#when I'm trying to figure out a specific pose

[canisalbus]

apologies if this is a strange thing to say but i love the way you draw hands and feet!!??? they're always so dainty and like. realistic but also stylized in a visually pleasing way. wonderful art all of it

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[wombywoo]

Ok! I've finally decided to put together a (somewhat) comprehensive tutorial on my latest art~

Please enjoy this little step-by-step 💁‍♀️

First things first--references!

Now I'm not saying you have to go overboard, but I always find that this is a crucial starting point in any art piece I intend on making. Especially if you're a detail freak like me and want to make it as realistic as possible 🙃

As such, your web browser should look like this at any given point:

Since this is a historical piece, it means hours upon hours of meaningless research just to see what color the socks are, but...again. that isn't, strictly, necessary 😅

Once I've compiled all my lovely ref pics, I usually dump them into a big-ass collage ⬇️

(I will end up not using half of these, alas :'D)

Another reference search for background material, and getting to showcase our models of choice for this occasion~

When picking a reference for an actor or model, the main thing I keep in mind (besides prettiness 🤭) is lighting and orientation. Because I already kinda know what pose I'm gonna go with for this piece, I can look for specific angles that might fit the criteria. I should mention that I am a reference hound, and my current COD actor ref folder looks like this:

Also keep in mind, if you're using a ref that you need to flip, make sure you adjust accordingly. This especially applies to clothing, as certain things like pants zippers and belt buckles can be quite specific ☝️

Now that we've spent countless hours googling, it's time to start with a rough sketch:

It doesn't have to be pretty, folks, just a basic guideline of where you want the figures to be.

The next step is to define it more, and I know this looks like that 'how to draw an owl' meme, but I promise--getting from the loose sketch above to below is not that difficult.

Things to keep in mind are--don't go too in-depth with the details, because things are still subject to change at this point. In terms of making a suitable anatomically-correct sketch, I would suggest lots of studying. This doesn't even have to be things like figure drawing, I genuinely look at people around me for inspiration all the time. Familiarize yourself with the human form, and things like weight, proportions, posing will seem a little more feasible.

It's also important at this stage to consider your composition. Remember to flip the canvas frequently to make sure you're not leaning to one side too often. I'm sure something can be said for the spiral fibonacci stuff, which I don't really try to do on purpose, but I think keeping things like symmetry and balance in mind is a good start ✌️

Next step is just blocking in the figures. Standard. No fuss 👍

Now onto the background!

It's frankly hilarious how many people thought I was *hand-drawing* these maps and stuff 😂😂 I cannot even begin to comprehend how insanely difficult that would be. So yeah, we're just taking the lazy copy and paste way out 🤙

I almost always prepare my backgrounds first, and this is mostly to get a general color scheme off the bat. For collage work, it's really just a matter of trial and error, sticking this here, slapping this there, etc. I like to futz around with different overlay options until I've found a nice arrangement. Advice for this is just--go nuts 🤷‍♀️

Next, I add a few color adjustments. I tend to make at least 2 colors pop in an art piece, and low and behold, they usually tend to be red and blue ❤️💙There's something about warm/cool vibes, idk man..

Now we move on to coloring the figures. This is just a basic block and fill, not really defining any of the details yet.

Next, we add some cursory values. Sloppy airbrush works fine, it'll look better soon I promise 🙏

And now--rendering!

I know a lot of beginner artists are intimidated by rendering, and I can totally understand why. It's just one of those things you have to commit to 💪

I've decided to show a brief process of rendering our dear Johnny's face here:

Starting off, I usually rely on the trusty airbrush just to get some color values going. Note--I've kept my sketch layer on top, but feel free to turn it on and off as you work, so as to not be too bound to the sketch. For now, it's just a guideline.

This next stage may look like a huge jump, but it's really just adding more to the foundation. I try to think of it like putting on make-up in a way~ Adding contours, accentuating highlights. This is also where I start adding in more saturation, especially around areas such as ears, nose and lips. Still a bit fuzzy at this point, but that's why we keep adding to it 💪

A boy has appeared! See--now I've removed most of the line layer, and it holds up on its own. I'll admit that in order to achieve this realistic style, you'll need lots and lots of practice and skill, which shouldn't be discouraging! Just motivate yourself with the prospect of getting to look at pretty men for countless hours 🙆‍♀️

I'll probably do a more in-depth explanation about rendering at some point, but let's keep this rolling~

Moving forward is just a process of adding to the figures bit by bit. I do lean towards filling in each section from top to bottom, but you can feel free to pop around to certain parts that appeal to you more. I almost always do the faces first though, because if they end up sucking, I feel less guilty about scrapping it 😂 But no--I think he's pretty enough to proceed 😚

They're coming together now 🙆‍♀️ Another helpful tip--make sure you reuse color. By that, I mean--try to incorporate various colors throughout your piece, using the eyedropper tool to keep a consistent palette. I try to put in bits of red and blue where I can

Here they are fully rendered! Notice I've made a few subtle changes from the sketch, like adjusting the belt buckles because I made a mistake 😬 Hence why you shouldn't put too much stock in your initial sketch~

The next step is more of a stylistic choice, but I usually go over everything with an outline, typically in a bright color like green. Occasionally, I can just use my initial line layer, but for this, I've made a brand new, cleaner line 👍

And the final step is adjusting the color and adding some text:

Tada!! It's done!

All in all, this took me the better part of a week, but I have a lot of free time, so yeah ✌️

I hope you appreciated that little walkthrough~ I know people have been asking me how I do my art, but the truth is--I usually have no clue how to explain myself 😅 So have this half-assed tutorial~

As a bonus, here is a cute (cursed) image of Johnny without his mustache:

A baby, a literal infant child !!! who put this wee bairn on the front lines ??! 😭

Anyway! peace out ✌️

[kozachenko]

Don't really have much to post again aside from some more sketching that I've done recently, this time of Reimu and Marisa, mainly because I just need a starting point as to how I would go about drawing them in my style (which is why the poses are so boring lol).

Artist's Notes;

So I mentioned in the last post how I've been wanting to experiment with how I wanted to draw Reimu, and I then got an idea for Marisa. So I wanted to try and contrast the two of them with each other via their shape language and body types. For scale I also put some numbers on the side just as a visualizing aid so I can imagine them easier. I wanted to make Reimu very tall and lanky and Marisa to be short and rounder. Also, this provides some interesting contrast in their shape language, and Marisa ends up being more round and Reimu ends up feeling more sharp.

I think what I'm most worried about is mainly that I don't 100% know if these two drawings still...feel like Reimu and Marisa. MMaybe because I made so many changes to both of them, but I feel like it's mostly in their faces. I kept the little personal touches that would add when I would draw them in the past (i.e. Reimu's tiny eyebrows and Marisa's freckles) but I dunno, maybe it's in the eyes? Like, Marisa's bigger eyes and eyebrows are definitley ideas that I want to play with in the future, but Reimu.... I dunno, I like the idea of her face shape in this drawing specifically, and I defnitely feel like I got closer to the monilid eye look I was trying to achieve in my previous attempt at drawing her eyes, but something still feels off with her.

When I drew Marisa, I really wanted to explore some other ideas for her body type, mainly in contrast to Reimu, so I wanted to give her a fuller figure and make her shorter than Reimu. I do feel like her eyes could be a bit sharper as eyes look maybe a little too innocent for Marisa, but I do still want to use these eyes I drew for her as a springboard for later attempts. I made some adjustments to her dress so that they would look good on the body type I gave her. I also need to draw shoes more because those boots....I just, I don't even know, I probably just need to draw that specific body type more wearing those types of boots or find references because I am not happy with how they turned out. Out of the two of them, Marisa was definitely my favourite to draw. I really enjoying drawing different body types when I get the chance to, and I feel like it's important to try your best to expand your variety when it comes to drawing the human body, I'm glad that I'm comfortable with drawing different body types. I do still have a long ways to go with this as I just need to do it more often and still need to do this but with different body shapes and weights and how to combine those two aspects to create unique body types and silhouettes. Also, please feel free to give me any critiques to how these two designs turned out, I remember that I drew Reimu when it was late at night and spent the entire day on Marisa so I defnitely feel like there's some things to critque here.

I'll be honest... I don't really like how Reimu turned out too much. Not to say it's a bad drawing, but I dunno. I think I just need to draw Reimu more, but she's honestly the hardest character to translate into my style. The thing is, I have an idea for her in my head but I just have a hard time putting it to paper. It's not like I've never drawn her before, in fact, aside from the height I really like how she looked in this piece of fanart (why tf did I make her so short in that piece) I did a while back despite the fact that I've imrpoved on my faces a lot since then (again, I do want to try my lineless style again, I just need to find the chance to do so), maybe because that was the drawing that provided me with some of my ideas on how to draw Reimu in my style? I do think I'm definitely in the rut of the "not knowing how to draw a character's face in your style" phase that I'm sure many fan-artists go through, so with enough drawings I'll get through it eventually, just gotta suffer through several more hours of trial and error though so yipeeeeeeee... As for things I do like, Reimu's hair turned out nicely. I did my usual technique for drawing Reimu's hair and then pasted the lineart layer underneath the main lineart layer and changed the colour to give it some extra pizzaz, and I do like how Reimu and Marisa contrast each other a lot. I just need to find a way to make them feel more like themselves while still taking liberties with their designs in my style.

Even if these are just sketches and me laying the groundwork for how I want to draw these two in the future, I still want to improve how I draw them a lot (also I don't like how much these two look like teenagers, I see both of them as being in their late 20s-early 30s and it just doesn't read like that and I definitely need to do more studies in the future to get them right in my style).

[writingoddess1125]

saw ur request is finally open dlsksksks i hope modern au is your jam 🤞🏻

I would love to get your thought on buggy, shanks, and minawk reacting to reader accidentally sending them a nude pic 🤧

Oh I love you RN ❤️

Okay so did I go overboard? Absolutely Do I care? HELL NO!

You Accidently Send them a Nude Pic!

Buggy, Shanks, Mihawk

SPICY THEMES! ❤️‍🔥

You are gonna need some Ice cubes 🧊 after this one ;D

If you like please Support me on Ko-Fi

Buggy

"For fucks sake" You grumbled as you looked through google- You needed a specific pose for this commission, it was an expensive NSFW one and yet you could not find the right pose and for some reason couldn't figure it from memory-

"Fuck it time to go old school-" You grumbled, Peeling off your clothes and walking to the bedroom were your mirror was, Setting up you snapped a few pictures in the pose needed.

Looking at the few shots you couldn't help but pat yourself on the back. You looked good and got the pose perfectly- Dressing back you went back to your computer.

You kept your phone gallery opened to look at the photo, embarrassed you had to go to such lengths to do so- But money was money.

As you continued your sketch you saw a message ding and smiled- It was non other then Buggy, your close friend and truthfully your partner in crime.

Buggy Boo 🤡: U busy?

Me: Yeah I'm trying to find some references, but what's up?

Buggy Boo 🤡: NVM wanted to hang out

You smiled at this.

Me: You can still but at a price 😌

Buggy Boo 🤡: Price? 💰

Giggling you open up your text gallery. You scroll through the photos to find the McDonald's meme youd saved earlier and quickly sent it-

Me: Gotta Bring Me The Mickey D's 😩 💦

However you saw two images loading to be sent with the text. Raising a brow as you waited for it to load- However when it sent and showed you the second image you threw your device across the room.. there just below the McDonald's Meme was your nude reference photo.. You tried to panic unsend but saw he read it instantly.

Fuck FUCK FUCK!!!

Expecting a call or a WTF text of some sort but .

Silence- You didn't see him text back or anything. Fear eating you up inside as you thought the worse.. He's going to fucking hate you now- you two had just been really really good friends for years and maybe had a few drunken nights together however nothing like this!

In your panic you didn't realize how much time had passed before a knock snapped you from your thoughts.

You heard frantic knocks in your front door, surprised by the urgency of them and walked over- Opening the door your face flushed with what you saw. There was Buggy, with a shirt barely and clearly backwards, his hair down in thick waves looking wet and barely holding up his pants like he had gotten into clothes on the way to you however the 4 massive bag of McDonald's in his hand clued you in he had stopped at the restaurant right before.

"Buggy?-" You say shyly and face cherry red at seeing him in such a disheveled state- that and his boxers didn't exactly hiding him very well.

"I came over as fast as I could- I also got everything on the menu-" He said breathlessly holding up the bag and you glance to see his car parked sideways in your driveway, words seemed to leave you as you could practically see the desire in his gaze as he grinned widely.

He stepped forward and gently pushed you back into the house closing your door behind him as he quickly closed the space between you two, handing you the bag whicj you could barely hold onto.

"Gotta say, that was a welcomed surprised from you. I loved it~" He purred out, You squeaking in surprise at his words as his hands found their way to your hips.

"I have some modeling I'd like to see you do~ For art purposes of course" He said with a wink.

"Y-You actually liked those?" You manage out- Buggy laughed at this.

"Of course! It was sexy, flashy, surprising all at once. Not gonna lie if it wasn't for me needing to get the McDonald's I'd have came straight here and fucked you into the floor" He growled out in desire. You decided to not tell him you were joking about the McDonald's thing.

"In that case-" You sent the bag to the side and smiled as you felt him practically waiting for you to give the OK.

"Food can wait~"

Shanks

So bored- You thought as you laid on the couch of your boyfriends apartment. Shanks, The famed biker gang leader in your state. It was famous for his skills, the brutality of his gang and the unfortunate missing arm from a accident to save a child.

However for you he was just the love of your life- and also the one who had left 3 hours ago to do some sort of meet up with his gang which always ment leaving you behind-

Deciding to text him you open your phone to snapchat seeing he was still at the bar and sent a message.

Me: Red I'm Bored 😴

Red Head: I know Babe but I'll be home soon.

Me: It's been 3 hours 🙃

Red Head: Almost done here. I'll Bring you flowers if you're good.

You rolled your eyes- Flowers if your Good hm? You stewed for a moment before jumping up and marching to the bathroom. Maybe it was boredom or sexual frustration but you figured some teasing was in order- Deciding to take off your bottoms you poses in the mirror and snapped a quick picture. Smiling as you loaded it to send

Me: Good like this? {Image}

Prepared to hit send you stopped yourself and sgiggled... This was so stupid. Why would you do this? Rational thought clearing your heated mind and you tossed the phone on the couch to stop yourself.

"Just watch TV Jesus-" You said to yourself and plopped down. Turing in the TV but heard your phone rapidly ding, raising a brow you picked it back up and your face fell- It had sent dear God it had sent. It seemed when you tossed it the screen pressed sent by accdient.

Red Head: I'll be damned-

Red Head: Holy Shit did you just take this now?

Red Head: Baby?

Red Head: I'll be over in 10 minutes..

You saw Shanks text and you felt your face grow hot. This was not how you wanted it to happen but you weren't mad either-

In 8 minutes you heard a knock on the door and you quickly rushed over to open it. Assuming his hand was full-

He smiled at you, Holding the flowers in hand which had somehow survived his speedy ride to you.

"As promised flowers" He said with a grin and you stepped back so he could enter fully and took the flowers that were handed to you.

"Thank you" You say shyly but can't meet his gaze.

"You just love giving me a heart attack hm Love?" He purred out grabbing your chin gently to look up at him.

"I had to put away my phone so quickly cause I was at the bar with the gang" He said with a chuckle as you held the flowers close to your chest.

He leaned forward releasing your chin and began to kiss your check- His body pressing into you and you felt dizzy and warm.

"I-It was an accident" You Squeak out as Shanks layered kisses down your neck- His hand pulling you by your waist as he pulled you closer, your hand setting the flowers to whatever was closest to you as you felt warmth flutter through your body.

"Really?~ Didn't seem like one to me. As yoj said you were bored~" He said softly, you hadn't realized it but he had worked you two backwards till you felt the couch hit the back of your legs and you fell with a surprised yelp. Shanks smiling at this as he pulled away his leather jacket.

"Well let's make sure I don't leave you bored again~" He winked and lowered himself right after you.

Seems you were about to have the ride of your life~

Mihawk

You kicked off your heels with a sigh as you finally made it back to your home. Flopping on the couch with a groan- be a lawyer they said, You'll make a lot of money they said- BULLSHIT!

You were overworked, under paid and under laid- it was brutal honestly but you did like your work to some degree and you got to meet interesting people.

You hear a ding from your phone and sigh, already prepared for some client to email- But instead you were met with a text Ling saying your photos were ready.

Photos?... OH The Nude Boudoir Photos of yourself! Jumping up you quickly press the downloadable link and open it up quickly.

It had been a gift for yourself, when your confidence had been down and wanted something to make you feel beautiful and sexy. Opening up the downloaded folder you smiled, it was a bit weird to admire pictures of yourself but the photographer had done such a great job!

However you were cut off when another email rolled in- Sighing heavily as you saw it was non other then you poss and CEO of the firm Mihawk Dracule. The man was a sticklier about everything and he was just lucky he was hot or else you would have slammed a folder in his face by now-

Mihawk D: (Y/N) I need the file for Eros vs Tuller Case. Seems file did not send correctly.

You sigh, that wasn't hard and you'd already downloaded it on your phone. Attaching the document from you phone quickly you sent it-

So lucky!-

There it had been the last thing you...downloaded- wait... it hadn't been the last thing you downloaded.

Dread filled your chest as you slowly opened up your phone once again and clicked the downloaded tap- Seeing two downloaded files, slowly opening the file you sent Mihawk only to see your naked body...

You stared at your phone and screamed- Bloody. Murder

'NO NO NO NO-!!' You panicked as you literally through your phone across the livingroom.

"I'm so so fired I just sent my boss my naked photos!" You sobbed as you fell to the floor, your face as red as a tomato and you damn near cried. You hear another ding and crawl to your cracked device and took a look.

Mihawk D: Come to my office tommorow morning early. We have things to discuss.

You were dead- So very very dead... You cried that night and shot out your resume to several firms and waited for the next morning.

On cue you arrived to the firm brighf and early, having to psych yourself up before going in. You walked in to the building and up to the executive office- you half expected to see a box and a pink slip waiting for you- your head low as you stepped into your bosses office.

"Sir?.." You say softly, looking up you saw Mihawk sitting there looking through some papers- Your eyes focusing on what he was so interested in and you damn near had a heart attack. Seeing professional prints of your boudoir images on his desk and he was looking through them calmly, He glanced up at you finally seeing your wide eyes and flushed face he pointed you over to him calmly.

Slowly stepping forward you stood next to him behind the desk- Seeing the expensive professional prints of your intimate photos sprawled out.

"A-Am I fired?.." You finally asked, Your voice no better then a shaky whisper.

"No. I quite like these infact- I've had many people in my company who have tried to flirt, I was even curious when youd act.. But ive never seen one as bold as this" He said clearly amused, the humiliation burned in your chest- especially since he knew you had a crush on him.. but now you were curious why he didn't want to fire you.

He flicked back to one of the photos, one were you had worn something akin to a playbunny outfit made of lace. He tapped the imagine a bit playfully.

"I must say, This is by far my favorite out of the lot... I'd like to make a proposal to you" He said, craning his head to meet your eyes as a smirk played on his lips.

You felt your brain turn to mush.. first that he liked them and second that Mihawk Dracule was smiling- Had you died?!

"A date if you will, But I'd like to explore your skills in your modeling afterwards. Back at my home. If you're more comfortable with a written contract that is fine with me, but verbal is just as good" He stated calmly, Heat flushing your form at his words and you skittishly nodded.

"What would be the terms of this contract?" You ask shyly, Now more interested then you thought it would be. Mihawk reaching into his caot and pulled out a satin case, opening it to reveal a beautiful necklace, it was very classy looking and could truthfully be worn with anything- but you realized it was a infinity choker with a key lock in the back.

Warmth hitting your body once again asnyou realized what this represented.. A collar.

"Dates, a more personal relationship and some.. let's say recreations of these works?" He said calmly still holding his favorite one.

You thought for a moment, before running your fingers over the necklace and nodding softly.

"I agree to those terms" You say a bit playfully, Earning a smile from Mihawk. He stood up calmly and picked up the necklace, moving behind you as he carefully clasped it and locked it into place.

"Wonderful" He practically purred out and admired you for a moment. Head flooding your body once more at his golden gaze.

"I will pick you up tonight then, 8 sound good?" He asked, you agreeing and he patted your behind playfully.

"Good. Now Run along now Bunny, I still need the file for the Eros vs Tuller Case" He said amused, You nodding quickly.

"Yes Mr. Dracule" You say softly and as you stepped out a blush on your cheeks and a smile on your lips.

That went better then expected~

[cereovo]

A set of very conceptual notes I drafted a while back for someone asking for advice on learning to draw humans. I'm entirely self-taught so this is less of a tutorial and more of a very rambling set of general principles I follow and ideas that helped while I was learning. I figured I'd post it in case anyone else could get use out of it!

I also recommend checking out:

Drawing East Asian Faces by Chuwenjie

How to Think When you Draw (lots of good tutorials in this series)

Pose reference sites such as Adorkastock

Transcript and some elaboration under the cut:

Img 1 - Drawing a face

The two most important elements (at least for me) when drawing a face are the outline of the cheek/jaw and the nose*. I often start with a circle to indicate the round part of the skull, then add a straight like and a 'V' to one side [to create the side of the face and the jaw]. The nose creates an easy template for the rest of the face's features to follow (eyebrows at the top of the nose bridge, eyes towards the center of the bridge, ear lines up to eye) and the placement/direction and overlap with other features is a very simple way to indicate dimension. [A sketch of a face that has been adjusted by moving its parts to create 3 different angles. The following text is underneath:] -Different 3/4th views can be created just by adjusting the position of and amount of overlap between the facial features. - The top of the ear usually lines up with the corner of the eye. Think of how glasses are designed [specifically, how the arms run from the eyeline to the ear] [I go on a tangent in these next few paragraphs] *One thing I see many artists do - not just beginners - is learn how to draw A Person. As in, one singular person with one set of bodily proportions and one set of facial features. It's an issue that runs a bit deeper than 'same face syndrome' because sometimes these artists can draw more than one face, they're just not very representative of [the diversity present across] real people. Part of the reason I'm talking more about how to think about approaches to drawing - rather than showing specific how-to's - is because there is no one correct or right way to draw a person. The sooner you allow yourself to explore variety - fat people, old people, people of color, people with [conventionally] 'unattractive' features - the easier it'll be! Artists often draw their own features honestly and without [harmful] caricature, so it's always a good idea to look at art made by the kinds of people you're trying to draw if you're ever unsure about how to handle something. In general, it's far more important to learn how to interpret a variety of forms than to learn how to replicate the Platonic Ideal of the Human Body.

Img 2 - Stuff that helped me

Jumping into drawing humans (faces or otherwise) straight from photo reference can be overwhelming. The trick is to simplify forms into shapes - but even this concept is sort of abstract and it may be hard to know where to begin. Good news - Thousands of other artists have already figured it out. [When starting out] I needed to learn from photo reference AND artists I admired in order to improve. [When looking at stylization you are inspired by] ask yourself: WHY does this simplification work? How can I translate it into a different pose? Instead of copying what you see in a photo reference exactly, try to focus on the general forms first. My two biggest style inspirations for humans while learning to draw them were Steven Universe and Sabrina Cotugno's art. SU gets a lot of hate [in this instance I was specifically referring to a time on tumblr when the art was knocked for 'losing quality'] but its style does a great job of simplifying anatomy in a way that still portrays a diversity of bodies + features. [Extremely simplified drawings of Lapis, Steven, and Amethyst] SU characters are still identifiable- and still read as 'human' - even when reduced to just a few lines!

Img 3 - Things I keep in mind while drawing side profiles

- Eyebrows + eyes close to the 'edge' of the face - Forehead needs enough room for a brain - Eye is > shaped from the sides - Mouth kinda halfway [between the nose and the chin] but closer to the nose - Skin/fat exists under the jaw [and connects to the neck] - neck is about one half the width of the whole head - the back of the skull always sticks out a bit further than you might expect - Sometimes less is more - contours exist on every face, but drawing them in may make your character seem much older than they're supposed to be. However, it's a good idea to use them when you *want* your character to look old! These are very general notes- every face is different and has different proportions [and playing around with them creates unique and interesting character designs]

[thefirstknife]

Okay, this is it for Act I and now we have to stew for 20 days, I'm okay and not feeling abnormal at all (lie). But there's SO MUCH that I want to mention.

The mission starts normally, we're just collecting samples for Failsafe, but then Osiris calls us to come help him with Saint. And then shit hits the fan. Saint has apparently walked off alone into Nessus and isn't answering his comms. Normal and cool!

I'll go into the whole thing, under read more for length (long ass post, I'm having normal thoughts and feelings about this whole thing):

Right away, no more lake where we were fishing (only in the mission though):

Strange! The Vex appear to have let Saint pass through here without a fight. Once again, there's a mix of Vex in this area; some are normal Vex units with collars and some are Precursors without (the boss, the cyclops and the hobgoblins are Precursors):

The Precursors aren't collared, but they still participate in this and are also changed ("uplifted choral cyclops" = part of the chorus even without a yoke). This is incredibly strange. And then more strange information:

Okay!!! What is going on! We've seen in the last week's lore page that the Vex are behaving incredibly strangely. In short, they seem to be behaving more like individuals, rather than what we're used to seeing from them. This adds to that. They are developing tactics and changes that they previously weren't engaged with because, essentially, they didn't have to be.

Anyway, we get to finally hear Saint and he's... Talking to himself. About how he's not real. We find him collared and he appears to be hearing a voice talking to him; the voice is only identified as a "Conductor." At this point, I don't think there's any doubt about this being Maya. The same term was used by her in her experiments with the Veil: she needed someone to be a "conductor" to the "chorus" of minds when she was trying to merge fabricate consciousness (which she succeeded in with Lakshmi). Maya died in the "conductor's chair." What we don't know is ... Well. Anything else. What is she doing and why and what state is she in. The assumption right now is that she's using the Vex as a chorus, but why are they allowing this and why are some of them participating even without the collars? No clue.

What's interesting is that she seems to have analysed Saint and knew about him, either from her own analysis of him after observing him during our expeditions or from the Vex themselves. Or both. I suspect a combination of both because he's been involved with what we've been doing so she would've been interested to see why, and then she would've also gotten additional information from the Vex who recognise him. I would assume the Vex also had information about the rest of us, including Osiris and YW, but Saint was easiest to control.

With what she was telling him, it also means that Maya now knows how we saved him. His entire story is directly linked to the Vex and Vex technology so naturally all of this would be recorded with them and would allow Maya to find out about it. She knows that in some timelines he dies and he is saved in this one. She filled his head with the idea that he doesn't belong here, that he shouldn't have been saved. That he's an error that's "corrupting the true timeline."

As a sidenote, when you come into this room, Curse of Osiris music starts playing, again, as it has been playing for a lot of stuff this episode (specifically the Panoptes fight track). I'm super glad to hear that OST again. I'm also insane about them dropping Mercury music and Precursors at me.

Saint has more concerning lines:

And then we reach him:

Totally okay scene to see. Saint in his bubble, with a yoke, Vex arranged around him in their worshipping pose and the mysterious figures hovering above him. Saint continues:

Okay! *cries* He snaps out of it when Ikora reminds him of Osiris. Old man yaoi wins again!!

Then there's the conversation between Osiris, Saint, Ikora and Failsafe where Osiris is desperately trying to convince Saint that he's real and fine and that there's nothing wrong with him. I crode.... Man, they really said "you WILL watch these old men lovingly put hands on each other." But also, Saint confirms that he just heard a voice speaking to him on Nessus and that he couldn't do anything except obey its commands. It wasn't a Vex; Saint describes it as something that "connected to his mind" and called itself the "Conductor."

Failsafe pointed out that the Vex and Exo share radiolaria as a "base material" and that the Vex were perhaps trying to interface with Saint for information about what we're doing. But Saint said that they did not care about that at all. Instead, they "measured" Saint's "humanity" and "legitimacy."

Osiris does his best to convince him otherwise:

Bro. I am crying in the club what the fuck. Osiris had access to other Saints, but he didn't want to mess with them. He wanted to save the Saint he knew. It was the whole deal with the Sundial being so specific to find "the right moment" and "the right Saint" to save him and why it didn't work for Osiris, because of the paradox with the Young Wolf.

Ikora points out that this is all just a tactic against us and Saint does seem to understand that, and Osiris' reassurances, but it's still difficult to deal with. Saint has previously already dealt with the feelings of not being sure if anything he's experiencing is real. He's spent decades in the Infinite Forest surrounded by simulations. It's a hard thing to adjust to, especially with all he's been through since.

He'll need time to process this. He needs to be alone.

Failsafe is normal about it:

You and me too bestie!

But wait! There's more! We still have the radio message which is between Osiris and Ikora talking about the changes to Nessus and the Vex. It's naturally Osiris' way to distract himself from the issues with Saint, but also we really do need to keep researching what's going on so he's got a good idea. Nessus is "changing rapidly" according to Osiris, "moreso than when the Vex first assimilated it, if Red War records can be trusted." Osiris also notes that this isn't just limited to Nessus, but to everything, including our data and the radiolaria that we collected. They're "mutating."

This bit in particular is important and concerning because that's just not how the Vex do things. As Osiris said, when they change, they change because they have time shenanigans so they essentially gather data in the future and transmit it back, then alter themselves from the past, to appear as if they were always that way. But now? They're adapting "in real time." They learn linearly and adapt on the go.

This is bizarre with the utilisation of Precursors because they are the past Vex. However, they do not have the collars so they're not directly "compelled" and yet, they still participate and change alongside all of the other collared Vex. They also send their minds, again, not collared, to control the collared Vex and lead them. This is baffling.

Ikora is linking this to the impact of the anomaly, the echo. While Saint was down there, Geppetto mapped some of it, including the radiolaria around the site; apparently, the Vex are "swirling around the impact site for miles below the surface." It's also "causing disturbances in the planet's EM field." Ikora concludes that the Vex must be doing "something big."

Osiris also mentions the importance of Saint saying that it was a singular voice directing him, not a collective one, like a Vex would be. He reminds us that this isn't how Vex do things usually and this thing with Saint was just a test. He speculates, and Ikora agrees, that the Vex behaviour is like this because they found "a new leader." Obviously, the Conductor.

That concludes Act I. The seasonal activity, Breach Executable, has new lines as well. I've only played one, got some more sad Saint lines and then had to pause to stop crying. Act II starts in 20 days.

But wait. There's MORE! Of course we can't forget the seasonal lore page. And this is also where they went straight for the jugular. The lore page is about Mithrax visiting Saint and finding him not feeling well. Saint is distressed and Mithrax is trying to help him feel better, especially about his feelings of not belonging. Mithrax understands those feelings and he's trying his best to help Saint not feel that way. A little bit of joy in the gloom:

Saint groaned and waved the question away. "Do not say something smart to me now. Osiris does this, and I have had enough of it."

I LOVE when Saint compares Osiris and Mithrax, it's so good and also funny. But anyway, let's get back to the pain. As Saint realises where Mithrax is going with his questions, he relents and accepts that yes, sometimes we feel like we don't belong, but that is clearly not true.

And then Mithrax experiences something strange:

Suddenly, his vision narrowed and darkened. His headache shrieked, filling his mind with blinding pain. He doubled over as a terrifying urge—RULE, KELL—roared through his chest. The pigeons burst away in harried flight, leaving the seed untouched on the ground. Saint was still watching the pigeons wheel through the sky and down into the City. Mithrax wrapped his arms around himself until the shaking subsided and took a deep draw of Ether. "You are good friend," Saint said quietly, his gaze fixed on the City. Mithrax walked over slowly and sat down next to him again. "I try," he said softly.

Hello? Okay. So on top of Saint having massive issues, we're still seeding the future plot of something getting absolutely the fuck worse with Mithrax. Cool. Cool. I'm jumping off a bridge.

And Mithrax doesn't tell Saint about this, obviously. Saint is preoccupied with his own problems now and this is the way of Titan; care for others first, then yourself. Mithax should NOT be copying this from Saint, but alas. Enjoy brewing in this little piece of terrifying information until we get more on it next episode, I presume.

But wait. There's EVEN MORE! For finishing Act I, we got another lore page, from another lore book called Dynasty. We had no clue what this would be until now.

And well. It's a completely separate story from ancient past, about the Qugu civilisation. This is an incredibly packed lore page, one of the longest I've seen to be honest and it features a lot of bizarre alien stuff from an ancient civilisation, but the gist of it, for now until I can truly dive into it; it follows a member of the Qugu species as he's rising in the ranks to become a military leader. The Qugu are ancient civilisation we first learned about in the Books of Sorrow, as they were wiped out by the Hive. We got an update on them in Inspiral, telling us they were Darkness users, utilising the psychic abilities to connect each other's consciousnesses and talk to their ancestors.

In this page, we see some stuff about their culture, their connection to the creatures they're in symbiosis with, the way their civilisation worked in regards to how they ruled and how many planets they occupied. It's a fascinating read, but fairly hard to get through. The page ends with the Qugu discovering the Hive and the Black Fleet that attacked one of their systems and they try to get back to warn the others. I assume the rest of the book will be about the Qugu as well, to further flesh out this plot.

Why this now? I am unsure. Possible setup for something going forward down the line? One other idea I've had is that this will somehow relate to the "ally" of Maya we speculated about when I talked about the lore pages from the seasonal exotic gear. It makes sense that this "ally" is an alien because of Maya mentioning his fascinating origin, culture and biology. This would also explain why we got this lore book for finishing Act I, as it would make it relevant to what's going on. But this is, for now, a really big speculation. We'll need more pages, which I assume we'll get for finishing other Acts, so good look not exploding in curiosity until then (I've already exploded). I'll most certainly analyse this lore page more in-depth because there is NOTHING in this world I am more interested than digging into ancient space civilisations.

[vamphorica]

♰ Religion in Death Note ♰

One of the most fascinating things about Death Note as a franchise is its exploration of faith and religion in the context of the world building, and how it compliments this using Christian motifs and imagery. The latter is often portrayed superficially, which I think is a shame given that there are many occasions throughout the series where relationships that some characters have with faith could be examined in accordance with the world Ohba has created.

For the sake of simplicity, I'm going to consider two main religious influences in the world of Death Note:

The Canon Explanation (The Shinigami Realm, Rules of the Death Note, Mu as the Afterlife, etc.)

Christianity (specifically, the use of Catholic imagery in Ohba’s official art.)

Let's begin with Canon.

i. The Canon Explanation

Ohba is clearly partial to weaving a complex web of rules as a means to support the supernatural premises of his stories (see Platinum End). This makes The Canon Explanation so effective not only because it limits the behaviour of the characters throughout the text, but it is also very pertinent to religion conceptually. By listing out the apparent commandments of the Death Note, a set of religious principles have been established that the users of the Death Note must follow. While you are not technically committing a sin by, let's say, trying to kill someone over the age of 124 with the Death Note (x), it sets out a guide which is indicative of rules one might follow in a religious text. You could say that Light, Misa, Mikami, and Takada each had to have a level of faith in the Death Note in order to use it. They all followed the rules, even if they did so under Light's direction as their self-proclaimed God. Light’s familiarity with these rules and his confidence with manipulating them is what ultimately makes his reign as Kira so effective. I think the act of writing a name down in the notebook itself is a form of commitment to belief – as a concept, the Death Note seems too absurd to a sceptic.

When the Shinigami begin arriving in the human world, it is obvious that they are not divine beings in the perfect, omnipotent manner that humans may expect. If anything, they are curiously quite human themselves – forgetting rules and acting as a result of emotional impulses. It is indeed Ryuk's boredom that sets the story into motion – everyone who died as a result of the Death Note did so because of him. The Shinigami pose no actual threat to the humans they follow, often noting how humans appear more competent at being Death Gods than they themselves are. While this is subjective, depending on interpretations of faith, the typical Grim Reaper figure is seen as a serious, all-knowing figure that is to be feared, while the Shinigami of Death Note are far less intimidating. I think this delivers a decent proposal that religion in Canon is not a matter of worshipping the supernatural, or suggesting that they are better than us. By having the Shinigami presented as being similar to ourselves, human characters have the ability to use their power without the fear of divine retribution. Light’s extensive knowledge of the Death Note rules and how to work around them, along with his strict work ethic, only further demonstrates his commitment to carving out his position as God when compared to the Shinigami.

Mu is explained quite simply – there is no heaven or hell. There is a notable lack of elaboration here for a reason, but I do wonder if Light might have been more reluctant in his pursuits had traditional heaven and hell been at stake. Would he have become Kira if his act of justice would damn him to hell? Would he be concerned that his victims might end up going to heaven? Mu is the Canon version for what happens when one dies in this universe, so, beyond proposing speculative questions, there is little to analyse here.

Now, there is one character who I want to delve deeper in relation to The Canon Explanation: Mikami.

Mikami -> Mikami is deeply devout. Of all the named characters in the series, Mikami is the only one who is expressly religious, particularly regarding the Canon Explanation. While I think it is interesting to consider Light Yagami's relationship to Godhood, it is only through Mikami that we understand Kira’s societal impact. Mikami is also the only character in Death Note to be granted a rather comprehensive backstory, so we are given an insight into what led him to become such an ardent Kira supporter. Light chose Mikami not just for these strongly held opinions but also because of his devotion to him specifically. Mikami is ritualistic in the way he worships the idea of Kira through his dedication to writing one page of names in the Death Note daily, following Light’s commands without question. The only other occasion where we see a similar act of religiosity towards Kira is at the very end of the manga when a group of Kira supporters take a pilgrimage to pay their respects. Yet even this does not quite encapsulate Mikami's religious fanaticism. His strong conviction that Kira is God demonstrates the societal inclination to view Kira as a religious figure to be worshipped.

I think because Death Note relies so strongly on Light's internal psychology as he encounters various forms of opposition, the external impact of Kira on the world is only provided to us through passing mentions of political support. It is absolutely crucial to interpret Kira in a political context, but again, this is not really explored in too much detail. What we do know is that Kira supporters, including Misa, Mikami and Takada, may politically be in favour of Light's moral judgement, but because he poses himself as a God rather than a political leader, we must assume that he wants to play into a deific persona because it affords him far more unconditional power than he would have as a mere mortal.

From the beginning, Light is able to present his power as originating from a divine source, and it is only until Lind L. Tailor’s death that it becomes apparent what limitations Light is working within. Before then, criminals dying of heart attacks across the world could not be considered to be within human capability, let alone performed by a singular perpetrator, so Light maintained the illusion of omnipotence. Distancing himself from his humanity not only gave Light the benefit of being undetectable for some time, but also encouraged people to support Kira through the belief that he was inherently above them. It was only L who managed to shatter this façade early on in the Kira investigation.

I will now move onto something slightly more tangible, as it reflects our world within the text – Death Note's use of Catholic imagery.

ii. Christianity

As if to make up for the lack of exploration into Kira's religious influence, Death Note heavily relies upon Christian imagery to highlight its desire for religion to be seen as a core component of the franchise. Realistically, I am aware that a lot of manga and Japanese culture from the 2000s was heavily inspired by Catholic imagery and that there was certainly an aesthetic trend being taken advantage of here. However, I am still going to consider it specifically in relation to Death Note. It gives me an excuse to move on from Ohba to Obata anyhow, which I am more than willing to do.

Let's have a look at some official art.

There's a lot to be discussed about these specific pieces of art, and there are plenty more examples that I am sure can be found and analysed over, but we can recognise what their general theme is – kitschy Catholicism. This is not intended as criticism, I love Obata's art and as unsubtle as these official pieces may be, they reinforce Death Note's desire to incorporate religion into its series as a strong motif, if not an effectively developed theme. It also somewhat exposes its superficiality. The imagery is explicit, bold and bright, without doing much work in considering what the actual religious belief might be able to bring to the series beyond the visual components (according to this post -> x the Latin on the last image isn't rendered properly, which proves my point further). There are instances in the anime where there are Biblical references, such as frames that foreshadow L’s death, but the manga does not engage in these same parallels.

This leads me nicely onto talking about Misa.

Misa -> Misa is shown throughout the series to lean heavily into fashion and interior design that reflects a very Gothic Christian aesthetic, which is undeniably iconic and an important visual aspect to her character.  Mirroring the series more generally, it does appear that this is the extent to her relationship with the Christian faith. Misa’s allegiance to Kira could suggest that the trauma of her parents’ death came to some kind of resolution when their murderer was himself killed. Again, we have no idea if she actually was a religious character to begin with and I need to stress, it does not matter, but it is still worth considering given how a lot of the Christian imagery in the series is associated with her character specifically. I don't think this feeds into any flat character analysis that might suggest she doesn't know the potential significance of the crosses she wears or decorates her home with. We could just say she has an aesthetic that is very well composed but doesn't carry much weight beyond its stylistic merit.

Derailing slightly, but I do wish they had maintained this style throughout the entire series. Alas, as soon as she met Light, she lost this cool Goth look pretty quickly. Rem would never have let this happen. 💔

One more character analysis before we wrap this up. The quite honest reason as to why I decided to write up this essay was so that I could discuss Mello in relation to religion in Death Note.

Mello → Much of what I discussed about Misa's style could be applied to Mello, the only other character who visually demonstrates any religious tendency. However, I think there are some differences here that could suggest Mello is actually religious, which then allows us to consider his character in the context of the Canon Explanation. Firstly, one of the main signifiers Mello wears is his rosary, and while it is unlikely you will experience any adverse effects from wearing one as a non believer, I think those who wear a rosary are aware of the deeper connection to Catholicism than someone who wears a simple cross necklace (see Misa above, right). Secondly, narratively, I think there is more opportunity for Mello to be religious. Wammy's House, from their gates, actually appears to be a Christian organisation, and while I do not actually believe that they were, I find it interesting nonetheless. I also would be surprised if they were denominationally Catholic, if we are following this line of logic, presumably they would be CofE, but who knows. Regardless, even if Mello was not religious as a child, I think his arrival into the Mafia would certainly have introduced him to Catholicism. Of course it seems antithetical, but I would not be all that surprised if a teenage boy who is expected to do some horrendous things to rise to the top of a criminal organisation might turn to God in the process.

Following on from the prior point, Mello is a completely contradictory character, so I do not think it is all that necessary to consider his moral code from an entirely rational perspective. I think the fact his Beretta has a small cross charm on it in itself is very symbolic of the kind of character we are dealing with here (see below). Interestingly, it looks to be a Celtic cross, rather than a traditional crucifix.

What does this actually mean? Mello represents a good integration of the two religious influences I've discussed – he appears to have faith in a religion that we as readers contextually understand, and yet he interacts easily with Shinigami and the Death Note. While the two do not contradict one another exactly, I think The Canon Explanation certainly does not lend much credence to Catholic interpretations within the text. Like the others who have encountered a Death Note, Mello is initially shocked by the arrival of the Shinigami attached to his notebook, but quickly recovers. He interrogates Sidoh with such evident effectiveness that he ends up frightening him.

I think this is where I begin to get a little frustrated with the depiction of religion in Death Note because we have such a fascinating premise here. Does Mello's faith waver as his beliefs are evidently challenged by Sidoh? Does he consider Kira as a force of evil from a moral perspective informed by Wammy's, or his understanding of God? Does he believe in heaven and hell? None of these questions are answered, and I do appreciate I am being fussy because I am very fond of Mello, but I think there was a rather unique opportunity present in the series that was completely neglected. I have already explained how Death Note relies so heavily on Catholic imagery and clearly wishes to present itself as a series that deals with religious themes, so I think there is a failure here to consider the nuances that have already been set up.

How interesting do you suppose it would be to see how Kira's influence begins to impact the other established religions, as people see criminals dying en masse? Remember that ordinary people would be likely predisposed to consider this as an act of God. Society would certainly be more scared, especially as it would simply be inevitable that Kira killed innocent people who had been deemed criminals by their legal systems. There is a lot to go analyse about that topic alone, but another time!

I suppose with a lot of the questions I have posed, they could be answered through fanfiction or headcanons. I could decide that Misa believed in God until she met Light, or that Mello chose to ignore the implications of Mu given that he follows a religion that sets itself up on the premise of eternal reward or damnation. I just want to facilitate further conversation, because I do think this topic is fascinating.

Thank you @saturniiids, @vengeflies and @stylooooo for giving this a read for me! ♡

[themeeplord]

Hey Meep, Meepster, Meeperoni how do you draw scales?

I love your scales, both the prominent and far away ones. I especially love the scales on your cryptid boys.

So how do you do it?! When I try to draw scales it looks like a gravel road and just overall bad. Please share your wisdom, I beg.

In my head this turned into a bigger question than you might have intended pfjfjf, I tried my best to stay relativity simple with my answer!

Let me show you how you can think when figuring out big scales.

First I try to keep it simple and not sketch in all the scales until I've gotten the pose down.

When I start planning out scales I start with figuring out the direction of the scales and the big shapes (I usually do this in my head, but drawing it can be very useful)

Once I'm happy with the shapes and directions I start adding the scales one at a time, all overlapping each other like they're huge fish scales.

Scales don't always have to follow the same 'start at the head and run down the body' idea, you can do the opposite and get some very neat looking shapes. You can mix it up too. Here's some examples!

There are a lot of different kinds of scales and animals often have more than one kind. Some even do look like gravel!

I suggest looking at real life animals and fictional creatures for inspiration and reference. It takes a long while to learn how and where to use specific scales, but it'll be easier if you're willing to spend some time looking at and studying scales and the anatomy around them.

Some examples of animals with scales~ (names in alt text)

[blueskittlesart]

What advice would you give beginner artists?

it's fine to want to do more stylized art, but nothing will help you improve quickly like studying from life. even if you want to draw very stylized figures, life drawing is still going to help you understand how the human body works and then you can build your stylization off of that understanding. I also recommend studying specifically things you're looking to improve--if you feel like your poses aren't dynamic, ask your model to do some quick (1-2 min) dynamic poses and work on getting the gesture down. if you're looking for anatomy, ask for longer, more static poses and really study the contours of the body. this also applies for portraiture and character art--my expressions and facial structure improved like CRAZY when i started doing portrait studies from life! (note: i know live model sessions aren't accessible for everyone. i'm a huge advocate for nude models, if you can find a studio nearby that's affordable to you that offers sessions, that's the best you're gonna get. however, there are sites that will give you photos of nude models to draw from, too, or you can even just ask friends or family to pose for you when they aren't busy, that's what i did before i started getting model sessions from my school!)

materials are not everything but sometimes a good material can make a difference. it's important to know what's worth it and what isn't for your skill level. invest in some decent-quality supplies or a good art program, but understand that you're still going to need to work to understand your materials and use them to their fullest potential. (if you're a digital artist buy csp. trust me on this. get it on sale. it will change your life. also do not fucking use photoshop)

tracing is ok. listen to me. TRACING. IS. OK. tracing is how you learn. don't trace other people's art and pass it off as your own, obviously, but there is literally no problem with tracing real-life reference photos. I routinely trace references for backgrounds and the like. there is no reason for you to kill yourself trying to make complex perspective and shit up from your head when you can very easily just overlay a photo and get what you need.

in that same vein, USE REFERENCE PHOTOS. find pics online or take pics of yourself and USE THEM to see how your poses work. it makes it SO SO SO much easier. the understanding that you need to create a pose out of nowhere will come with time but you're not going to get that skill unless you have a foundation of understanding how the real human body works, and the easiest way to get that understanding is by copying photos of real people.

last but not least, there's generally a sort of 'rulebook' that new artists are expected to go by, especially online, when it comes to digital art. when i was first learning, it was all about lineart and cell shading, two things that I didn't really like. Nowadays it seems to be all about rendering. the single most important thing i can tell you is if it sucks you don't have to do it. if you hate lineart just color your sketches. if you hate shading don't shade, or find a different way to shade that you enjoy more. if rendering is annoying or difficult for you DON'T BOTHER!! art is supposed to be fun. if part of your process is annoying or upsetting to you, cut it the fuck out. don't torture yourself just to do art the "right" way. i guarantee your art will look better when you're having fun making it anyway!

[cirilla-fiona-riannon]

Yves' Sequel Spoilers

This is simply a fan translation and is not intended as a replacement for the game. Expect grammatical errors.

In an ordinary mansion in a certain city of a certain country一

Matthias: ".........."

Matthias: ".........."

Matthias: "You're late."

Kagari: "You're just too early. Weren't you here 10 minutes before our appointment?"

Matthias: "30 minutes."

Kagari: "You're such a good student. Stop being so uptight."

Kagari: "I brought you something nice."

Matthias: "What's this?"

Kagari: "Dorayaki. It's delicious. You'll be amazed."

Matthias: "Hmm. It's certainly delicious."

Matthias: "It's exquisitely soft and sweet. This must have been made by a delicate, sensitive, and beautiful woman."

Kagari: "I don't get what you're saying."

Matthias: "By the way, why did you suddenly decide to bring me a gift?"

Kagari: "We've met several times, but I haven't given you anything."

Kagari: "I was just imitating you since you always give me coffee. Eat more."

Matthias: "No, I appreciate it, but I'll refrain."

Matthias: "Consuming any more sweets would go against the 15th precept of the Åsbrink family."

Kagari: "You're so uptight. You should relax a little."

Azel: "Oh, that smells nice. The scent of sweets is always delightful."

Azel: "I'll have some."

Kagari: "Here comes the greedy god."

Matthias: "Azel, you're always late. At least learn from Kagari and arrive five minutes before our appointment."

Azel: "I'm not late. Look, the bell just rang. I'm actually right on time."

Azel: "But this is delicious. Does this dorayaki have red apple filling in it? And there's Achroite coffee, too."

Azel: "I always return the favor when I receive gifts. I have the utmost respect for your kindness."

Kagari: "I don't care about that. Do you have any gifts? I bet you don't."

Azel: "Kagari. You shouldn't judge people or gods based on their appearance."

Matthias: "But you don't have any, do you? It looks like you're empty-handed to me."

Azel: "Offerings aren't limited to things that can be seen."

Azel: "It seems that the dark calamity (Gilbert) has started to move."

Kagari: "Obsidian, huh? That was quick."

Matthias: "But that's to be expected. That's not enough for the dorayaki."

Azel: "Now, now. Let the God finish speaking first."

Azel: "It seems Obsidian had a secret meeting with Rhodolite."

Azel: “They likely intend to use Rhodolite to gather information about the alliance we formed.”

Matthias: “A wise decision. That small country won’t pose a threat to our country, let alone Kogyoku and Tanzanite.”

Matthias: “They’ll receive a warm welcome anywhere they go."

Kagari: “If someone who can withstand Kogyoku’s ‘hospitality’ comes, I’ll personally take care of them.”

Azel: “I agree. We should gladly welcome them. Tanzanite’s way of welcoming might be a bit stimulating, though.”

Matthias: “You two, make sure you don’t break the law.”

Matthias: “But what do you think Benitoite and Jade will do?”

Azel: “Those two countries are in the same situation. They will surely start moving to find out our intentions.”

Kagari: “Will I get to see Keith? I just got a new sword and want to test it out.”

Azel: “Keith would probably be thrilled. I miss Prince Silvio. He’s rich, you know.”

Matthias: “All the law-breaking stuff you guys are trying to pull is really giving me a headache.”

Matthias: “So I guess the important thing now is how we work?”

Azel: “Good point, Matthias.”

Kagari: “Shall we kill them?”

Azel: “No, Kagari. That should be the last resort.”

Azel: “We each formed alliances with specific goals in mind. However, it wouldn’t be in our favor if the princes of each country figured that out.”

Kagari: “.........”

Matthias: “..........”

Azel: “Whether to take a defensive or offensive stance is up to each of us.”

Azel: “Now, let’s begin. For the sake of our respective ambitions.”

[dotmander]

How To Get Your Character Models Out Of A Game: Tips And Tricks For Bitches That Have Never Used Blender

(it's me, i'm bitches)

(also ignore how messy that lighting is it's 1am and i should have been asleep hours ago. he's there for proof of concept 💕)

a couple people (specifically @forsaken-constellation and @ratasum) asked for a tutorial on how to rip models out of the game. this is not that, but it is a compilation of resources i used to learn about ripping, blender, and 3d modeling in general. i desperately wanted a post like this to exist when i was trying to figure this out, so here we go! all the resources below are completely free, with the exception of a link to the patreon of the person that created ninjaripper.

disclaimers:

there are probably more efficient ways to do the things i am doing. i watched a tutorial to learn shortcuts and then skipped to character models. if you have tips to add, corrections to make, or other thoughts, please feel free to share! i'll link to your post here. ^^

i do not know if any of this will get your account banned. i've ripped several models, so i'm going to assume it's fine as long as you don't try to make money off of it. use your best judgment, be an adult, etc etc etc

last updated: june 30, 2024

PROGRAMS & WEBSITES

ninjaripper 1.7.1 - there's a newer version on the creator's patreon, presumably with support for newer versions of blender and fewer bugs, but i haven't tried that

blender 2.79 - the import addon that comes with ninjaripper 1.7.1 is outdated for the current version of blender (3.5 as of this post), so 2.79 is needed to combine the .RIP files into a .BLEND (blender) file

noesis - ninjaripper saves your textures as .DDS files, noesis lets you view them and export them as .PNGs

blender 3.5 (optional?) - i just like it better than 2.79. if you're completely new it might not matter to you. all of the tutorials linked later are for later versions, though.

mixamo (optional) - rigs your character for you and lets you put them in Situations (like my guy above.) there's a whole library of free animations and poses you can try!

TUTORIALS

how to use ninjaripper - most of what you need to know about actually ripping the files and using ninjaripper is covered here. do not skip this one.

how to use blender 3.5 - full disclosure i haven't finished this series because it's uhhhh many hours long. but if you are a complete newbie to blender, i do recommend at least the first few videos; you'll learn about shortcuts that will make your life easier, how to unfuck your model when it fucks itself for no reason, and different terms that will help you google things you don't know later on. possibly he even covers some of the things i'm about to link! anyway.

what's a uv map?

how to apply textures

how to apply bump maps (note: for our purposes, you wouldn't add a color ramp node, you would add an image node with your bump map, and attach it to the bump node as the person does in the video)

there should be stuff here about weight painting, cloth physics, emission maps (makes your sylvari glow), and other stuff, but um. i haven't figured those out <3  

TIPS

TURN UP YOUR GRAPHICS BEFORE YOU RIP - if you don't, you might end up missing certain textures/glows/etc. HOWEVER, you should turn animations down, because apparently high animation can make your meshes misplace themselves

rip from the character select screen, rather than an instance, because you will have 100 meshes to sort through instead of 1400. i am not exaggerating either of those numbers. if you are new to blender, please love yourself and start with character select.

your textures will be fucked up the first time you try to apply them. this is because the UV maps (the things that tell your textures where to go) of your models are flipped upside down in relation to the texture image. you can flip them back over manually, ooooor you can just flip the entire texture file in something like CSP or photoshop.

for some reason all eyes are red in the texture files. i have not figured out why. i recommend editing the .PNG to have the correct eye color before applying the texture.

that's all i can think of for now - if you have other questions, feel free to shoot them my way, although i can't promise i'll have a straight answer ^^;;

mixamo only works for humanoid characters with tight clothing (or without clothing at all). if you try to use it to rig a charr or asura, or someone with a skirt or big sleeves, you will most likely be disappointed.

2024 edit: sometimes parts of hair meshes just...disappear. i have no idea why. if you can figure it out please let me know LMAO

information from bookahlogy about character proportions, fixing normals, and other fun tips

[cheerclaw]

Can you give me advices for how to draw cats and how to draw their bodies?

I'm not the best at explaining but I'll try to explain a little how I started to understand and modify the cat anatomy to fit my style

To begin with, let's take a cat skeleton to understand its structures and how they work

It is important that you circle or just point out the main movement points, other parts that only serve to locate main body parts (skull) is also important, u dont rlly have to do this everytime, but i do this a lot when im studying anatomy or just want to figure out a pose.

wahh, what about a classic thing? use references. a lot of them. trace them over and over again, figure out the shape and draw them with a reference after that, do whatever u want. u can and should play around with references.

now when u have some experience with cat anatomy u can start playing around with shapes! woah thats fun right?? right???? this is not a good guide, it's pure junk actually, This guide does not show how shapes generally appear in the character's personality, so just consider it as a "drawing guide"

i play around with faces a bit more than with bodies, i loveee to just shape the head and than never think about the body every again, I think it's more important to focus on the face shape where it expresses emotions than on the body, but that's just me

a little eye guide, they're pretty simple all the way, i would recommend to look at other ppls art to see how they draw eyes, it's a good exercise + eyebrows; i do whatever i want with those, any shape works

aaaaand a bit of rambling. that's pretty much it, u can ask for specifics if ya want, like a properly drawing guide lol

[teaboot]

Since I've seen many posts about people missing how common asks used to be, I have been trying to send to more asks to engage more. I really don't want to bother anyone though so I'd love to know if you enjoy receiving asks and if so what kind of asks. Detailed? Vague? Work? Fandom? Movies? Books? Childhood? Gardening? Thoughts? OTPs? OCs? I'm sure there are way more categories, I'm not limiting you to these listed options. Perhaps if it's an easier question what types of asks do you not like?

pPAAASGGFYGGJIK THANK YOU?

Detailed asks good yes

Vague asks??? Do not understand but open to the concept

Fandom: My first Fandom was X-Men, then Lord of the Rings, then Homestuck, Transformers, Fullmetal Alchemist, Teen Wolf, Avengers (first movie, when it came out), Batman, Overwatch briefly, Mass Effect, Gravity Falls, Trigun, and now my sister's getting me into Call of Duty! Feel free to ask about any!!

Movies: Yes movies are a great topic I have SO MANY

Oh lord I haven't consistently been up to date on books in FOREVER but yes books are good, you can ask book questions, I'm reading a lot of old classics and recently finished Pride & Prejudice, am now on The One That Flew Over The Cuckoo's Nest

Childhood- oh my god bud you have no idea

Gardening- My house is full of plastic plants on account of how good I am at killing things

Thoughts- Always

OTPs YO YES

OCs? YO YEAH GO FOR IT I NEVER TALK ABOUT THEM aaaaah I need to start writing again- I've been working on an urban fantasy for like. God like 7-8 years now

If I don't like an ask I'll just ignore or delete it but not much is off the table. I will not answer where exactly I live, who I am, if I'm a specific person you met, etc. for safety reasons.

I've worked in sex education so I can answer questions on that topic but if you get too personal or abrasive I will not respond.

I'm regularly flooded with donation requests and it's often too hard to figure out which are real and which are scams using stolen legit posts so as a general rule I do not spread those, I'm sorry.

And if you pop in to sexually harass me or use abusive language towards myself or others then I'm just gonna block you and delete the message.

If you want to warn me that a post I shared came from a bad source I do appreciate that, but if I do my research and can't find a legitimate reason to block someone then I probably won't.

I consider Legitimate Reasons to block someone on recommendation to be abusive language and behaviour, threats, bigotry, propagation of misinformation, production of AI content, and encouragement of dangerous behaviors that pose genuine harm to self or others. I'm not gonna block a random cause they enjoy Steven Universe and you think it's annoying. We all like stuff.

Womp-womp.

Thanks for asking!!! I probably shoulda talked about some of this myself, lol

EDIT: Terfs and radfems are block on sight, it's not your fault you're dumb but I am not capable of educating all of you

[pokeberry5]

do you have any tips for drawing dynamic poses? i always love the way you draw bodies!!

i know this has been said a million times but the way i draw bodies significantly improved after i started drawing more frequently from reference. if i cant find a reference for a pose on the internet, i'll just use myself or a friend. i spend an unfortunate amount of time just standing in front of my mirror looking at my own joints. pay attention to where your body curves!!

other than that though—honestly my anatomy/pose knowledge is a whack amalgamation of art tips i've accumulated over the years (i miss old school deviantart/tumblr style art tutorials). i also like to look at how artists i admire draw bodies—what details to they include, what anatomical short-hands etc

i think i'm still figuring out how to draw dynamic poses, but here are some cheats i've picked up (under the cut coz this got long again):

gonna use this stray!tim as a base

the easiest way for make up a pose is to start roughly with the head, collarbones, ribcage, and pelvis — you can build everything from there

here's a couple more of what i mean by the ribcage-pelvis deconstruction:

2. push your perspective a little!! imo things look more dynamic if you move your sight-line up or down—the horizontal orange line here. if you look at the panels above, the sight lines tend to be a little low, at around the character's torso or waist. i did the same below with stray!tim

to do this i usually try to get a sense of the space im working in by putting in some sloppy perspective grids

3. S curves!!! exaggerate the lines of the body. the body naturally has parallel horizontal lines—an easy way to get a body to look less rigid is to tilt those horizontal lines which in turn curves the vertical line of the body

this is what a mean by horizontal lines—usually i use the eyes, shoulders, and hips:

i'm gonna use caterina as a better example—usually you want the horizontal lines to sort of zigzag:

i've also picked up a couple visual tricks that don't exactly add dynamism to a pose? but they do give a static pose a little more oomph. a lot of this is done by visually highlighting one specific point of the body

for our purposes, i'm gonna make the focal point tim's face

motion blur! there are a couple ways to do this. i actually dont like working with traditional motion blur because you have to mess around with selections, so i usually fake motion blur using postional perspective blur:

2. gradient lighting—you can add a lot of depth this way. usually i like setting the gradient in the direction of the focal point, e.g. tim's face

below, i added a layer above the base drawing, used an airbrush to get this gradient, and then set the layer to color burn and lowered the opacity. you can also clip the lighting layer to the base drawing and set it to multiply

below, i did the opposite—instead of adding a gradient shadow, i added gradient light. i set the layer to add this time (instead of color burn) and then lowered the opacity again.

this kinda serves to desaturate the parts of the piece that are less important (ish i was kinda sloppy here), driving the eye to face—the most saturated. the motion blur does a similar thing, where the only thing "in focus" is tim's face

the gradient also sort of adds a directionality to the piece—it starts at the bottom right corner and goes up towards the upper left, causing your eye to follow that same path, which drags your gaze up tim's body

here's what it looks like when i combine 1 and 2:

3. chromatic aberration's been pretty popular recently. it does a similar thing as perspective blur but with more eyestrain (although i went with a really exaggerated version below just to show you what it does) but it looks cool!

bonus cryptid tim as a reward for getting to the end :-)

[kradogsrats]

I'd Do Anything (... But I Won't Do That)

This started out kind of weird and petty but then turned into an actual thing about the relationship of Viren's character arc(s) to the Arc 2 "I'll do anything for you" theme, because that's actually pretty important for the context of how both Callum and Claudia will have to confront the same conflict.

Pictured: Do NOT take a shot every time we get a callback to this line, you will die.

Basically, the petty part is that I think evaluating Viren's Arc 1 decisions through the "I will do anything for my family" lens is... disingenuous is too strong a word, but maybe simplistic? The "Viren doesn't reveal/offer the egg to save Harrow's life because he's too preoccupied with hanging on to his own power" take has never sat right with me because the real core problem of Viren is a lot more complex than just "he's lying (to himself)," it's a whole pattern of denying his own agency in doubling down on his mistakes. He'll make one bad/selfish decision, and it becomes a cascade of subsequent actions that he sees as being unavoidable, but that aren't necessarily even informed by the same reasoning or values as the initial decision. Like everything else in Viren's dream, Kpp'Ar's take that his choices are all oriented toward power is both accurate and not necessarily as literal as it seems.

Because, like... Viren's not actually a manipulator or even much of a planner—he's a very skilled opportunist. That's why all his choices wind up being based entirely on the context of past choices, and frequently make no sense when you look at them from a "hey buddy, where exactly do you think you're going with this" angle. It also contributes to why he's so desperate for control all the time, in that he acts primarily in a reactive way rather than proactively, which is always an inherently less secure position.

Pictured: The kind of statement that definitely always leads to things going super well.

Even taking the egg in the first place is a reactive decision—not that he doesn't make a choice there, or that he doesn't choose power over the threat he believes the egg poses, but he did actually walk all the way up the Storm Spire, fight five or six Dragonguard, and get kicked down a flight of stairs with the intent of destroying it. He didn't argue with Harrow about destroying it while secretly planning to take it for himself. He only even thinks of it as a weapon because Tiadrin planted the idea in his mind—as an opportunist, the temptation to leave an avenue to power open rather than close it off is what he can't resist. He sat on Sarai's last breath for ten years waiting for a chance to weaponize it to maximum effect, he can sit (figuratively... or literally, I'm not gonna stop him) on the egg for as long as it takes for an appropriate use it to appear. Tiadrin even specifically encourages that he not "waste" it, both specifically by destroying it now, and implicitly by using it too quickly and foolishly.

Pictured: Smart mom, dumb ass.

Tiadrin's angle, of course, is that the longer Viren hangs on to the egg without actually using it, the higher the chance it can be recovered. She doesn't know that Viren will leave things in a state where the assumption is that the egg was destroyed, meaning no one will think to try recovering it, but that's not really her fault and it still pays off.

The gamble Viren makes, on the other hand, is that the opportunities the egg affords will be worth the risk of it somehow falling back into Xadian hands. If the egg returns to Xadia alive, he's back to square "his name will be vengeance" in the game of We Killed the Dragon King. So yeah, you could say Viren values keeping the egg over Harrow's life, but in doing that he's actually operating largely on the exact same values and beliefs that made him argue for destroying it in the first place. It's just that his prior choice of risking humanity's security for the sake of potentially world-altering power has backfired in the context of an immediate and direct threat to Harrow's life. Really, the entire rest of s1 and s2 are him doubling down specifically on keeping the egg from returning to Xadia while also milking the opportunities coming from that course—e.g. the egg cannot go back to Xadia, therefore Callum and Ezran cannot return to Katolis either with or without it (knowing their goal is to return it to Xadia, which it will be difficult to stop them from doing once Ezran is king), and that means someone has to take the throne. If the egg can't be recovered, their only hope is a decisive first strike against Xadia, so someone has to mobilize the Pentarchy immediately. None of them are things he planned in the sense of "well, if Harrow dies then I can get his sons out of the way and make myself king, and then conquer Xadia." It's all reactive to the situation with the egg. You could argue that he'd do the same things if the egg wasn't a factor, like it's possible he's always been kind of lying in wait to push Harrow's sons aside and seize the throne... but if that was the case, he'd really do much better to make a bid for regent like any normal evil advisor would.

Anyway, all of that does still undermine the statement that he'd do "anything" for his family (which includes Harrow), and it is ultimately because of that initial choice he made to take the opportunity of power over the certainty of securing humanity's future. It's just not as simple as, "Viren says he would do anything for his family, but he won't sacrifice his own power and ambition." In the wake of his critical failure to prioritize humanity in destroying the egg, he's making choices that do prioritize humanity (from within his worldview that Xadia is an existential threat barely held at bay)... but they're still bad choices because they're all reactive to that original bad choice. It's not that he's working at cross-purposes to what he says his goals are, it's that he genuinely thinks digging his hole deeper will somehow work out positively, or at least better than the alternative would.

Pictured: Another statement that for sure indicates you're doing totally great.

Really though, I don't think you can (or are supposed to) look at the trifecta of self-individuals-world and point to one that Viren—or really any character outside of Callum, Rayla, and Claudia—puts at the top. Part of the whole point here is that elevating one of those at the expense of the others is never going to be the right choice all of the time. Obviously always putting yourself first is shitty, but we get multiple examples of over-prioritizing one of the other two as being self-destructive and dangerous. Consistency isn't supposed to be positive, here—a core part of this arc is likely to be Callum grappling with that, and that's without even looking at what's going on with Claudia.

The other thing is that "I will do anything for my family"-Viren is actually on some level a different character than Arc 1 Viren, such that evaluating one based on the context of the other doesn't actually make sense. We don't get even a hint of the "I would do anything for my family" in the series until s4, after Viren has died and been revived. Yeah, we had it earlier in the novels, but in there it's really about Claudia and her relationship with Viren, not Viren's values or actions. Arc 1 Viren and Arc 2 Viren inform each other as characters, but most of the point is the ways they aren't the same. And while Arc 2 Viren is understandably preoccupied with the concept of sacrificing for family—given that he's been stripped of everything that was in his life except Claudia, who went to terrible lengths on his behalf—Arc 1 Viren is actually quite consistent with how he's laid out in his Tales of Xadia character sheet:

Like, check out those Liberty and Glory statements—not even close to the same ballpark as Callum's "I value those close to me more than anyone or anything" Devotion and "I'm beholden to my inner circle, not some silly kingdom" Liberty, but quite accurate as the through-line on his s1-s3 actions. There's nothing in there about family, because Arc 1 Viren isn't actually meant to be associated with "I will do anything for my family," and he's not lying to himself by not acting consistently with it in Arc 1.

Arc 2 Viren is then a kind of emotional reboot back to a particular point earlier in his life—not necessarily the point before he first did any dark magic at all, but before he did his ill-defined "anything" to save Soren, which is implied in multiple places to be the point where he started in on a spiral that had tangible and fairly rapid effects on his personality and outlook. That's further emphasized by the contents of his dream in s5—seeing him behave in a genuinely loving and joyful way with Soren is shocking, and immediately raises the question of what the fuck happened and why.

Pictured: Healthy coping mechanisms.

Part of what still distinguishes Viren's "I will do anything for my family; however dangerous, however vile" from Callum's developing "I would do anything for you" is that Viren is always deliberately addressing the "things that are so unforgivable, you will never forgive yourself" facet while Callum leaves it implicit because he doesn't really understand and/or want to acknowledge that yet (and also Rayla would probably twist his nose again, which fucking hurts). In how Viren describes it to Terry, he is using that up-front acknowledgement to then essentially abdicate any emotional responsibility for... well, anything at all. The entire "however dangerous, however vile" mantra is another way of denying his own agency, because if he'll do anything, then he doesn't actually have to go through the difficult emotional process of making those decisions and dealing with the aftermath.

Pictured: H-healthy coping mechanisms?

Terry correctly pegs this questionable excuse for philosophy as "not having feelings," and generally not the best approach, because it will do things like lead to a default state of emotional unavailability to your children—oh, wait. I think it's not unlikely that Viren's emotional distancing from what "I will do anything for my family" meant contributed a lot to the degradation of it as his core value and his ensuing Arc 1 state. A lot of what's going on in his s5 dream is that he's being confronted with the consequences of "I will do anything for my family," specifically. He's being forced through an emotional speedrun of what it has cost him and everyone around him, and what has he got to show for it? Claudia, corrupted beyond recognition, proudly repeating his own words back to him.

Pictured: Whatever the opposite of daddy issues is.

Because the whole point of Viren's "I will do anything for my family" in Arc 2 is the challenge of whether he would/will do it all again. If he holds to that value the same way he did before, he'll do whatever it takes to save Claudia—however dangerous, however vile. Most of Viren's moral and emotional stuff has been based on his self-serving resignation to having "no choice." He's so tragically trapped in a chain of spiraling consequences he can never break... except oh wait, he totally can. S5 is all about Viren recognizing the dark magic feedback loop and that he has the agency to break it, and his best and only chance to avoid doing further harm to Claudia is to not be willing to destroy himself that way again, even it it means his death will cause her terrible emotional pain.

We'll see how that works out. Because let's be real: Claudia's gonna Claudia, regardless. However it goes, there's an important narrative precedent being set for both breaking free from dark magic/Aaravos and evaluating the "I will do anything for you" impulse in a more nuanced way.

[rebeccathenaturalist]

This cropped up a few months back and I still am not quite sure what to think of it. I don't remember enough of my high school Latin to be able to figure out why fauna and flora end with -a and fungi with -i. Fauna and flora are singular terms referring to a collection of animals or plants, respectively, but fungi has been doing double duty as both the collective singular (all the various fungus species in a given group) AND also the collective plural (here are three individual species of fungus referred to together.) I suppose the proposal is to give the fungus kingdom its own collective singular term ending in -a.

Which, from a linguistic perspective, makes sense. But I'm not sure how much it would resonate with the general public. People already use "fungi" in both manners, and I don't know whether trying to push "funga" as a new term is going to be effective in raising awareness of the need to include fungi in conservation efforts.

The thing is, fungi are still often erroneously considered to be in the plant kingdom by a lot of people (and it doesn't help that in culinary terms they're usually just categorized as a vegetable.) The whole idea that if you pull up a whole mushroom instead if cutting it means you'll "kill the whole fungus" is a prime example of how even foragers don't always understand the differences between a plant and a fungus, let alone grok that they're in different kingdoms entirely.

What I do agree with, though, is the need to not just ignore fungi when we're talking about conservation, habitat restoration, etc. Of the three kingdoms--animals, plants, and fungi--the fungi are the least-studied and least-understood when it comes to their roles in ecosystems and their conservation needs, to say nothing of the threat of extinction. The IUCN does have about 800 species listed with various statuses ranging from critically endangered to data deficient, but that's a drop in the bucket compared to just under 150,000 described species, and an estimated 2-4 million species total worldwide.

Until we know more specifics, both on fungal ecology and conservation statuses, we should assume that damage to an ecosystem--particularly common fungal substrates like soil and decaying wood--poses a real threat to the fungi that live there.