grief if you know who's alive and who isn't, as well as the grief that comes with trying to figure out what you want to change (if you want to change things that is. i like fucking with canon but it really is up to you and the story you want to tell).

you can improvise it as you go, but i do recommend jotting them down somewhere after the fact so you can keep things consistent. up to you though, i just have a piss poor memory lol

figure out if you want to try and do an overarching story, mini stories, or no stories. you don't have to decide right away and you can even decide after you start the blog and get a vibe of what people are interested in, but sometimes it is good to jot them down if they come to you right away.

you're supposed to have fun if you're not having fun don't do it, take a break from the blog or steer it in the direction you want. no one is paying you (i think) so everything you do you should do because you enjoy doing it.

art for an ask blog (if ur doing art if not skip this)

your main character should be easy to recreate on model and most importantly: fun to draw!!! overly complicated character designs are fun in the beginning but after five or more you're going to start to hate them.

i'd also recommend against doing too many tiny "floating" bits, keeping things attached to a body part or in proximity to a space easy to recreate them will save you grief. i learned this the hard way after i kept forgetting all those damn tiny scars i put on my fallen stars!firestar design. in comparison, beanie's design for the blog has a few scars but the placement makes it so they're easy to recreate and draw.

(how i style my reference sheets. do not be me. do not fall into hubris and add so many damn floaty scars to a character that is the main damn character of your goddamn big ass au blog. fucking icarus move lol)

if you introduce a new character, make an easy quick ref sheet for yourself. it'll save you grief and keep things consistent.

i'd also figure out if you want to do colors or no colors. no coloring means you have more time to put effort into sketches and can just move faster if you're looking for something breezy and easy. but colors look good, they make it easier to tell cats apart and are just much nicer on the eyes. if you also have a bigger cast in mind, you can rely on colors a little more than body shapes to make sure everyone can be told apart

i color my sketch lines different colors for different characters on the beanie blog but there are plenty of other ways to make sure characters are told apart! @/askcinders does distinct shapes and different base colors for different characters and lines distinct markings so you can tell whose who.

backgrounds are...difficult. i'd recommend simplicity over complexity and save big backgrounds for "big moments", but it's up to you if you like them! i would just say go simple since the focus of these blogs are the characters.

theeeeennn speech bubbles or no speech bubbles. i like doing doing speech bubbles within the text because it gives me more control of the order the reader will read the dialogue, how they read it, the emotions i can elicit from it, and more fun with how i can place the dialogue. buuuuuut that does mean spacing them, and spacing dialogue bubbles can be a pain since it takes up room if you forget to sketch their placement in the original sketch (which i do. a lot).

so the other option is art and then dialogue underneath directly in the post. this saves you room, makes art probably a lot easier, and circumvents the issue of difficult to read speech bubbles! i do both but it's up to you, both methods are tried and true.

aaannnndd that's all that comes to mind? really it's just about having fun. as you work at it, chances are you'll probably figure out your own individual work style. best of luck (and i'm very excited to see what you come up with)!!!!!!!

#deer rambles

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mutantninjamidlifecrisis · 2 years

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Your 23!!!!!???? I’m also 23??!!!!!

Dude; how the hell did you get so good at writing/pos/affectionate

What are your secrets and tips??

Oh wow this got longer than I thought it would be but anyway lets kick this off by saying age is no number! Don’t ever feel like you’re too young/old to start/improve. Also take any advice I give here with a grain of salt! I’m a stem major, I specialise in Zoology, not English. I’ve never taken a writing class, this is just what I've found works from my own experience and also from talking with other people that write fics.

I think first up, have a concept that you deeply, deeply love - an idea that you want to see so bad you’re willing to remove it from your brain and write it down onto a page. This is harder than it sounds.

There are two types of writers, I think. Type One – the people that want everything structured and figured out before they begin, and then there’s Type Two - the others that go: Fuck it, we ball, and type out the story without a plan and let it fly by the seat of their pants. Both styles have their pros and cons. Sometimes when your story is too structured and you’re trying to drive through plot points the story can feel very stiff and rail-roady, like you’re trying to play out certain beats rather than letting the narrative go where it would naturally flow. But sometimes letting the story flow without a plan for long enough means you get lost in it, and it never actually come to an overarching message or end point (i.e., it can get very wish-washy, and parts you want to really hit are less likely to because you haven’t had a pre-established plan leading up to it). You’ll probably naturally lean one way or the other, but I think both these styles can and should be interchangeable when you’re in the process of writing a story. I think having a good structure is particularly important the longer your fic is. The way I usually do things is to have a loose structure set out (typing out dotpoints of what I want to achieve from a chapter and the sequence of events that will play out, and keeping this as a reference during the writing process), and then let myself go wild with everything else in between (probably how I end up with 10k+ chapters. Which. Is not advisable, I think 2-7k is a much more reasonable number).

You might also want to have in mind how long your story is going to be and how much time you’re willing to put into writing it before you start <- (CJ has many sadly abandoned wips because they lost sight of where the story was going and didn’t plan out their time schedule appropriately) I try to plan ahead and have some vague idea of where I want the story to end. This helps a lot with motivation when writing.

If you’re able to write out a one-shot, I would highly recommend it. I tend to really like writing multi-chapter fics because the brainrot gets to me and I have no impulse control.

Once you have your concept and your loose structure (start, middle, climax, end), you’re going to want to expand on things. i.e. what are you trying to say with your story. What are the themes that really hit for you. What scenes are going to make you go absolutely feral (you can write these first, if you want). I’ve got a scene a chapter or two ahead that I already have in mind that’s going to make me go insane, and that’s the carrot at the end of the stick that’s pulling me through areas that I don’t want to write so much.

I also have like, sheets for each character with a list of dotpoints relating to their background, motivations, feelings towards other characters and how these dynamics may evolve over time etc. This is a really useful resource to flip back to when I’m writing.

Research, research, research. Google, read, watch videos. Expand on the stuff that you do not know, or stuff that you do know and want to expand upon (for example, I have had a panic attack before. I can write from experience of what that is like, however I do not know what it’s like from other’s perspectives, and they may have completely different symptoms to my own). The more information you’re able to gather, the more believable and interesting the story is going to be to the reader.

Do Not. I repeat. Do NOT write that you are a new writer/sorry im bad at summaries <- that kind of stuff in your fic description if you’re going post to ao3. I know it is tempting. I have imposter syndrome and the urge to lower people’s expectations before they jump in is very strong, but you gotta at least pretend to be confident. The summary is for marketing yourself and convincing people to give you a chance. You can add that stuff to the author’s notes if you’d really like. People will usually be willing to give you a shot even if you think you’re summary is bad. And often your writing is a lot better than you think it is (after having stared at it for hours). Also, the more you write and post, the better you will get.

I guess the only other advice is uh… Read! Read a lot. I don’t read nearly as much non-fanfiction as I should, but I am constantly reading, and I do believe that there's some non-published stuff out there that's a lot better than "official" books or whatever. There’s so many amazing authors out there – fic writers or no, and there's always going to be someone (probably a lot of someones) better than you. Don't be discouraged by that! Keep in mind the kind of stuff that really affects you, and how the writer got you to that point.

I’m sure I’ve forgotten/left stuff out here so if you ever have more questions feel free to ask. Also google is your friend! There’s so many incredible resources out there that can teach you how to write/structure/improve your story.

Most importantly, have fun with it. You’re not getting paid; you don’t owe anyone anything. If you’re not enjoying yourself, what’s the point?

#Good luck!#also thank you #writing #ask

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studioincomplete · 10 months

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Devlog 4- Post RGS and Art Stuff!

Welcome back to another Studio Inc.omplete devlog! I’m Ivy, lead writer and de facto head of marketing for Night of the Delivering Dead. This past weekend we went to the Rensselaer Games Showcase, an event held by RPI’s Game Dev Club to show off student games. We had an updated demo with fog of war up for playtesting, and we were able to get a ton of really useful feedback. We had a few bugs that we’ll need to work out, but we’ll get that posted for you to play as soon as it's in a slightly more playable state. While we were there, we were also looking for art feedback. We’re still trying to iron out a few decisions, primarily whether we keep using the pixel shader or not and what art style we go with for the card art. You can find that survey here, any feedback you have for us is welcome!

After this we won’t have another major event until March when we’ll be going to PAX East and (maybe) GDC, so we’ll be shifting into hard production mode over the next few months. We may be a bit quieter on devlogs while we’re heavily working on stuff. But, with all that being said, I’ll turn it over to artists to share what they've been working on!

Hey all, it’s Ghost, the lead 2D artist, coming at you with an update on the progress we’ve been making on our visual style. Over the past few weeks I’ve been spending a lot of my time focusing on how we can make every aspect of the game mesh well visually. It’s easy enough to design individual elements and call it a day, but it’s a separate beast trying to connect those elements.

To that end I dedicated time to making a style sheet! For our team, it was important to figure out the color palette we wanted the game to mostly follow, as well as decide on line weight, shading, all the various things that I should keep in mind when I work. This was a huge help in solidifying the foundation for our visual identity, and it’s a reference I’ll use up until the very end. If something seems to be deviating from the style we’ve set, the first thing we should ask is if there’s a good reason for it to do so. If not, then we can correct it and that way nothing feels clashing to look at!

The other thing I’ve begun to work on is our cards that you’ll use to control your various undead summons! You’ve amassed quite the repertoire of spells during your time in college, but it’s hard recalling them from memory, so it’s a good thing you’ve written them all down in your notebook! It also means being reminded of all your doodles, messages, and scribbles you made while bored in class.. Unfortunately it seems that we’ve misplaced the pages these sketches are supposed to go on, but we can still show them off for now. Hopefully we’ll be able to find them in the future.

Hey! This is Ari, the 3D Artist for the game :) So far I have been working on some rough models to populate our map, and also working on a blockout for our character. All of these models have been made in Blender, and we’re using a shader in Unity to give them their pixel look.

The vibes for the map so far are spooky suburbia, so I have created some standard houses and other buildings that are most like things you would see in a normal town (along with a giant pumpkin tile, which is VERY realistic). Going forward I am going to be working more on the character models, reworking the current models we have, adding more types of houses/buildings, and creating smaller details like trees and other vegetation. That’s all we have for now, stay tuned for more!

#indiegamedev #gamedev #indiedev #video games

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lotusprotocol · 5 months

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dreamcatcher devlog: april 2024

(new menu, posting here bc i still think it's good)

full devlog under the cut!

welcome back! sorry for being a couple days late; i specifically tried to start early so this wouldn't happen but some other stuff got in the way (mostly myself). without further ado, here's everything that happened this month:

month started off with some pretty slow progress :/ i usually end up doing a lot in the few days after pushing a new playtesting build but lose momentum until it's almost time for another one

i got interested in multiplayer in godot and took a detour to make something with it! over a span of around 48 hours, i made a prototype called rocket science, which you can play here. it's a fast paced smash style game where everyone has rocket launchers and tries to blast everyone else off the map. idk if i plan on doing anything else with this but feel free to try it out with your friends!

(quick preview screenshot of the game)

later on in the month i finally pushed a new build! it includes a hub level to access the two finished levels in the game so far, and although there's not much there yet, it's a step in the right direction.

i worked on some bugfixes and small suggestions in the couple days after that. i have a reports channel set up in the playtesting section of the discord (which you should join wink wink nudge nudge link is in my pinned post), and it's very helpful for figuring out what i need to address.

i've started working on the next level, but have barely made any progress. it's mostly because there's a lot of sprites i need to finish before i can really start planning the layout, so it's just a matter of getting those done.

i also updated the main menu and made it look pretty cool (which is shown in the gif at the top of the post)

aaand that's about it! as always, here's what i have planned for this month:

make reference sheets for the main cast

finish character sprites (spoiler alert this will never happen)

catch up on school work

do good on final exams

finish the next level and push a build

have fun :]

if you made it this far, thanks for reading! and if you want to see more updates about the stuff i'm making, i'd really appreciate if you left a follow <3

#devlog #dreamcatcher game #rocket science game #gamedev #indiedev #godot

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nanowrimo · 3 years

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Contentedly Creating Comprehensive Characters

We all get stuck on our characters eventually, but maybe all we need is a fresh reminder on how to make those iconic characters. Luckily, writer Cyra Blue has a guide for how to create in-depth characters:

Chances are, if you’re reading this, you have a story (and by extension, some characters) mucking about in your brain. But how to make your forgotten prince stand out from among the many, many others of his kind, shape your villain into something more than a cardboard cutout of Jafar, or give that side character a personality other than “quirky alchemist”? I’ll give you a hint: it’s going to take some planning.

Put away your pitchforks, impulse writers. As a “pantser” myself, I know the urge to spit out your story without really thinking is great, but often comes at the cost of poor storytelling, confusing plot points, and bland characters. A bit of planning will help with that (and might even end up being fun!).

So, characters. Step one is to figure out what the character is doing in the story. Stop styling their spiky black emo hair for a second and pay attention, this is the most important part. In Plato’s Poetics (which is an excellent guide to writing tragedy, by the way), he emphasizes that the plot is the most important part of the story, and characters are intertwined in that, meant to carry the plot to its completion. Therefore, your characters must have a place somewhere in the plot, otherwise, well… they don’t matter. In creating characters for a story, ask yourself:

“What impact does this character have on this story, and how do they help move it along?”

If your adorable kitty girl doesn’t really do much for the gritty fantasy murder you’re writing, it’s time to make some cuts.

Now that you know what your character is doing with their life, you need to give them a personality. The easiest way to go about it is to pick up your cousin and drop them into the story without warning. Seriously. In my experience, I find the character creation process becomes much simpler if you have a good base to start off of. I can’t tell you how many times my brother has made it into my stories, whether he’s the main character or some weirdo walking down the street. The trick is, though, you don’t want to put the person in exactly as they are, especially if they’re going to be reading your story. Rather, you should take them as a base, stripping away all the identifying features until you get to their bones… that is, their personality. From there, you can add details until your new character is fully formed.

Think of it like casting roles in a play: you want the best possible person to play each part. For example, say your best friend is usually cheerful, but works hard to achieve their goals and is motivated to be better by their failures. You can very easily turn that personality into a character just by adding the necessary details, and all of a sudden you have the perfect character type for that extremely important old woman who raises the definitely-not-prince.

Alright, now we get to the part everybody likes: the details. My favorite way to do this is to fill out a character sheet, a myriad of which you can find with a simple Google search. There, you can finally give them their emo hair and favorite food, as well as a backstory, a family, goals, weaknesses, epic karate skills, and whatever else you desire. Looking for more help with their personality? Take a Myers-Briggs personality test as your character to get a feel for how their mind works.

And that’s it! If you follow these steps, you should end up with a good idea of who your character is and what role they play. Now, get out there and try it for yourself. Best of luck to all of you!

Cyra Blue is currently a student at Thomas Aquinas College, where she is pursuing a degree in the Liberal Arts, which should explain the Plato reference. She does not have any currently published works, but is simultaneously working on an anthology detective series and a fantasy novel that may or may not involve a cat girl. In her free time, she enjoys acting in musicals, fooling around with art supplies, and keeping up with way too many cartoons. You can follow her on Instagram @ceruleancyra.

Top Photo by Alice Dietrich on Unsplash

#nanowrimo #camp #character #original charcter #writing #by nano guest #Cyra Blue #character building #character development #characters

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thechekhov · 4 years

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I had a fast question about commissions. My sister is an artist, and she’s having trouble figuring out pricing. How did you figure out your prices?

The basic idea for an artist looking to start commissions is to do hourly pricing.

(More professional/experienced artists might use a different rubric. Your mileage may vary, etc.)

The first thing to do? Identify some stuff you (or in this case your sister) wants to draw.

For example, I like drawing black and white a lot, so that’s one of my offered commissions. The other kinds can be anything you want.

Examples of some common commission ‘types’:

full-body black and white commission

portrait style commissions (shoulders and up)

character reference sheet commissions (usually full body, full color, displayed for simplicity of viewing, may show off extra items or colors)

backgrounds or concept sketches

pet illustrations, etc

After choosing a few things you’re most confident in (and I stress this: DON’T OFFER COMMISSIONS OF THINGS YOU DON’T LIKE/AREN’T COMFORTABLE DRAWING! It’ll end in disaster.) sit down and think about HOW LONG it takes for you to draw a single thing.

When you have some ideas of how long it takes you to draw a specific type of drawing (and you should, by this stage, have several examples of this kind of drawing on hand so you can simply try to recall how much each one took) you can apply an HOURLY RATE.

When deciding an HOURLY RATE, I greatly recommend going for a minimum of $15/hour. That’s a reasonable minimum wage and gives you wiggle room.

So, if we go with $15 per hour, any drawing that takes you an hour to make would be $15. Any drawing that takes 2 hours would be $30 - etc.

FAQ:

What if I take a really long time to draw? 😰

If you’re one of those artists that ‘snacks’ or productivity (comes in, does 5 minutes of work, goes away for a week, comes back again, does 3 more minutes, etc) then you’re going to have to go for estimates.

If you’re one of those artists that is a perfectionist and it takes you 20 minutes to decide where to put the line, or if you go back in and erase/redo things so much that the time you spend on something ends up being inflated - that’s fine too! But you’ll probably need to adjust things accordingly.

Again, I’m serious - don’t offer things you aren’t comfortable drawing! I used to be TERRIFIED of drawing animals because I couldn’t get their likeness down and spent 3+ hours on a simple sketch. I refused most animal-based commissions because I knew I either didn’t have the confidence to do it, or I would take too dang long because my skill-set wasn’t applicable. After specifically focusing on some animal-based drawings, I became able to whip up a pet portrait relatively easily, which cut down my time for them as well.

I feel like my commissions are overpriced... 😢

A LOT of people feel this way when they post commissions and get no takers. Sometimes, opportunistic assholes may even say ‘your art isn’t worth __!!’

But the reality is - your art ISN’T a necessity like toilet paper or food. It’s a luxury item - fanart, commissions, etc are things that you DON’T NEED but want anyway. And because they aren’t a necessity, there’s no need to price them low enough to make people unwilling to pay more than $10 comfortable.

If someone is complaining that a commission costs ‘too much’ then I would simply ask - too much for what? No one *needs* a commission like their life depends on it. If you don’t have the cash, then you don’t need to pay. Someone else will want to pay, and that’s the person worth waiting for.

What if no one buys my commissions? 😓

I’m going to tell you the cold, hard truth - there’s a good chance no one will!

At first, when you start out offering commissions, unless you already have people begging you to take commissions and/or you have a significant following... no one will ask for commissions.

Does this mean your commissions are bad? No.

Does this mean your commissions cost too much? No.

Does this mean--

It means you have not found your customer niche yet.

If you have a lemonade stand and you go and set up in a low-traffic area where no-one knows you, will you get lots of customers? Probably not. If you go to a city that’s full of other, more experienced lemonade shops, and try to set up nearby, will people buy your lemonade instead? Not likely. If you go to to your local neighborhood and ask your uncle to buy lemonade, will he? Eh, yeah, maybe.

The 3 scenarios above are like posting your commissions info to, say, a new tumblr blog with very few followers, to Twitter, and to Facebook, respectively. None of these scenarios change how good your lemonade may be - but they are nonetheless environmental factors in who wants to purchase your work when they’re not familiar with your style, your manner, and yourself as a person.

Don’t blame yourself - take your lemonade stand and move it, or make a funky commercial, or reach out to other lemonade-sellers and drink THEIR lemonade and hang out in the lemonade community to get more info on how to improve sales.

Anyway, fellow artists, please add on to this! I’m sure I missed details and there’s more to be said here, but that’s my ‘fast’ answer! Haha...

#Anonymous #chekhov answers #arting #how to #commissions #commission pricing #tutorial

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tendermiasma · 4 years

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i’m not even into overwatch anymore but i just wanted to say I ADORE your art style and hope to develop my own into a similar semi-realism leaning...have you made a post about your art journey? I’m assuming I just need to buckle down and do anatomy studies but any tips are very welcome!! Ty for your time <3

Oh man thank you! I’ve never made a comprehensive post about how I got to *gestures* whatever this point in my art this is, and I definitely sat here wondering what “art journey” means for me since I always feel like I’m stumbling around so I’ll answer as completely as I can. But a great way to develop a realism-minded eye is to draw from photos and life. Everyone in the world has said it over and over but it really gets it done, it’s not any more complicated than that. It’s how I started when I was little and it’s not something I planned, but the Legolas posters were right there so how could I not? Your own non-realism “stylistic” touch will bubble up whether you want it to or not and that’s a beautiful thing. It’s not something you need to look for because it happens on its own, whether it’s you seeing something another artist is doing that you like and assimilating it into your work, or it’s your own unique way that you absorb information from the world and use it to solve problems in the drawing in front of you. Some new artists also still have the idea that using references is cheating-- I’m not blaming them, sometimes this weird thing is circulated by more established people as well-- but this is a very small minority. Please use references. I’d be lost without them. The Castlevania team has a giant collection of references for faces of every character from every angle, props, etc. and I always have a second screen up with 10 different sheets of whoever I’m drawing. Feeding yourself info is essential to getting better. Look at how other artists handle something you’re having a problem with too. If they’re doing a similar pose or something, study their drawing and ask yourself what specifically, extremely technically about that drawing is convincing-- what marks are where, and what is the quality or direction of the strokes? Try it out on your own drawing. If you’re stuck, become aware of if you’re holding on too tightly to what you think something should look like. I have to remind myself this as well. Really try to let go of the idea you have in your head about how something works and simply try instead to draw what you see, even if it feels weird. The results are often pleasantly surprising.

I have a funny relationship with studies. You seem to be looking at them like a chore and I feel the same way. It’s impossible for me to sit down and just draw something over and over, disconnected from emotion or a larger narrative. I think a wonderful way to “study” is to incorporate those studies into a project that you wanted to do anyway. I’ve used my minicomics to get better at background painting or specific figure poses that I needed for the story but wasn’t sure how to do. I’m a very “oops I need it now better learn TODAY” kind of artist, if that suits you better than buckling down and doing anatomy studies for hours. Both are great ways to improve, but you have options for how to get there.

In terms of how much time I spend drawing.. well lol it’s a lot. I almost typed “but I don’t do it every day” but yes, my jobs have made sure that I do (I tend to separate personal drawing and job drawing). But the truth is, to get better, a lot of very focused drawing time is important; how much of it is up to you and your schedule. You can sit down for 6 hours and doodle or you can sit down for 3 with an extremely critical eye. It’s about the volume of time as well as focus and I don’t have a clear answer for it, but I can point to one specific year in my life where I made artistic progress like I’ve never seen from myself since. I drew a comic with regular updates during that time and, looking back, the art was not good. But the point was, I was drawing for 7 hours a day after work, at least 5 days a week, and actively looking to draw things that I hadn’t done before or knew that I wasn’t good at, and the result was that every single update was almost like it was drawn by a different person-- readers noticed and commented on the progress as well. It was very much an art bootcamp and I wouldn’t have the skills I do at this point if I hadn’t done it. It’s important that you’re loving what you do if you do it for yourself! That’s how you get through big projects and continue to be excited with where you are. Love is one of the most important motivators and discipline-keepers in art, in my experience. Draw what sets your brain on fire and attack it wholeheartedly even if it’s really weird or niche, not what you think you should be drawing, and you’ll improve a million times faster.

Art journey in terms of what I’ve done with my life (if this is what you meant from the beginning I’M SORRY I’m just trying everything you might have meant) uhhh I haven’t been to art school. I have no idea what my relationship with art would be like now if I’d had any formal training and I don’t really dwell on it. I could either be a testament to being able to get by without it or an example of someone who has no idea what she’s doing at all and lacks many basic foundational art skills. I have an architecture degree. I love architecture, I love the language of space we build for ourselves, and I’m truly, deeply glad for that eye-opening and often grueling experience, but I think my current field is a much better fit. Before animation I worked as a graphic designer mainly drawing storyboards for commercials and internal-industry stuff-- lots and lots of quick colored sketches (one of our main clients was a big glass company and my god I never thought I’d draw so much glass in my life). I was able to do that job due to the skills I developed through personal work. Maybe I’d be a hundred times more powerful if I went to art school! Maybe I’d be completely burned out and bitter and not drawing anymore at all! I just don’t know. I have friends who have had both experiences. Whether you choose art school or not it’s best to keep tabs on if the art you’re currently making brings you joy. Joy and struggle aren’t mutually exclusive. Oftentimes I’m drawing something I care deeply about but it’s VERY FUCKING HARD and I’m frustrated but it’s worth it.

I also do everything while being very scared of the thing. I have a lot of deep-seated anxiety that I’m constantly trying to root out and my brain compulsively twists things around into why I can’t do something, why people secretly know I’m below-par and are just too nice to tell me, how I’m “tricking” people into thinking I’m better than I am, etc. It’s so bad that my first thought when I was initially offered the art test for my current job was to say no; not because I didn’t want it so badly it hurt, but because I thought I’d be too much of a disappointment. After completing the test I spent an hour figuring out the most gracious way to apologize for not being enough. It’s common, but not something to accept and we’re all working on it. I just thought it was important to mention because art is also a mental journey and forces you to do all this navel-gazey shit in order to advance, and feeling like you are Not Enough is rife in the creative community. The work feels entangled with my value as a person because art is a massive part of my life. Something I’m learning is that I don’t have to be confident or sure of myself all the time. This ensures that the process is usually painful and frightening. Often there’s no way to make it less painful or frightening, and I just have to hold my breath and do it. An oddly comforting thing to me the past couple years is to remind myself that the scary thing I’m about to do won’t be the scariest thing I’ll ever do. I implies both that this isn’t the pinnacle of my progress and also that I will inevitably get over it. If you continue with art you’re going to run into things like this and I guess if it was me it would’ve been helpful to know I’m not alone in it.

I hope that maybe answered some of your questions, maybe? If you have some specific questions feel free and I’ll try my best. Hope you have a good day/night!

#anon #asks

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non-plutonian-druid · 3 years

Note

I adore your tarot card series, your art is amazing and one of my favorites in the fandom. I have a strange (possibly unanswerable) question, but do you have any tips on emulate Gabriel Bá's style? I've tried to, but it always feel like a poor imitation. I feel like yours emulates his amazingly, while also being unique to your own. Sorry this is probably confusing, and feel free to ignore if it doesn't make sense.

awww thank you so much!!! honestly I feel like I'm still figuring out how to mimic his style. but! I love talking about how I make art, and what I think about when making art, so Anon, I hope you are ready for this extremely long and convoluted reply under the cut

first of all, reference! obviously lmao. I just googled around for pictures from the comics. but if you have something specific you're trying to draw you should definitely get the closest equivalent.

[ID: a screenshot of a canvas on Procreate. It has a large upright rectangle surrounded by various panels from The Umbrella Academy comics. End ID.]

This is my reference for the tarot series. I really ought to have more, and make tailored reference sheets for each card, but I’m lazy lol

Once you have some reference (don't be afraid to decide that some of your reference isn't that helpful, or that you need more), you can get to ~analysis~

Basically, this is just getting a feel for what the artist does that makes their style distinctive, especially when its different from your own. Things to look out for include proportions, amount of detail, the way eyes, hair, hands, and clothes are drawn, and any other distinctive features of note (like how Bá often exaggerates the chin). A good place to start is by tracing the form!

lets use this picture of vanya as an example (sorry about the quality lol)

[ID: a panel from The Umbrella Academy, of the White Violin playing and tuning her violin. End ID.]

Tracing the white violin’s form is fairly straightforward since she’s not wearing any clothes, but even so this is not just an outline- you want to mark the pieces of her body (such as head, shoulders, ribs, stomach, hips) and how they fit together, like for example:

[ID: the same image as above with the opacity lowered. A red line tracing the outline and joints of her body has been drawn over the image. End ID.]

(I also marked how much of her head that her face takes up, which can be helpful too.)

from this, you can learn that Bá has drawn her with a large head, small shoulders, a torso too wide for her shoulders, and a very long torso- very long ribs in particular, as her stomach and hips are more traditionally proportional. Doing this more times, with more characters - being careful to outline the body under the clothes, not the clothes themselves - can give you a feel for how Bá generally draws proportions. Based on my own experience, I can tell you that the “torso disproportionally wide to the shoulders” thing is pretty typical, and that though he does tend toward longer torsos, this is pretty long even for him.

If you want to get more specific, you can. for example, you can use this method to examine how his faces are proportioned - how how much space in the head that the face takes up, how much area the eyes take up versus the nose, whether there is more space in the forehead or the chin and so on.

[ID: a panel of The Umbrella Academy showing a closeup of Vanya’s face. The opacity has been lowered, and the basics of the forms of her face have been sketched over in red. Arrows note which line indicates her hairline, that the line of her brows is used to determine the size of her face, and have sectioned off how much of her face is taken up by her eyes versus her mouth and nose. End ID.]

This can vary depending on the character, but I’ve noticed that he usually draws ears as very small, sharp, and low on the head with minimal defined shape, and when he draws hair, he usually draws it in one big shape with minimal interior lines.

You can also use it to figure out how he draws hands - some specifics that I’ve picked up are that his hands are usually more realistic than mine, and that the meat of the palm, where the thumb connects to the hand, is generally very pronounced and is also generally a round shape (I usually draw this area fairly pointy).

Figuring out how Bá (or any artist) generally proportions a character can go a long way to making your own imitation feel more accurate. Another good, though more straightforward, thing is to examine and imitate how he draws details - how he draws t shirts if you’re drawing a character wearing a t shirt, how he draws trench coats if you’re drawing a character wearing a trench coat, and so on. When choosing reference, keep in mind is how close to the “camera” whatever you’re drawing is, and try to get reference that is located at a similar distance. There’s more detail closer up and much less detail farther away!

and of course, practice before you jump into your final piece! You can try to copy directly from the reference a few times, and then place your version directly over the original to examine where you went wrong - if you tend to make your heads too big or your torsos too short - in order to keep it in mind for the future. and also practice the pose you’re planning to draw and examine its proportions compared to other drawings Bá has done. And don’t be afraid to trace!! tracing is taboo for final pieces but it can be extremely useful for practice, as long as you are paying attention while you do it!!!

All this is important foundational stuff to getting a good imitation, but what really sells the style, and what can make any sketch look at least more like the comic no matter how unlike the style, is the final lines and coloring.

heres an uncolored piece of art by Gabriel Bá.

[ID: a black-and-white illustration of Five, Diego, Klaus, Allison and Luther standing in a jungle, presumably in Vietnam in the 1960s. End ID.]

I use it for my example because it’s easiest to examine line art when there isn’t any color.

this has more detail than the panels in the comics, but from it you can learn a few things. The most important thing is that Bá uses a thin pen with absolutely no line weight variation or tapering, and also uses large black shadows. He also occasionally uses intermittent dots or dashes to add texture. Many of his lines, particularly the ones for small details, are very wiggly. And much of the time, a given curve is actually made up of a series of straight-ish lines.

The pen I use for the linework looks like this.

[ID: a set of scribbles made by a pen that does not vary in width, and does not taper at the ends. The curves are slightly jagged. End ID.]

now lets take a look at the coloring. I don’t know if Bá does the coloring or someone else, but the style is still very distinctive and worth taking a closer look at.

[ID: a panel of The Umbrella Academy showing the Sparrows from the end of Hotel Oblivion. End ID.]

All of these colors are flat colors, with no gradients. Not terribly surprising for a comic book, but worth pointing out. All of the shading is very geometric, and there are almost no curved lines, even in the shading for the smoke. most areas have a base color and a shadow, rather than a base color-shadow-highlight, or even multiple highlights and shadows (this is a rule i break frequently). The shadows are likely individual colors picked to be darker than the base color, rather than one color layer set to “multiply”. That’s fairly obvious, but I point it out because its different from how I would normally shade. Occasionally, colors do not fit neatly into the outlines, usually on background objects rather than characters. There are almost no areas where a low-opacity color is laid over the other colors; any places where this happens are almost invariably small and shaped like a rectangle, as though drawn by a chisel brush.

The brush I use for the colors looks like this.

[ID: a set of scribbles made by a chisel-shaped pen. It also does not vary in width, though vertical strokes are thinner than horizontal strokes because of the shape of the tip. End ID.]

for figuring out what colors to use, I honestly recommend just finding a scene that you like the coloring for and taking the colors directly from that. It’ll teach you how to use color palettes like it in the future, and the coloring is already done by a professional, so why not let them do the work for you! If that feels too much like cheating, I still recommend at least taking inspiration from them.

All the practice for form etc is important if you really want to feel like you’re imitating the style, but honestly even just copying the line art and coloring techniques will get you pretty far.

this got. so long. I hope at least some of it was helpful!!!

#for the void #tua #thanks for the ask!!!#and im so gald you like my tarot series!!!#hoooly shit this is so long i really really hope it helps *somebody*

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bluerosesburnblue · 3 years

Note

I hope you don't mind this ask, but... Any theories / speculations about the most recent story update for KHUX?

Oh, I don’t mind at all! I’m glad you asked, actually, because I’ve had some thoughts, though not many new theories of my own, unfortunately. That being said, I can definitely go over how some of my old theories and some of the fandom’s hold up and my thoughts on a few of the new theories I’ve seen floating around

One thing that I’m consistently proud of is how my old guesses about Darkness’s true nature just keep ending up almost right barring some slight details. I made the claim back when Re:Mind first came out that Darkness could be a hive mind of entities that plant bits of themselves in others, and then refined that back in July of 2020 by likening it to a parasite that worms its way into people’s hearts and incorporates itself into them to control them. This past update confirmed that the Darkness we’re fighting is one part of the hive mind that wormed its way into Ven to force him to act out, and that by doing so it detached itself from that hive mind and became incorporated into Ven’s being (which Ven can then shape). So I gotta say I’m pretty pleased about that part

All that’s left to be seen from the July post is if Darkness has a connection to Verum Rex/Quadratum, but I doubt that that will be touched on by the KHUx finale. Though I will say that it’s pretty interesting that the Master of Masters tells Darkness about “a world [he] can’t even conceive,” which seems like it could easily be referring to Quadratum, which also means that Darkness knows about it

That’s pretty much all I have to say on the Ventus/Darkness/Vanitas connection, but there’s still more to cover in this update

One thing that I’ve been trying to figure out is who the cloaked figure right at the start of the update is, Luxu or the MoM. Measuring the sizes and my old guess based on the KH3 Secret Reports both say Luxu, but this brings into question “when,” exactly, the True Dandelion scene takes place as it doesn’t have the dark haze around the edges that they give flashbacks, but is clearly the real-world set of pods as they’re not destroyed AND it’s missing the pod that Maleficent already used. The True Dandelion scene has a lot to unpack, but this scene at the start does make me wonder if Luxu and/or the Master have a way in and out of the datascape that doesn’t involve the pods, otherwise the numbers don’t add up

Also related to the post of mine I just linked is the idea that the Black Box is the datascape. I believe that this might still hold true. It’s interesting to note that they show the scene from Back Cover where Luxu is given the box in the first place just prior to the reveal that using the lifeboats to escape starts the process to seal it off and have the real Daybreak Town fall to darkness, and the Master’s “hint” to Luxu involves this very process. Why would Luxu be forbidden to open the box? Quite possibly because it contains the infected datascape meant to seal off the vast majority of the Darkness hive mind. And several Dandelions. It is both the “hope” mentioned in KH3 through those Dandelions, as well as a trap to keep Darkness out of being able to interfere for quite a long time

Now, the questions that I’m sure are on everyone’s minds are “who is the True Dandelion,” and “who are the ones who use the lifeboats?” Let’s start with the True Dandelion, as there’s far less moving pieces involved in that one

I won’t take credit for coming up with any of these options, I’m just going to discuss the logistics of them. So the candidates for the True Dandelion in, what is in my opinion, the least likely option to the most likely option, are:

Kairi: I’ve seen this one floating around and... honestly don’t believe it at all due to the sheer amount of logical contortions that you have to do to make it work. To wit:

Where the hell would she even come from if it was Kairi? As can be clearly seen with Ven, is stated to be true with Subject X, and is implied to be true of Lauriam/Elrena, those who travel to the future using the pods will regenerate their bodies at the age they were when they used the pods. Which would make Kairi at the oldest a four-year-old. Four years prior to KHUx was when Brain was told that he was a Union Leader. So she either would have been just born immediately prior to the war and was just... stolen or something? And we never saw? Or just after the war, where she would probably have to be the child of a Dandelion that got teen pregnant because they’re supposed to be both kids and the only survivors? Or Luxu and Ava’s kid somehow? Like, what? The timeline is just insane with that

If she was born before the war... you would assume that the True Dandelion would be, you know, a Dandelion. Which would mean that Ava handed a Keyblade to and recruited a literal toddler. This would also retcon Aqua being the one to accidentally pass the ability to wield a Keyblade down to Kairi and I refuse to make theories predicated on “the author will retcon this.” You just open up a huge can of worms doing that

The body wrapped in white looked a hell of a lot bigger than a four-year-old to me

I am sick to death of “this character was secretly from the Age of Fairytales~” being employed by the narrative. It’s happened at least three times already (four if you count Luxu). Enough already

Ventus: Ven has some hints, though some notable contradictions to it being him

On the one had, the sheet that the True Dandelion is wrapped in is extremely similar to the one that Xehanort wrapped him in when planning to leave him on Destiny Islands in BBS and there’s a possibility that Xehanort may have found him in that very sheet if he regenerated wearing it

On the other hand: Ventus might not have even been a Dandelion in the first place (he definitely wasn’t a Union Leader, but I don’t know if it was ever said whether he was selected as a regular Dandelion or not), and there’s the timing of the scene that I mentioned above. It’s definitely after Maleficent used her lifeboat but before anyone else used theirs (when you would expect Ven to remain with his friends) and, since the scene doesn’t have the flashback effect, it’s implied to be happening concurrently with everything else, so Ven should still be fighting Darkness in the datascape while it’s happening and eliminating him from being this particular person

Strelitzia: Oh, boy, have we got some nice old hints to Strelitzia, but still a few logical contortions, just like Ven

The white sheet is coming back up again. Namely, the fact that we still have an unexplained scene where Strelitzia appears to Lauriam in a dream wrapped in a white cloak, though it’s of a different style than the one that the True Dandelion is in. That scene also featured flower petals being blown into the wind, much like a dandelion seed (though, notably, the petals that are blown aren’t Dandelion seeds)

The question is, yet again, one of timing. How would Luxu get her body? While she was only introduced in KHUx, her scenes are all flashbacks to before the war, so we know that she was struck down in the real world, not the datascape. We see her body dissolve into light and her heart be released. Now, technically you only need a heart to time travel (actually, a heart is the only thing that can time travel), but Luxu is clearly seen putting a body into the machine. A machine that only allows for time travel because it destroys the body. If he had her heart, he wouldn’t need to use the lifeboat because she’s already in a state to time-travel on her own and this eliminates the possibility of him putting her Nobody into the machine, because without a heart it would just evaporate her body leaving... absolutely no heart to go to the future with

Now, Luxu theoretically could have grabbed her heart. We know that he was hanging around Daybreak Town at the time while observing thanks to his fight with Ava, but Strelitzia is struck down just after the fight with Ava starts so it’s very likely that Luxu was too preoccupied to retrieve her heart before it was gone. Speaking of Luxu’s fight with Ava...

Ava is my current top pick for the True Dandelion candidate due to the sheer number of questions it answers and how few it raises

Ever since KH3 came out, the question of “where the heck is Ava?” has been buzzing around as a major mystery. Her last chronological point of appearance is the same as the other Foretellers: the Keyblade War itself, where she’s shown leading her Union to battle. Notably, she seems resigned to her part in this, and this is the first and only time we see her after her battle with Luxu where he reveals to her the Master’s true plans. Melody of Memory seems to imply that the other Foretellers managed to skip to the future by going to another world, Quadratum (or at least this is the most likely explanation as there’s not enough pods to send all four of the other Foretellers AND the characters that we know end up in the future to their destination). However, Ava isn’t with them and Luxu knows what happened to her

It would be easy to write this off as them trying to drop Ava from the narrative or her not being important, but her chess piece is included in the “Eraqus and Xehanort foreshadow the next saga” chess game on the far right of the board and Nomura confirms that they represent the Master’s six apprentices, i.e. the five Foretellers + Luxu. So, Ava is necessary in the upcoming saga and yet, she didn’t get to the future the same way as any of the Master’s other apprentices leaving her open to get there via a lifeboat

Ava is the very founder of the Dandelions, who all of the others look up to and defer to and was spoken of heavily in the scene just prior to the True Dandelion reveal. That’s grounds for being called the True Dandelion if I’ve ever seen one

Luxu would very easily be able to ensure that Ava would be able to make it to the future. Just like with the Master of Masters, he already has the memories necessary for her to use to regenerate a body, and either her Keyblade or her mask would make for effective mediums that wouldn’t be too difficult for Luxu to take. If he put her in the white cloth, he probably took her mask off already

Ava hasn’t been around for the events of KHUx, so there’s no timeline discrepancies if it’s her

So, now that we have an idea of who the True Dandelion could be, let’s talk about the rest of the lifeboats and how they might fit together. For the purposes of this discussion, let’s assume that the True Dandelion can’t be one of the Union Leaders and that their battle with Darkness is taking place at the same time as Luxu is sending off the True Dandelion. I’ll be referencing an old theory of mine, while making additions now that it’s clear that there’s two sets of lifeboats: the Data Set and the Real Set

Right now, there’s an equal number of Real Pods and Data Pods: 5 each. For the Data Pods, of the seven that we started with, one was used by Maleficent and one was damaged in the battle between Maleficent and Lauriam. As for the Real Pods, one has been used by Maleficent, and one has been used by the True Dandelion. This leaves us with five each.

We can narrow this down further by eliminating people that we know end up in the future. These are:

Ventus

Subject X, who is most likely Skuld based on her description

Lauriam

Elrena* (of note with Elrena is that we actually have no idea where the hell she is at the moment or how she’s going to get into the pods. Furthermore, while every other lifeboat user sans Maleficent has been shown to have amnesia upon waking and Lauriam/Marluxia directly indicates as such applies to him, too, in KH3, Elrena/Larxene’s KH3 scene and character file short story both indicate that she recalls Lauriam and possibly Strelitzia, though she also seems surprised at the idea that she’s part of an ancient Keyblade legacy. I won’t deny that there’s a possibility that she doesn’t use a lifeboat and ends up in the future by other means based on the discrepancies)

So with three confirmed cases, we’re left with one ambiguous case in Elrena and three more possible candidates: Ephemer, Brain, and Player. Four people, and two pods

I want to make it clear that despite what I brought up against Elrena, I do think that she’ll be using one of the lifeboats if only so that KHUx has narrative consistency. They introduced Elrena, they made her part of the investigation on Strelitzia’s whereabouts, so it only makes sense that they need to show us where she ended up for a satisfying conclusion. So let’s slot Elrena in for one of the lifeboats. That leaves one between Player, Ephemer, and Brain

My best guess is that Player won’t be using a lifeboat at all. Not only are they a create-a-character that would be a HUGE pain to try and incorporate into future entries in the series without making a “canon” version and thus ruining their appeal as an avatar, but we haven’t seen or heard mention of them at all in the games set in the present-day. There’s zero indication that they made it, which makes them the most easily eliminated as a lifeboat user

That leaves Ephemer and Brain, and I still believe that Ephemer will be the final lifeboat user, and for the same reasons as stated in the theory I linked at the start of this section. Not only does Brain have the same facial sprite as Eraqus, but he wields the Master’s Defender which will be later passed down to Eraqus and I believe that this eliminates him as a time traveler, despite the fandom’s popular opinion that it confirms it

Because I don’t believe that Brain is Eraqus’s grandfather, but rather his distant ancestor who inherited the No Name and passed down both Keyblades through the ages

So let’s resolve some plot threads taking everything I’ve stated and linked to above into account

My Big Guess for the KHUx Finale

Ventus will use the fact that Darkness is tied to his heart now to give it a physical, but still mostly amorphous form that he, the Union Leaders, and Player can finally take down. Darkness will be sealed inside Ven��s heart, where it will lie dormant until he reaches the future. Eventually, Xehanort will extract it in the form of Vanitas and it will follow Vanitas’s life cycle, ending in him being reabsorbed into Ven at the end of BBS. Darkness, now back in Ven’s heart, will make brief contact with Sora during the events of Re:Mind

Lauriam, upon learning that the world will be sealed with the use of the lifeboats, will attempt to rescue his partner, Elrena. Both will take lifeboats out of the datascape and into the future, whereupon they will be recruited into Organization XIII by Luxu’s current incarnation, Xigbar, likely to keep an eye on them. I believe there might be a squabble among Ephemer, Skuld, Brain, and Player among who will use the final lifeboats (each person nominating others besides themselves), but ultimately they will settle on Ephemer and Skuld

Skuld will wind up amnesiac in the future Radiant Garden and is discovered by Ansem the Wise and his apprentices and dubbed Subject X. She becomes Xehanort’s favorite test subject due to the similarities in their amnesia and possibly some lingering memories that he has that don’t quite belong to him (KHDR Xehanort certainly seems to want to meet his “old friends” very badly)

Ephemer’s heart will wind up in the Keyblade Graveyard as I mentioned in an old theory, unable to manifest a body due to the lack of a medium present. Through this state of being just a heart (and possibly related to those old talks about him being “unchained”), he will be able to enact the Light of the Past moment from KH3, and may very well be revived for future events in the series

This leaves Brain and Player behind in the datascape. However, you may remember one detail that I brought up, but neglected to fully expand on until now. There is a difference between the Data Pods and the Real Pods. While all of the Real Pods have been used up at the time of my proposed sequence of events, the Data Pods have not been. One was never used, only damaged. This leaves open the possibility that it can also be repaired (Also, I’m just gonna say it. Player’s met someone recently who has a magic hammer that can repair anything... might not come back but also totally could). Brain and Player could then repair the final pod and, in a callback to when Player was sent to Game Central Station, have them both agree once again that Player is the more expendable person in the scenario. Brain will take the repaired pod, leaving no way out of the datascape for anyone else, while Player stays behind to be sealed away for the time being (this could also be a callback to the original KHx, where Player also stayed behind to take part in the war instead of fleeing with the Dandelions, as they refused to leave their party behind)

When Brain escapes, however, he will be met with a Daybreak Town with no Real Pods left, as Luxu used one on the True Dandelion. Now that the seven pods have all been used up and the real Daybreak Town is falling to darkness, Luxu will take a corridor out as the Master instructed, but bring the newly appeared Brain along with him (either that or Brain emerges after Daybreak Town falls, either is possible) and bequeaths the No Name onto him. Brain, stranded in the past while all of his friends have been sent to the future, will be Luxu’s new apprentice and rebuild the fallen Daybreak Town as Scala ad Caelum, then pass down both of his Keyblades: Master’s Defender to his biological descendants, and No Name to his apprentices

As for the Master of Masters? I think he’s already taken an eighth lifeboat (you’ll note that there’s space right in the center of the cluster where one more could theoretically fit) and had done so before the start of the original KHx. He’ll be revived at some point in Xehanort’s young adult life to goad him into his insane plans as seen in Re:Mind, then duck into Quadratum to hang out until the next arc in the franchise, as hinted at with his appearance in the KH3 Secret Movie

(He is most definitely not Sora. He’s clearly bound to the same rules of time travel as everyone else which means that Sora couldn’t go back in time to become him as that would be long before the point in time where Sora was born and that breaks KH time travel rules. Not to mention that the Master talks about Quadratum in this update like he’s never seen it before until it came up in the No Name’s range of vision. Sora is literally in Quadratum right now, he’d definitely know what it was already if he was the Master)

And I do believe that should cover everyone’s whereabouts by the end of the game and into the next arc of Kingdom Hearts with minimal plot holes

This is just my best guess, putting together details that I’ve been accumulating for the past year and a half or so into what sounds like a coherent sequence of events that bridge the gap between KHUx and KH3 and beyond. There may be some details I get wrong, obviously. Nomura has been known to be... unpredictable. But I think, based on the evidence we have at hand, that this is the most logical series of events to end the game on and I’m really interested to see how close this gets to the actual finale we see

#anon asks #liz answers #kingdom hearts #khux #i hope that my big guidelines post didn't intimidate you anon #asking me my thoughts on things or if i can do a lore explanation are totally fine!#those guidelines only exist because people were shoving their own theories and opinions AT me without it actually being a discussion #felt like i was being talked over #but something like this is actually encouraged so thank you!#i hope you uh... enjoy because this is a LONG one #about 3500 words and that's not including my old posts that i linked to

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biot08 · 3 years

Text

FFXIV Character Sheet

with love given to @bluespiritfire (original here!)

Name: Zoissette Vauban / Zo

Age: High 30s

Pronouns: She/her

Birthdate: I forget, but it’s on her in-game paper doll

~~PLACE OF ORIGIN~~ Race: Ishgardian Wildwood Elezen Hometown/city: Ishgard Current residence/popular haunt: Work for the Maelstrom, so has barracks space in Limsa Lominsa. Works for Gage Acquisitions, so sometimes crashes on the couch at their HQ in the Goblet. Her parents still live in Ishgard, and so she can also couch-crash there

~~APPEARANCE~~ Eyes: Brown Hair: Black with purple highlights Hair type: Straight and thinnish Hair style: Short undercut Body type: Athletic, the wiry kind; muscles of steel cable Height: Tall Skin: Light brown Facial features: Nothing notable Body features: Shortish ears for an Elezen

Favourite/commonly used clothes: That beautiful skirt and jacket combo that Tataru made for her when she is being casual. The heavier dark jacket and sabatons that Tataru made when she has serious business knight work to do.

~~SKILLS~~ DoL/DoH Dabbles in the entire list of DoL/DoH skills for self-sustainability purposes, but has no real talent for any of it

~~COMBAT~~ Main discipline Gladiator/Paladin (she will never refer to herself as a Paladin; her training is that of an Ishgardian knight); her other main discipline is arcanist/scholar

Secondary/Tertiary/Extra Classes Red mage and machinist (in-game, she also has NIN, but that’s more because I like the class and less because it’s appropriate for the character)

Fighting style She shifts between hard-and fast and defensive/protective as a knight. She appears reckless to the inexperienced, but she very much knows what she is doing. As a scholar, she is tactical, and very wait-watch-and-see.

Any difficulties with magical/physical disciplines? Red mage is the only magical discipline she is extremely good at, because it relies heavily on her physicality (channeling with precise rapier work) and on her personal mana pool. She is awful at drawing in external aether. Her magics as a scholar also lean heavily on her ability to work with the summoned fairy construct to do the bulk of the aether work while she performs the necessary manipulations and calculations. As a result, she was merely a middling arcanist, but is a very good scholar.

~~PERSONALITY TRAITS~~ Analytical, cunning, curious. She can be impulsive, but it is not because she is not considering the consequences, but often because she is very interested in what they will actually be. She is very self-assured in general.

~~LIKES~~ Environment: A warm home with a warm fire. She does find Ul’dah’s dry environment endearing after the snowscapes of Coerthas post-calamity. She tolerates Limsa. Weather: Warm days Flavours: Nuts greens meats and fruits Textures: Cotton or wool Favourite Dish: Meat pot pies of any sort. They can be well made, and that’s great. Or the can be mediocre, but easily portable and reheatable on the front lines, and that’s also great. Favourite Colour: Purple Favourite Sound: The utter silence of the soundscape during a lull on the front of the dragonsong war provides her with strong mixed feelings that have turned nostalgic. The way snow dampens sound and makes for a particular kind of quiet night is eerie, but dragons tend to be very loud; as a result, the eerieness was overridden by the knowledge of a promise of a good night’s rest Favourite Smell: Hot meat pie straight out of the hearth Favourite Place: The little fort outpost she was ‘in charge’ of and responsible for for a great deal of her adult life. She can’t go back, but she has fond memories of the place Favourite Holiday: The new ones they’re inventing celebrating the end of the dragonsong war and the beginning of a new promise of peace

~~DISLIKES~~ Environment: Snowy environs. She’s had enough of that for several lifetimes. Weather: Snoooooow Flavours: Gamey. You get a lot of gamey meat on the front. Textures: Weirdly, finds silk to be entirely too slippery Least Favourite Dish: Ishgardian knight hardtack. It’ll feed you, but you’ll regret it the entire time. Least Favourite Colour: White, though she has no strong opinion here Least Favourite Sound: Bells. Too many alarm bells in her life. Least Favourite Smell: No strong opinions here Least Favourite Place: Coerthas. Even though her most favourite place is there Least Favourite Holiday: Doesn’t really have one, though she ignores several; this is less dislike and more apathy

~~HOBBIES~~ Reads voraciously, both for research and as a hobby. Finds working out invigorating. Does not skip leg day. Never saw a mountain that didn’t need someone to at least attempt to scale it. Pretty fond of fucking around (and often finds out, which is also fun)

~~RELATIONSHIPS~~ Parents/Legal Guardian/Parental Figure: Mother and father. While no longer Ishgardian nobility, the Inquisition merely stripped them of house titles and colours, but did not excommunicate them. They live in the repaired parts of Ishgard now, as commoners Siblings: Second oldest of seven Children: Nope Romantic: Single, about to be complicated (for tax and guild fee purposes) Friends: Picks up acquaintances easily enough, thanks to an easy going personality and willingness to just generally roll with things. Has few truly close friends, though, due to having a tendency to keep a bit of a distance. Loyal for life once past that point, though. Rivals/Enemies: No rivals, but there are definitely people among the noble families of Ishgard who she would count as enemies. Not enough to truly go after or do anything about, but people who she is, at best, cold towards if she ever has to interact with them. She gets on well with Alphinaud, as the two complement each other, his diplomacy making up for her lack of it, and her foresight making up for his frequent naivete. She snarks with Y’shtola and the two often banter like old maids. She merely has a working relationship with Thancred, but it’s not cold; it’s just not a close friendship, either. Tataru finds her vexing. Estinien and her have a deeply shared understanding that comes from both being front line participants in the dragonsong war. Krile and her do not understand one another, and tend to settle for just being cordial. She finds Urianger likeable, and gently needles him at times, and doesn’t always realise when he’s doing it back.

Any special gestures of affection they have with people in their life? She will, without fail, ask Lennier if he’s been working out, and will swoon when he performs physical feats (squats, pushups, etcetera) nearby.

~~HAVE DEALT WITH/IS DEALING WITH~~ Definitely has some PTSD. Also, her entire family has gone from lesser nobility to commoners with a status that, until recently, left a bad mark on their name (their status as a minor house was lost when the inquisition found evidence that some members of the family, cousins in relation to Zoissette, were hertetics). She keenly feels the disruption of life in Ishgard due to the end of the dragonsong war, but does not quite know how or what to feel about it.

How are they dealing with the most prominent of the above? How does it affect their in day-to-day life, if at all? She sleeps lightly and poorly and generally pretends she doesn’t have a problem

~~ODDS AND ENDS~~ Notable Weapons Not really. Any sword is still a chunk of metal made with lethal intent

Notable Mounts An Ishgardian raised Chocobo, of course, for the most part. If she is travelling into danger, the Magitek armor, while defanged, is still a walking tank. If she has to fly somewhere, the manacutter from the Ironworks is just plain fun to fly

Notable Minion/s She has come to value Midgardsomr’s council and will travel with him as he is willing

Keepsakes/Mementos ... the Fortemps Shield.

Chronic Illnesses or Disabilities None

Education Level The same schooling most Ishgaridan noble family knights get to enjoy. She did a lot of self-study, because she found it interesting, but it was also part of a continuous bid to try to be accepted in the astrologian guild; however, due to House politics, she was never accepted. Fortunately, when she left home due to the situation after the inquisition investigation, the Limsa Lominsan arcanists were more than happy to take her on and guide her studies further. Generally her studies started with things she thought would be helpful for the war effort; history, strategy, logistics, and tactics. Since then she has dabbled in any of dozen different subjects, learning few of them deeply, but being at least conversational in a great many of them

Habits I should probably come up with some!

#202109-05 #ffxivwrite2021 #character sheet #ffxiv #zoissette vauban

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kate-m-art · 3 years

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This question is not on the list, but which artists inspire you? 👀

Neenii hi!! Ilysm <333

7. How often do you use references?

I use refs more often than not, especially if I'm trying to do anything more than sketches for fun. For a full illustration I like to collect pictures for poses, lighting, color mood and any big props or set pieces. I'll download them and then organize them into sheets to have next to me while I draw. Also for pose references, if you're looking for something specific I can't recommend AdorkaStock enough, they've put together some amazing photoshoots.

And then artists that inspire me....

hmmm that's hard 😅 There are so many and the list is constantly growing akdjh And there are different artist I look at for inspiration in different aspects of my art. That being said here's a few and what I love about them ^^

One of my biggest inspirations and favorite artists is Glen Keane, I wrote an entire paper on him sophomore year of college. He was an animation artist who worked bringing the Beast, Ariel, Tarzan and many others to the screen. He has an amazing way of capturing emotion and expressive gestures in his figures that I adore. Also just as a person, I've listened to so many interviews with this guy and he has such a humble, gentle and genuine approach to talking about his life and art and I hope to be like that someday too <3 Also, if you haven't seen some of his post-disney shorts like "Duet" and "Dear Basketball" I can't recommend them enough, absolutely beautiful works of art (a small warning with the latter one though, it was a collaboration with Kobe Bryant done to commemorate his retirement so,,, it's a little heavier to watch now.)

Another artist I adore is Jin Kim, I'll never get over the expressiveness and life in his characters! I also love watching videos from Sam Yang, he has a really gentle and approachable way of explaining his process and I love the lighting and color in his pieces. Daniel Gerhartz also has stunning lighting in his pieces that inspire me every time I see them.

There's so many artists here on Tumblr too who inspire me every time they come across my dashes (And if anyone doesn't follow them already they should definitely check out all their blogs!) There's too many to list them all but @yasmeensh has such a gorgeous, loose sketchy style that I love! They capture so many emotions so quickly and their work has such a nostalgic, simple and elegant feel. I've also been loving seeing @ezdotjpg 's work, their character design skills are amazing and I love the way they use colors. @quirkle2 has a way of bringing out life and expressiveness in characters I admire so much, and their linework is exquisite! @liccy has such a fun style and the way they draw figures is like art goals to me, I also love the way they capture forms, drapery and folds in clothing. And uh, oh also! If you guys don't follow @tamberella please go do it right now, I love everything about their style (figures, lighting, colors, settings, all to die for!), they have amazing resources for artists and over on insta (@devinellekurtz) they share their process and amazing advice in their stories that's helped me out so much!

And of course, you inspire me too Neenii!! I love your soft style and colors, and the way you capture such sweet expressions and emotions with all your characters. Whenever I see your art it always makes my day brighter!!

#long post #artist asks #leeniidraw #sorry this came out way longer than I thought alkdjf #idk once you get me talking about art I love I can't seem to stop #kate rambles

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rokutouxei · 4 years

Text

our shadows fall away like dust

part 6 of atelier heart

ikemen vampire: temptation in the dark theo van gogh/mc | T | 3623 | [ao3 in bio]

spoiler warning: this references a scene in chapter 25.

other warnings: this fic has references to depression, some hurt/comfort, and an understandable existential crisis. essentialy, you and Theo have matching fragile emotional pieces, so you establish boundaries, pledge honesty, and do your best to make each other stronger.

A habit of playing hide-and-seek with no one, Theo calls it, whenever you ducked away from the rest of the mansion like a quietly sneaking mouse. He always catches you, of course, but knowing that he’ll find you despite any attempts you have of hiding does not ease the worry he has whenever you fall back into that.

No one in the mansion had seen you for hours, as you tiptoed past residents and crossed hallways unnoticed throughout the rest of the day. Jean said he saw you in the balcony earlier that day, looking out over the city, but then nothing after lunch. Vincent recalled seeing you help serve food at noon, but without a word to him and Dazai at the table, you had disappeared out the hall before he could reach out. Arthur last saw you even earlier, breakfast, noting that even then you had looked a little forlorn, quite downcast, while you were putting away some plates. Napoleon, on the other hand, saw you headed out the garden to get and fold a mountain of sheets, which he offered to help with, but you had turned him down.

You had not only gone missing; you’d also been completely out of character.

It doesn’t help that Leonardo had approached Theo once he’d gotten home to ask, “Something happen with cara mia?”

Theo left early this morning, on account for a series of several tasks at hand that had to be completed for an upcoming exhibit. It was one that had been building up for the past few months, and finally, you had gotten the go signal with a friendly client willing to rent you some space, and everything has been busy since. You were supposed to go with him—the artists have really become fond of you, and having you around always brightened their spirits—but you had begged off in the morning because you were not feeling well. You had sounded groggy, but also kind of sick. No fever, Theo noted, but he didn’t want to push you, in the off chance that it turned into something worse. He asked you to stay put for the day, and you’d smiled at him weakly and let him go.

But maybe he should have stayed a little longer.

Now, it’s dinnertime in the mansion. Dinners are usually your favorite, because it is then when Sebastian serves his well-known desserts, beloved to you (and, really, anyone who would have the chance to taste them.) But you were not at your usual place in the table, your dinnerware untouched. Theo came home humming, excited to have finished his tasks early—more time with you is the best time—only to feel his joy replaced with an unsettling dread upon hearing that they hadn’t heard from you in a bit. Sebastian swears he hadn’t seen you leave the mansion either, and Theo knew better, of course.

It didn’t make him feel any better.

He didn’t need to spend that long time looking. Hide-and-seek with you wasn’t a common occurrence—thankfully—but it happened often enough that he would not need much to figure out where you were. He peered out the window to check the garden (no sheets) and on his way to your room he checked in the laundry room (no sheets either) and then he knew exactly where you were.

He knocks three times on your door before opening it.

You made a promise to him once that you wouldn’t lock it, ever, no matter how off you felt, and at that moment Theo was so glad you had agreed to it. Even as he enters the room, you don’t raise your head from where you are curled up on the armchair. You don’t make any move to hide your state either: the fresh sheets crumpled in a giant ball thrown from the basket onto your bed, your messy hair, your cried-out eyes, the scratch marks along your arms made from bitten nails. Theo closes the door shut.

“Hondje.”

You make a gentle “mmmh” noise that Theo takes as approval to approach. He steps gingerly down the carpet, sitting on your bed, across you. He watches you closely for a long moment, without saying a word. You feel his stare against your skin, not burning, not angry, just warm and curious and asking. Finally, you turn your head to look at him. Your eyes are red.

Did something happen? Who hurt you? Let me help you. I love you. What did I do wrong? Who wronged you? Theo’s voice nearly shakes when he settles with “Talk to me.”

To that you only shrug. There’s not much to say, after all. Not yet. You curl tighter into a ball, your cheeks mushed against your crossed arms. You sniffle in an attempt to breathe and Theo’s heart clenches in his chest.

With every word weighed carefully, “Sorry,” is the first thing that stumbles out of his mouth—the only word of care and affection he can piece through the fog of worry that’s building in his mind.

Theo’s like that, always so sparing with his words, but they’re always so full of love. You’re thankful he’s here by your side. You force a small smile he can only see half of, but it stings him anyway. “Not your fault,” you say, and your voice is raspy and catches in your throat. “Just me. Like always.”

For a moment the two of you stay there, in shared silence, testing the air for what’s best to be done next. Theo knows he can coax the words out of you, but not now. Not yet. Now, you just need to have him pull you back to the ground. He stands up from his seat and presses a kiss against the crown of your head, gently urging you into his arms. When you collapse into his warmth, he takes the chance to lift you up princess-style into his arms. You press your face against his chest and sigh.

He turns to place you on your bed to make you more comfortable, but upon remembering it’s currently occupied, he decides to bring you back to his room instead. You place both your arms around his neck as he carries you up effortlessly. You don’t notice if anyone sees the both of you pass by. If someone were there, they make no comment or noise as you walk past them in the hallways. You focus on your breathing (four seconds in, seven seconds hold, eight seconds out) and the scent of Theo’s skin. The next thing you know, you hear his door opening with that familiar swing, the sound of it clicking close, then the creak of his bed under both your weights.

Finally, you let yourself open your eyes. The lights are out, the only brightness coming from the moonlight slipping through the window, silver on the bed sheets. Theo is loosening his tie and taking his jacket off, hanging them as he prepares to sit next to you on the bed. You pull a pillow to your chest (it smells like him, like comfort) and sigh into it just as he climbs next to you.

“How was today?” you say softly, asking in advance to deflect whatever question of concern you knew he would inevitably ask you. You’re not quite ready to answer yet. “I’m sorry I couldn’t go. I hope you passed my regards to the artists.”

“I did,” he says, as he pulls you up to his broad chest into a cuddle. You lean against him, thankful to have someone to lean all this useless deadweight on, someone who will not mind carrying you. “They were looking for you before they even said hello to me. ‘Where’s the princess? Why are you alone today?’ Seems like you’re going to be a better dealer than me after all.”

“Pffsh, no way.” What you want is to be there to help him—and to see him—make his dreams come true. You’re not there to compete. “I’m still leaps and bounds behind you. They were probably just teasing you, since you’re so fun to tease.”

“I’m not fun to tease,” he argues. A little tick of dissatisfaction; he wants to demand what made you think he is fun to tease, but when he feels you smile against him, he realizes maybe it doesn’t matter. He presses you closer to him.

Theo feels defeat when he realizes he’s become used to this happening, but he immediately reprimands himself. Him knowing how to take care of you when you need him most is not defeat, it’s victory.

The both of you relax in the shared silence, not pushing, not impatient. Maneuvering the highs and lows isn’t new to either of you; the basis of most of your trust is the acknowledgement that the other understands what it means to be at the bottom end of it, facing the brunt of a bad swing. It seems pitiful, it seems scary—two people vulnerable to the same fickle mind and heart, trying to patch each other up.

You don’t notice just how tense you still are until Theo begins to run his hands through your hair gently, easing out the knots, massaging your scalp as he goes. You make a soft noise of contentment—Theo always says it sounds like you’re purring, like a cat—and fall limp against him, surrendering.

The words climb up your throat, a rocket fighting with all its might against gravity to get out into orbit.

“I got scared.”

Theo’s hands pause in your hair for just a breath, but then continues. Its steady, consistent rhythm only eases you into a more relaxed state. “About?”

About? The word echoes in your head over, and over again, into the dark cavernous abyss. About what, really? Why the hesitation—why are you so unsure? There are too many things to count. One worry riding an avalanche, getting bigger and bigger until you can no longer lift your shoulders.

“Everything.”

And it’s not a lie, really. It started off like this: yesterday, the door to the future opened as it usually does, every month, without fail. Unlike a few months ago, that very day you decided to stay in the mansion, the unlocking of the door isn’t really much of an affair anymore, except perhaps when Comte announces he’ll be off for a while and maybe you can ask him to bring some things from the 21st century, if that’s where he’s headed. It was just an ordinary, crescent-moon night.

Except it didn’t feel like it.

Somehow, you’d gotten into the habit of staying away from the door on the night that it opens. You still do rounds around the mansion sometimes, when you’re not out at work with Theo, so you get the chance to peer into Comte’s room and catch a glimpse at the door’s hourglass. It’s not that you’re willing yourself away from temptation, and crossing the door, but somehow, it feels safer, in your head, to just be away from it on that night.

Except yesterday.

You were on the way back to Theo’s room, after having a relaxing dip in the thermae, when you crossed the hallway leading to the time-crossing door. You weren’t even going through the hallway, just past it, but in the corner of your eye you felt like you saw someone down the hall.

Someone, being you.

Looking down the hallway with the moonlit window at the far end of it, illuminating the door, you could only imagine what you looked like that night you arrived, when Theo first saw you. Terrified, confused, banging at the wooden door begging it to open. What would you look like to the you back then? Already used to the life in the 19th century, perfected the manners (well, most of it), dressed in appropriate clothes. Would you have been terrified of yourself?

And with that thought, you went into the hallway, lights already long dimmed. You had in your hands a little candlestick, illuminating the space around you by a warm, yellow glow. And standing with it in front of the door that had ultimately changed the course of your entire life, you felt… small. You hadn’t thought of home in months. This was home now—Paris, 19th century. You knew that. But muscle memory of a whole life you’d lived still remembers what it was before this. Before the Louvre. Before Theo.

Without thought, you reached your hand out onto the door.

And for just a little bit, it pushed open.

You held it there, for what felt like hours, head buzzing. You weren’t thinking of going back, no, you love what you have now here, what you’ve built, what you’ll see in the future—and maybe you’re a little terrified, of course, two world wars, a plague, maybe multiple—but you couldn’t pull your hand away from it. Something kept you stuck there. You could see the carpet going through under the door, could imagine the hallway, with the paintings, leading all the way out to the other side.

At that moment, you heard footsteps from the other hallway. And you let go of the door like it was hot. Just as it clicks back into place, locked for another full month, Leonardo peered into the hallway.

“Loitering so late at night, cara mia?”

You’d be embarrassed at Leonardo having seen you in your sleeping clothes if you weren’t so flustered about the door already. “Just a little nostalgic. I should go to bed.” You cross the hallway as quickly as you can, and, greeting him quickly with a soft goodnight, scutter off into Theo’s room like nothing happened.

But something definitely happened.

You just don’t have the words to explain it.

Never have.

It just spiraled. The way it usually does—uncontrollably, like a car without a steering wheel. One thought led to another. And the next thing you know, you’re lying in bed next to the person you love the most, lying to his face about feeling sick, clutching the heavy rock of pessimism nestled in your heart.

(But maybe this is also a form of feeling unwell.)

Theo pulls you a little closer to him; the touch returns you to the present, and you wonder how long you’d zoned out on him like that. At least you feel warm now, none of the overwhelming cold that had taken over you all day. It’s always warm when Theo around. Like the first rays of sun after a long night.

And Theo thinks the same. Which is why it’s so hard to see you like this. Stuck in the 19th century, a hundred years behind what you’ve already known, it felt like he’d put the sun in a cardboard box. He doesn’t know what happened yet. Only knows that something did. And whenever something does, every time you go play hide-and-seek with him, his mind goes back to the day at the wheatfields, where he’d asked you for everything you could ever give.

And everything he cannot give.

Like your parents, growing old, turning feeble, not knowing what’s left of their child.

Like your friends, perhaps still looking, perhaps still remembering you ever so often, wondering where you’d went.

Like the places in your memory. Like the things you would have wanted to come back to—items of sentiment, places of importance.

Like the things you’d begun to build. The things you’d spent most of your life dreaming towards, all left behind a shut door that opens, like a monster, teasing, making you doubt, ask you over and over again, what did you lose, what did you trade away, was it worth it? Will it ever be worth it?

And maybe—you hadn’t talked about it, but maybe—maybe you’d wanted to let it go to begin with, and maybe that’s what made it easy to just turn away. But maybe Theo had also promised you something much more than he could give. Maybe you’d thought it was much more than what it actually was, is, will be. There’s no finding out about these things until it’s too late.

Theo wonders if it’s too late.

But even if it is, what’s left now is you, and him, and art, and everything else, so instead, he holds on to you for dear life. He has never spoken to you about this, and he has never known how to. Instead, he asks, “Can I make it better?”

“You already do,” you say, turning around so you can rest your cheek against his chest, listen through his clothes to the reliable thump, thump, thump of his heart. “It’s just me.”

“It’s not you,” he argues. It’s never you. Never to him.

“It is,” you insist. “I didn’t even feel bad to begin with, I just… I don’t know what happened. Something came over me and… now I’m just worried about things I can’t change.”

Theo feels his heart in his throat. “Is it really something you can’t change?”

A beat. “I don’t want it to change,” you answer weakly, before closing your eyes and pressing even closer to him. “I like it here, Theo.”

Theo feels something in his heart break.

“I like you being here too,” he answers.

Then, again, silence. Silence with Theo isn’t scary, isn’t worrisome—the two of you understand each other through these shared silences. There are things Theo can’t put into words and—so do you. They get said in these shared, wordless breaths. Somehow. Sometimes.

But sometimes, the words come out anyway.

“I hope one day it will be enough.”

You blink, Theo’s voice low and heavy. “What?”

The two of you turn to each other and just look. Searching, trying to understand, the look on your faces, your eyes. Theo turns away first.

“No, Theo, it is enough,” you say. “You don’t have to blame yourself. I’m still adjusting, this is normal.”

You don’t see it, but disbelief fills his features. “A part of it is certainly my fault.”

“It isn’t, and even if it is, I’ve forgiven you for it.”

Theo cradles those words to his chest. Presses a kiss on the crown of your head. "Thank you."

"It's nothing."

"It's something," he insists. "When something like this happens, when things get this way, I wish you would tell me instead.”

“I’m sorry,” you say. You sound tired. Your entire body feels heavy. “I would have, I just… I don’t want to worry you.”

“You know I don’t mind when you worry me, right?”

“I know, but sometimes you push yourself too much.”

“You know I'm willing to walk to hell and back for you,” Theo admits.

“And that’s the point,” you say as you push him away gently, a hand on his chest, forcing him to make eye contact with you. “You can’t keep sheathing an open blade with your hands your whole life. You shouldn’t,” you say. “It’s not just choosing to stay. It’s just… what started this all. I’ve always been like this, Theo. You know that.”

And he does. He knows you understand how he had, for the longest time, hid in his dark corner of revenge because you know what it’s like to carry that pain around all the time. To stand like it’s not slung on your back. To act like it’s not bothering you.

You continue, “I love you, and I love that you’re willing to do so much for me, but Theo—I want you to take care of yourself too.”

Theo has no response to that. There’s nothing more he wants to do than be at your side for every second of pain, of joy, of agony—and to be told to step back, he fears what he’s bound to lose.

You take a deep breath, sensing his hesitation. “You can’t take care of me when you’re hurt too,” you explain, pressing the palm of one hand to his cheek. “And I will never hold it against you, if you decide to step back. I don’t expect you to save me every time. Besides, I know you’re not leaving, you’re just taking a breath. Okay?”

“Okay.” Theo lets it all sink in. “But you’re not allowed to push me away when you begin to think that you’re a burden or all that. I get to decide when I’ve had enough. Is that clear?”

“Sounds like a fair deal,” you say, glad that he’s accepted your terms. You return to your safe space, face burrowed into the crook of his neck, and sigh when he begins to run his hands through your hair once again.

There are a lot of things the both of you still have to learn about maneuvering around each other: it always is, at the start of loves as great as this. And maybe now, it seems pitiful, it seems scary—two people fragile to the same fickle mind and heart, trying to patch each other up, but soon, eventually, the two of you will find a system that will keep the both of you afloat. Keep you together, no matter what kind of storms you might need to weather.

You look up at Theo once and smile; and he smiles back, maintaining his gaze on yours, feeling deep relief at the gentle, slow return of the light in your eyes.

“Thank you for finding me,” you mumble softly, cuddling even closer to him, so close that you feel most of your worries melt. “Stay with me until I’m better?”

He presses a kiss against your forehead, and you can almost hear him saying I’ll stay with you forever.

in the atelier: la mélancolie by Louis-Jean-François Lagrenée

#ikevamp #ikevamp theo #ikemen vampire #ikemen vampire theo #ikevam theo #ikevam #atelier heart #fic #our shadows fall away like dust

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cutegirlmayra · 4 years

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When your tired after a 16hr shift yesterday so you rant about Sonic and explain why aggressive writing vs. neutral writing helps with sharing ideas

Me and my online Sonic friend talking about Belle. (I’m skipping some dialogue throughout the chat, this was lazily put together lol)

WARNING: It’s long, and it’s a rant. So please note that I’m blatantly aware of how wrong my aggressive, sleep-deprived rant was and that I’m stating “DON’T PRESENT YOUR IDEAS LIKE THIS!” because this is not a healthy nor effective way of sharing ideas.

ALSO, ALL THE MENTIONS OF WHAT I BELIEVE MY FRIEND IS FEELING OR THINKING DURING MY RANT ARE ENTIRELY MY OPINON. If she tells me to delete something or change it I will without hesitation but I find it funny, as I look back, to insert what I think might be going on in her mind XD She might have been oblivious to me but I’ll get her thoughts and change anything if necessary.

It’s also how most trolls and antis and even some ‘not experienced writers’ write their ideas out, and it can be easily avoided by using Neutral Writing Methods. So this is a ‘don’t do this, but try this’ post. Enjoy my badly written, sleepy aggressive rant~<3 (Also, my friend gave me permission to share this lol)

Me: She could be for entertaining little kids. But we already have too many OCs, and they're not 'dying off' any time soon so...I smell a mini-series backup plan...and I don't like what that means for Sonic. And it is cute, sorry, my brain is off the hook right now, I'll keep things to myself cause you may not like what I'm predicting and I'm getting sad thinking about it ;-; so, want to be wrong.

(Friend mentioned “Tinker Bell” spin on name.)

That's precious, but can I get a link to the reference sheet plz? Reference sheets can tell a lot about a chara's functionality if you compare it to the 'needs' of the casts. it can help predict their role. I think she's meant to help but also entertain the kids, maybe planted with a secret. Her goal could be to come back to Mr. Tinker but Eggman abuses that and tricks her into a new robot. I got a weird theory about her but I'll just say that she's probably gonna go a bit dark. But be cute and make the audience go, "Aww, poor thing! She's a cinnamon roll" at first, wonder if they'll equip her with 'happy backstory, tragic ending' kinda thing to switch the usual 'tragic backstory happy ending' but I feel this is a tragic character meant to pull emotion out.

(Friend understands my concerns but mentions there hasn’t been a ‘Bad’ Oc for the comic)

No one sets out to create a 'bad character' especially professional writers like these guys. But what makes a character 'bad' is if you ruin or oversaturate their purposes. If she's a main character that over-shines others with too much story then the audience feels 'betrayed' because they want that screen time for the main casts to express themselves and shine through. That's just an example. When working with IPs like Sonic casts, you HAVE to remember the fanbase is expecting things Do you like my OCs? be honest lol Not from my prompts. There's a specific way to handle a OC that helps the main cast shine and reveals their characters more. AU Ocs help Canon Characters in many ways.

(Friend admits they have not seen my OCs in some of my fanfictions, they’ve only really read my prompts.)

Oh, well, some of my fanfictions have OCs, not Lavinya, she's just a mascot. My Sonic OC that retried XD Sorry, I'm misspelling a lot but I hope you don't mind, my spellcheck sucks and I've given up on it lol Oh, so you don't know Harmony, Ol'Wizzy, and Data?Or the Metal Series? Well, there are specific Ocs that my readers like and they express/compliment the canon characters to where even though they're a main character, they don't intervene with the Main Cast's goals. They actually help. Then everything I'm gonna say won't have much merit so I'll just focus on waiting to see if my predictions for Sonic IDW will come true, but I really hope they don't do what it looks like they strategically might be pulling... I hate SEGA marketing-

(The beginning of my aggressive rant, please note that I’m not thinking about my image and am writing tired and lazy. This is an example of how NOT to express your opinions in negative ways. It doesn’t influence good at all.)

Their ploys are outdated and frankly, do not work for their IPs market. They target the wrong age group, they have no idea how to organize themselves, and they don't have a leading 'elder' so to speak (just a professional among them) to make good calls. So you have young adults (not super professionals, this might be their first real company job) trying to target internet culture and failing their IPs. They're doing outdated Nintendo tactics that only worked for NINTENDO! Also some other companies that have DIED so why are you copying their marketing strats!? stop! lol

Friend: Did you study marketing because this entire convo kinda flew over my head in terms of understanding (This should have indicated to me that my words were coming off too factual and had too many ‘jargons’ going on. I was losing my ‘reader’ through my rant, but my tired brain would not cease!)

Sonic's trying to morph into something he's not and they're following outdated college course books and it's not gonna help... they're leading Sonic further down and the creators in japan have no power cause all the power is in the stock holders who are stupid money-hungry americans who have lost faith in American SEGA leading SEGA of Japan to move on to other things

Friend: mostly just got you don’t like the marketing (Huge red flag! This means my friend is starting to tune my info out, it’s because I’m presenting my ideas in a slightly aggressive writing style. There are trigger words here that lead an reader to start doubting you. This is why, in most of my answer posts, I make sure to write Neutral writing methods, but I’ll mention that more after my rant lol XP)

It's just bad. Lol I have a Frankenstein degree, (Now I’m justifying myself, which was caused by my aggressive approach. If I simply stated this in a more ‘neutral writing method’ then I wouldn’t have to worry about creditability claims because I’m not trying to sell my idea as the high authority on it.) which means I have knowledge on many different fields. I never took a fully -dedicated- 'marketing class' I took a lot of different communication classes that went to my overall major. One was directly about how you present, sell, and look at marketing tactics. So I have my fingers in many different fields, my major was "Creative Writing for Fiction and Film with an Emphasis in Video Production and a Cluster in Theatre Arts." So I can be on camera, off camera, post and pre production, creative table and actual filming. Does that make sense? (I’m not fully awake to realize what I’m writing, but it’s clear at this point I’m starting to wake up and realize I’m ranting and tossing my ideals of how to present ideas out the window, but let’s watch my follies and learn from them, shall we?) I have theories on what SEGA is going to do, and I have my worries because it's all outdated. It worked for older companies but those companies also targeted a varying audience, which SEGA refuses to see themselves as for a 'teenage audience' which is exactly why they boomed in the 90s. Their target audience is now 20s.

Friend: There are Kids who also like Sonic, even if they don’t play the games though. (Due to my aggressive tactics from not thinking clearly about, not just the what, but the HOW I’m writing, it has turned my friend into a ‘contrasting neutrality’ which is amazing by the way that she did this! She noticed my writing was turning aggressively ranting, and being my friend, didn’t want to be rude about what she was noticing. -I’m guessing lol- so instead, she took the commentary approach, which is to state the good as well. This is a terrible position to put your reader into, and you should make sure to always have good examples and good praise mixed in to contrast any opposing or aggressive statements you ever make. -though you should avoid aggressive writing at all times- Sadly, this does put the reader, in this case my friend, in a very vulnerable position. It leaves them open for attack... but thankfully, she’s a wonderful friend and had trust that I wouldn’t hurt her on her counter-follow-up.)

So instead of using their 40 to 50 year old charts, start with looking at early millennial trends and desires. They tried for 'angst' to 'adultify' Sonic but it busted because we are STICKLERS for animation. Because their story was so scrapped together and had no actual character depth, motivation, or even emotional growth to develop for future game lore, they went for the 'easy made game' (Easy baked oven quote lol that’s just mean XD) We loved the trailer, it was well made, but they threw their animators elsewhere and made the programmers (WHO BLANATLY ADMIT THEY DONT KNOW HOW TO DO STORY/GRAPHICS) and made them do things they aren't trained in. Those micro-head movements and mouths took them A LONG TIME to figure out.

(My friend is now agreeing with me several times through my rant. This is a tactic that is used as ‘avoidance’ but also for ‘appeasement’. She’s probably tuned out by now, but respects what I’m saying but is also incredulous at it as well. It’s fair, I’ve cornered her into my sleepy-time rant, and being the lovable woman that she is, she is simply waiting for me to realize my follies lolol I wish she would have told me but I think she knew I was beyond ‘logical reasoning’ at this point and was just letting me get it all out lolol What a good friend TDT)

Animation can't be learned that fast AND expect them to program a game AT THE SAME TIME. Sonic Forces was a 'split up SEGA' trying to get those who survived and said, "Yeah, I'll stay in this job." to do things that THEY AREN'T EVEN TRAINED IN. you put a game programmer on animation and some other stuff they didn't know what to do with and expect it be a top-notch seller.

Friend: (in more attempts to join in and be a ‘participant’ of the conversation I’m clearly dominating -MY ABSOLUTE BAD- she tried to engage normal conversation flow into the discussion again. At this point, she probably did notice I wasn’t my usual self, and just decided to play along and enjoy the ride lolol I’m just guessing this tho, but it’s a good chance to reflect on what ‘wrongs’ I was doing and what ‘rights’ she was doing during this situation ;)b) My big issue with SEGA is that they rush everything. A lot of things would’ve been better if they had the proper time.

That was resolved actually.

Friend: Oh? It was? (Although this looks like an encouragement, it’s actually just another avoidance tactic to help me ‘get the venting out’ but it’s clear she’s not fully onboard anymore. When you write to discuss, you have to leave room for other’s opinions to shine through as well. Healthy conversation doesn’t mean forcing the other person to comply to you. A lot of this is educated guess based on past research, she knows this, and it’s clear she’s got her own research. Please remember to never shoot someone down when they try to engage you in your conversations. But again, this is the ‘don’t do this’ and me upset at my tired self for not waking up fast enough to contemplate how I was coming across in my wordings. Let’s continue to investigate and dissect the train wreck, shall we?)

That was an issue a few years ago but SEGA is taking their time, it's just that they can't organize themselves and hire the right professionals. They have old tactics, they have rookies that aren't 'Fresh Blood with professionalism' like they need. They don't need an old fart who knows his stuff, they need a new guy who is dedicated and passionate about their company who will remain there, learn them in and out, and knows his stuff SPECIFICALLY for the things SEGA needs. You have to grow that. You have to hire a very talented and young spunky and fresh professional, have him work with you for 10-15 years, and start training others. But SEGA is already recognized as a 'established' company.

(Friend is still agreeing with me, but is aware of my way of presenting it isn’t “As nice as I usually present it” so she starts mentioning the symptoms of Japanese Work Culture. A wonderful, insightful point to mention! But let’s see how I butcher this as well...)

It's not Japan though! (Again, shutting her down. Tsk tsk, sleepy me. Wake up, you lazy bum.) They won't let Japan interfere! They're all really rude to japan actually. The guys in charge, anyway. We all respect the officials, but SEGA of America people just want results. They are just funders, they don't actually work the company.

Friend: So you blame them for everything? (She’s trying to help me see that my writing is coming off as ‘hate’ which is because of my aggressive writing follies I’m doing so bluntly. Let’s please all admire my friend’s patience as she lets me rant and kindly waits for me to realize how bad I’m handling my 16 hr shift from yesterday lolol)

Look, business is really unfair, and I get that, but if I have to rant (I’m starting to wake up more, oh goodie.) I'd say they really need to humble themselves and ask Japan to please take ownership again. They kicked out people due to a money crisis but they need a game that will be 'safe to secure money but get enough excited momentum to help us push on and continue.' which isn't Japan's strategy usually. Japan likes risks, they also like money too. They trust America too much (especially in the beginning) because America is a HUGE consumer. For the world in fact. But I think they sacrificed too much for the company (common in Japan) and trusted America too much in making decisions. The officials are too nice to say that America screwed them over because America wanted full control. Well guess what? They have too much control now and their product is sinking..

Friend: You’ve got a lot of fire about this topic. (After I completely disregarded reading her follows-ups and continued to rant, my unconditionally kind friend finally threw in the towel, realizing I was no where near my usually ‘present’ self and was probably just flopped back in her chair smiling at my idiocy of not understanding her kind and subtly hints.) Go ahead and rant it out. (BOOM! Obvious right!? I should have corrected myself but at this point, I was writing like wild fire with droopy, waking up eyes and didn’t even read it during my long paragraphs...)

Sonic won't ever fade away due to it's fans, but the company is struggling to figure itself out for YEARS now. I just worry what they plan to do next. But I have a theory that they are really putting the next game in Japan's hands, a lot of activity is happening in SEGA of Japan, and they're spending WAY MORE TIME on the next installment of Modern Sonic (or Classic, still unsure which one it is yet.) I really think they need a remake game to give them profit, then use that profit for their next big installment. But so far, I think they are working on a game BUT corona might have effected production so I'm sure they are working but I'm concerned if Corona helped manage 'time and quality' or is helping to ruin it...That I can't investigate yet :( I just wish for the best (I’M FINALLY WAKING UP FULLY AS I STOP AND REALIZE-) Sorry for my rant! My theory talk showed through and I don't usually like doing that so forgive me. I'm tired and that's why T-T

Friend: It’s cool we all need to rant sometimes. (My friend’s going to make it to Heaven TwT she’s so kind.)

(Then I profusely apologized a billion times cause I realize how badly this all went down. lol)

(But the terror hasn’t ended... she mentioned some youtube videos mentioning other opinions as well. -which I’m usually cautious of cause some of them can be fanon.-)

OHhhh did he mention the arcade crash??? the literal WORST event in SEGA history??? That's literally where they sank the titanic, SEGA has never recovered from selling off their stocks. (I’M BACK AT IT AGAIN. -facepalm-) Shareholders are everything now and it's the biggest loss ever. Also, the problem is that kids don't play the games, (Rereading my follies and wanting to answer but still only just waking up...) but SEGA can't figure out why they like the characters and can't seem to take the FREAKIN' TIME to learn their lore. (Overwhelming the conversation again.) My easy steps: Re-establish Sonic lore CANONLY AND CORRECTLY, Re-gather the Japanese Officials original plans and notes, guides and study art, Re-make some popular games with the most details on Animation, Fluidity of motion graphics, and with modern Technology incorporated into the game. Once that is accomplished, they will have enough money to then- Create a continuity. Only with a flowing story and relevant past lore can they start moving forward. Animation will target their audience, Story and character re-established arcs will bring nostalgia and new blood to the field of their games, and then Japan's influences will keep it authentic for the continuities so we don't have fandom mixing with canon NEARLY AS BADLY as before anymore. Ugh, it does matter their sales, but I literally bought a book on the history of SEGA, and read a really compelling history article about more then just the Console Wars... I know SEGA has survived literally the edge of extinction on multiple fronts, but someone needs to take charge of their Sonic branch, and it's... it's just too outdated. kk, sorry for the rant.

Friend: (After being multiple times ignored, even after my brief moment of clarity, is still an angel. Frustrated, maybe, but an angel.) And your steps sound really good. Also mostly just listen to his vids if you ever do. It’s ok we all need to rant. (THE WORLD DOESN’T DESERVE THIS GURL T-T)

I'm tired so my 'angry' is showing and it's not professional XD do you mind if I post my rant? lol Actually, no. (Realize how awfully I delivered my ideas, this is where I begin to see my errors and where the clarity comes into play. -we all have our off days lol- )

Friend: Go for it

I want to but it's too aggressive. I'm too lazy to rewrite it out so I'll just save that for another day XD You got a rare treat

Friend: (This is actually interesting and fascinating to her. But she realized then that I finally did see my error.) Concerned you’ll get aggressive responses back?

Honest opinion is sometimes too blunt and I need to be careful about that

Friend: I mean it’s always good to try and get most of the anger out so you seem more professional (Saint. Literally. A saint. She’s puts up with too much of my crap XD)

That, and also the war of 'But this is Cutegirlmayra? She's so sweet and constantly puts her answers in supportive, positive lights so that if SEGA were to see it, they would feel empowered to try it instead of threatened and throw it off as hate or something unprofessional.' I have an image too. I can't post something super aggressive or I'll lose trust. You're right.

Friend: I’m glad you put a lot of thought into everything you post

I apologize for it tho T-T I didn't mean to dominate with such opinions...lol I worry who I influence, you know?

Friend: Most people don’t and trust me they get into trouble cause of it. And yeah.

I don't want to create trolls or heated arguments. I want to teach people they can safely express an idea without using such awful communication. Exactly, it's professional fanism. lol Positive writing is what companies and their employees actually read. (I’m almost fully awake now lol, realizing my blunder and starting to explain why I was in the wrong. Good on me, pat on the back, admitting I was coming off as aggressive is the first step to changing and getting better lolol Also, I’m including her more, and I’m saying “You’re right.” and she’s going “And yeah.” which is a indicator that the conversation is slowly returning to an enjoyable and healthy one. ;w; happy endings lol) That's why I skip the aggressive stuff, even if it's passive, I write in a neutral setting so everyone feels safe to read, even someone who works at SEGA.

Friend: (Mentions some nintendo youtuber rant and also news as well, then says-) It was honestly very professional sounding and not rude. (MY HEART, YOU KNEW THAT WAS AN AGGRESSIVE RANT lololol So nice to me TDT)

Lol you had to have seen how slightly aggressive it was tho. (I’M CALLING YOUR BLUFF, BESTIE lol) You literally asked, "You blame America for it?" which is not always true but semi-true. They were way too prideful (Aggressive word) and haughty (Still aggressive terminology) about their success in other Japanese products that they wanted to completely change Sonic to their own wishes, pushing out Japan's creative "licenses" (I use this word loosely, and this gives a slightly aggressive feel but is also more dumbed down so it's more 'passionate' than just aggressive)

Friend: Yeah I saw it was slightly aggressive (Either is starting to realize it or at last admitting it now that I am fully aware of how I was coming across. I also used indicators to show what words were aggressive to help illustrate my point. This is showing I’m much more awake now :)b)

Gotta use those neutral tactics or no one will feel comfortable just reading your idea and instead, will constantly look for a place to intercept with aggression back, whether they agree or not, they're looking for ways to self-insert their aggression if you are also aggressive. I can't write something that doesn't somewhat support and uplift SEGA of America. Why? Because like I said, they literally have survived EVERYTHING and have stuck around. Without them, there wouldn't be an American branch and the money issue would have ended SEGA. Some might say, "But they've done so much harm than good! Why is the money thing such a thing to be praised for?" But it's huge, it's so big, it kinda does offset the wrongs. (Now I’m doing the healthy thing, doubling back and mentioning the good to try and recover. The damage may be done, but she did recommend some videos for me and was polite, so I’m just trying to smooth things over and leave on a ‘wrapped up’ conclusion. But... I should have just left it there in all honesty xD Some things you can’t double-back and correct lol) America is a great business-influenced mindset. None of us would be fans of Sonic without them.

(Friend continues to agree but realizes I may slip into ranting again. She just asks if I can watch the videos.)

America does have it's advantages in some fields and areas, but their biggest most redeeming quality is that they saved SEGA which gave us our biggest love and obsession: Sonic. Now, my usage in that writing was still off neutral, but combined with the slightly aggressive statements, made a GREAT contrast. It's still slightly praising

Friend: And they stopped Japan from giving him a human girlfriend right away.

Me: Exactly.

Friend: I will always thank them for that. (She’s still a sweetheart, working herself into the conversation so it stays healthy. lol Such amazing follow-ups too!)

So although I don't like what's happening, I'm also grateful... to a degree lol We need SEGA of America, which is why I think Japan just ignores them now lolol they know they owe them a lot.

(Friend mentions videos and as I go to save them to my ‘watch later’ sees that one of them is about Nintendo.)

Yeeeahhh I've noticed that Nintendo is starting to trail into 'cash grab' tactics and that's sickening (MORE AGGRESSIVE WORDING??? HAVE YOU NOT LEARNED YOUR LESSON CHILD?! It takes time to fully wake up lolol) cause before, I literally thought, "Nintendo can do no wrong" their marketing was ON POINT! but the stuff they said about Peach and now... I think new, unprofessional blood (like SEGA) has entered Nintendo and the older guys are either 'training' or 'retired to other ventures'. Nintendo is having it's own 'we used to not be prideful but now we're getting a little too pompous (Another aggressive wording... This can easily trigger people to comment with further aggression either against you or for you, but no aggression is the ideal. Which is continuing to show my lack of remaining conscious lol) about ourselves' and they're starting to act like Disney before their big crash. Disney also had 'limited time offers' with their VHS movies. Now, Nintendo is doing that. They'll make money, but at what cost? When you lose your costumer's trust...

Friend: And yeah the 35th Mario thing immediately reminded me of the Disney vault

Me: Yep. I'm worried for Nintendo. Don't get me wrong! Disney is really good with money grabs, but they... they also act high and mighty (More aggressive statements, wake up, darn it!!!) and their fanbase literally calls them 'an empire' so the fan-trust is gone. That makes you 'lame/outdated' and fans begin to look for 'what's cool?' instead.

(Friend is now re-realizing I’m ‘in and out’ so is trying to use a effective avoidance tactic by asking about different things to help my ranting fully stop.)

Sorry, I'm tired, I get on these rants and I don't mean too. (Trying to shake myself awake again.) I'm sorry.

So we returned to a healthy conversation, but I hope this interesting insight has revealed how to and what not to do about Aggressive Writing. Always stick to Neutral writing if you can, putting in a compelling counter-argument. In this aggressive writing demo, you saw that I tried to cover up my follies by saying counter-praise, but praise writing can be just as bad as aggressive writing. Passive writing can sometimes be annoying (aggressive word choice) too if you come off as disinterested or uncaring, which can still result in negative comments coming at you, or someone overly praising in their writings.

This has been all I’m showing you cause it’s kinda embarrassing ^^; but I hope it helps you in what ‘not to do’ while writing your ideas out :)b

Learn from my sleepy-time mistakes! lol

#cutegirlmayra #aggressive writing #what not to do #sonic #nintendo #marketing #sega #commentary #rant writing #an example to help teach #sonic the hedgehog #sonic idw #sonic comic #sonic rant

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love-takes-work · 5 years

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The Art of Steven Universe the Movie: Outline & Review

The Art of Steven Universe The Movie was released March 3, 2020. It's a wonderful journey through the concept art, character development, and experience of fashioning these ideas into the movie we all love.

Nuts and bolts: The book is published by Dark Horse, and it was designed by Ryan Sands (a zine specialist), with commentary by Takafumi Hori, Kat Morris, and Rebecca Sugar. It includes art by Rebecca Sugar, Kat Morris, Takafumi Hori, Alonso Ramirez Ramos, Angie Wang, Ashley Fisher, Becky Dreistadt, Chromosphere, Danny Cragg, Elle Michalka, Hilary Florido, Ian Jones-Quartey, Jasmin Lai, Jeff Liu, Joe Johnston, Julian De Perio, Katie Mitroff, Leonard Hung, Miki Brewster, Patrick Bryson, and Paul Villeco.

Full review below with low-quality images.

[SU Book and Comic Reviews]

An introduction explains the same origin story that Rebecca Sugar told us in the movie DVD's commentary: that she accidentally restored her phone to factory settings and lost years of important stuff, and she ended up applying that devastating premise to her movie. That combined with the concept of "breaking" the main premise of a TV show to make a movie was how she got started developing the story. The opening of the movie styled like a storybook is blocked out with some great drawings and breakdowns of which narration would go to what storybook pages. This is combined with some partial sheet music for "The Tale of Steven." Rebecca writes about how she felt having to wrap pre-production on Season 5 only to take on this even bigger movie challenge. The biggest challenge was writing all these songs in such a short time--six weeks--and having to deal with the stress, being crushed under all that pressure while still wanting to do this story so badly, and it was humbling to still have to work so hard to sell the idea. The feeling of relief to finally be done that Steven expresses in "Happily Ever After" is very similar to what Rebecca went through feeling like she wanted to be finally done but still knowing what she had to do to climb an even bigger mountain. Some very cute Steven-at-age-16 and Connie in Space Camp clothes follow. Notes indicate that Steven and Connie are the same height now, but his poofy hair is just slightly higher than her head.

Notes from 2017 also give us the "Neckstravaganza": design notes on Steven's new form, with a neck and a jacket. It's very cool.

Some beautiful Joe Johnston boards follow, with sequences from the "Happily Ever After" song. We also get Angie Wang's final design (with Ashley Fisher's color) of the injector, including some sketchy concept art for it from Rebecca Sugar and Hilary Florido. In the rough concept notes, they call this the "Mega Injector," with notes for Takafumi Hori to use for scale. It looks beyond huge in a Leonard Hung drawing.

Spinel concepts are next. Some notes explain that aivi & surasshu (the usual composers) were involved very early since it was a musical, and Rebecca included them when pitching the story to the Crew so they could organically develop the sound. The heart shape was central to Spinel from the beginning, and early versions of her had an entire heart shape to her head.

(There's a doodle of what looks like a cartoon dog in the pile of drawings shown in this section. It's not clear what that was.)

Spinel was given the heart imagery partly because Rebecca had learned early on about the importance of symbols, and when it came time to assign one to Steven, the star was chosen because it's so positive and is read as gender-neutral. Rebecca still hadn't used hearts for anything, so it was time. They also incorporated really old, dated character design ideas to make Spinel feel like an outdated cartoon from the rubber hose era.

The aspect of her design with the running mascara versus cute eyelashes predated the rotation of her Gem. Rebecca likes to start with more realistic sketches when she's figuring out a character, and then she'll move to making it more cartoony. A quote from Miki Brewster is shared: "Spinel can do anything, as long as it's entertaining!" Her "best friend" form is described as "a doll for friendship fun & games! Of a different era--hokey, charming, weird...super gullible and trusting. Incredibly loyal, constant entertainment machine!"

When it comes to developing her "worst enemy" form, Rebecca explains a bit that she has a really complicated relationship with old cartoons because nostalgia is not compelling to her--the animation from the 1930s is so neat, but considering the social limits and the way the industry was at the time, Rebecca doesn't think she could have participated. Especially considering nowadays she even had to struggle to be allowed to tell the stories she needed to tell and it would have been impossible five years ago. The norms of the time aren't entirely extricable from the art itself.

Takafumi Hori weighs in with commentary on how fun it was to animate a scary but fun character on top of Miki Brewster's boards for the "Other Friends" fight sequence.

Next, moving on from the central new character, they also spend some time discussing Steg. Rebecca first explains "Steg Multiverse" as a character so uplifting he can make you fly, combining Greg's unending support and Steven's positive power. She makes reference to the early "stegosaurus" concepts they had for his look, but they didn't want to lose the opportunity to have his hair flow. Rebecca confirms that the pompadour idea was established in "Steven and the Stevens" so they wanted to give it to Steg, and she credits Paul Villeco for really finalizing his design and bringing him to life.

And of course the poofy hair from Steven and the double-necked guitar was essential for Steg.

Next, the book gives us a whole page of handwritten notes about "Drift Away." Kat Morris explains the intentional duality of the scene--how Spinel should be shown seeing her own past with new perspective, being embarrassed, blending together who she was with who she is. The partial lyrics to the song and some sketchy boards are offered.

Rebecca shares her personal connection with the subject matter--how she once left a stuffed animal in her garden and the side facing the sun faded. It really made a mark on her as a child that things changed without her, because of her actions, and that she'd left this treasured toy alone without thinking about it all that time, letting it be affected by the elements without her interference. She wrote "Everything Stays" for Adventure Time based on that plushie, and realized that she was writing about it again for the Steven Universe movie.

Many beautiful miniature boards are shown in this section.

Partial sheet music for "Drift Away" is also offered here. It's credited to Rebecca Sugar and Aimee Mann. The music sheet is followed by some lovely images of the garden by Julian De Perio, Patrick Bryson, and Leonard Hung.

Takafumi Hori returns for a discussion of the final fight sequence during "Change," which he animated from Jeff Liu's boards. He discusses trying to keep the fight feeling dramatic and serious even though Spinel's fighting style is funny. He wanted to keep her tension. Hori-san throws in a word of thanks for being allowed to work on his favorite show again, praises Jeff and Miki, and compliments Rebecca Sugar's demos. He hoped we'd get a soundtrack album. (Of course, we did.)

Some final boards by Rebecca Sugar and Becky Dreistadt of the characters in their show gear descending the steps close out the book. There are also some cute little doodles at the end on the credits page, like a head of lettuce with caption "lettuce adore you" and Spinel in a drifting go-kart laughing, captioned "drift away."

The back cover pictures Steven with his arm around a heartbroken Spinel, comforting her.

Overall, the book is wonderful--the accompanying information is generally not new to anyone who watched the DVD's documentary and commentary, and many of the sketches have been released one way or another directly by the artists through Instagram, Twitter, or Tumblr blogs. There was still plenty of wonderful new concept art that wasn't already out there, and looking at some of the iterations Spinel and Steg went through was particularly captivating. There was no new insight into the development of the plot beyond the premise and the Spinel-related conflict, though; nothing about how they decided to focus the Garnet storyline, the Pearl storyline, and the Amethyst storyline for how they would each get their memories back, and there was no spotlight on their movie versions--modern Cotton Candy Garnet, copycat baby Amethyst, and factory settings uncustomized Pearl. I was hoping especially for some Amethyst stuff because the movie was the first place we got to see her with the simple default outfit and segmented limbs. It was primarily an art book with commentary on some of the most definitive movie aspects--it didn't reach the depth that Art and Origins gave us. It has a start-to-finish feeling in a sense, but it's mostly just splashes of information that are fun to know. It's a great companion and definitely should not be missed by any fan of the movie. I recommend it heartily!

[SU Book and Comic Reviews]

#steven universe #steven universe the movie #the art of steven universe the movie #movie art book #myblog

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