#how to become a professional illustrator | Explore Tumblr Posts and Blogs

art · 2 months

Text

Creator Spotlight: @camberdraws

Hello! My name is Camber (any pronouns), and I’m a mixed media illustrator located in the southwestern United States. I love drawing everything, but I have a special interest in depicting strange creatures and environments, often accompanied by abstract imagery and mark-making. Professionally, I’ve worked creating concept art and 2D assets for museum exhibits, but currently, I am engaged full-time as a software developer and make standalone illustrations in my free time. I’ve been posting art on Tumblr since I was a teenager, and the site has been very welcoming towards my work to this very day!

Check out Camber’s interview below!

Did you originally have a background in art? If not, how did you start?

I’ve had an interest in drawing since I was barely sentient, but at thirteen years old I decided to become “serious” about art. I was all about reading tutorials and doing a ton of studies. I would tote my heavy instructional art books to school every single day (my poor back!) Despite all this, I decided to forgo art school in favor of a bachelor’s degree in Computer Science at my local college. Alongside my major, I received a minor in Art Studio with a specialization in fine art, which totally changed my views on creating artwork and drastically changed my style.

How has your style developed over the years?

As mentioned previously, my style did a 180 after I studied under some very skilled fine art professors! As a kid, my drawings were very realism-heavy and inspired by video game concept art. I mostly worked digitally, too. During college, I was thrown for a loop when we were instructed to do strange things like, for example, make a bunch of marks on paper using pastel, WITHOUT looking, and then turn said marks into a finished piece of art! I quickly and deeply fell in love with abstract work, and especially appreciated images that are not easily parsed by the viewer. Since then, I’ve made it my goal to combine abstract mark-making with more representational subject matter.

What is one habit you find yourself doing a lot as an artist?

Hmmm, one habit I really enjoy as an artist is strictly tracking the amount of time I spend drawing! I currently work a full-time job wholly unrelated to art, so I have to be careful with my time if I want to spend enough hours drawing each week. I created a spreadsheet that allows you to enter the amount of minutes you’ve drawn each day and calculate how much drawing time you still need to reach your weekly goal (I aim for 20 hours a week.) Having such a clear, numbers-based objective keeps me motivated to work like nothing else!

Over the years as an artist, what were your biggest inspirations behind your creativity?

I know this is a common inspiration, but Hayao Miyazaki’s work has been rewiring my neurons since I was a child. Seemingly all of my artistic interests can be summed up by the movie Princess Mononoke: it has strange/abstract creature designs, a strong focus on nature and environmental storytelling, and a mix of dark and hopeful themes. Additionally, I’ve been deeply inspired by video game series such as Zelda, Okami, Pikmin, and Dark Souls. But arguably, none of these have influenced me more than Pokemon! I’ve been drawing Pokemon since I could barely hold a pencil, and I haven’t stopped since! I believe my love of designing creatures originated with my endless deluge of Pokemon fanart during my childhood.

What is a medium that you have always been intrigued by but would never use yourself?

I’ve always been fascinated by 3D mediums and am so tempted to try them out! Whether that’s 3D models created digitally or sculptures made from clay, I profoundly admire artists who have this skill. Oftentimes, it feels like I don’t have time to delve into a totally different artistic paradigm. However, I feel very strongly that learning new skills can enrich your current work. I should take that advice and someday give 3D mediums a shot!

What is a recent creative project that you are proud of?

I am in the process of creating an art book (a dream of mine!) and have been executing smaller drawings of concepts I find interesting from both a visual and storytelling standpoint. A recent drawing for said book is that of a snail made of ink with an ink bottle as a shell, and it went absolutely viral! I’ve never had an experience like this as an artist before and it has been spectacular! I was able to open a shop using my newly acquired art printer and sell many prints of my snail. Creating something original, directly stemming from my interests, and having that resonate with so many people has been unreal. I couldn’t ask for more as an artist!

What advice would you give to younger you about making art that’s personal or truthful to your own experiences?

I would tell my younger self to chill out and experiment more! I was so caught up in the idea that I needed to have a realistic style to be considered “good.” I also believed that technical skill was the only measure of how worthy my art was. That’s not to say technical skill doesn’t matter, but I now firmly believe the creativity and voice of your ideas far outweigh the skill of execution in terms of importance. Technical skills should elevate ideas, not the other way around. Once I began to revel in strange ideas and stories for my work, depicted oftentimes in odd styles or mediums, I truly found my voice as an artist.

Who on Tumblr inspires you and why?

My peers here on Tumblr inspire me more than anything! Sharing my work with contemporaries and giving each other support brings me joy like no other, and keeps me motivated to continue creating. I wouldn’t be where I am today without them! @beetlestench, @theogm-art, @trustyalt, @ratwednesday, @phantom-nisnow, @svltart, @mintsdraws, @mothhh-hh, @jupiterweathers, @thesewispsofsmoke, @picoffee, @fetchiko, @kaisei-ink, and @pine-niidles just to name only a few!

Thanks for stopping by, Camber! If you haven’t seen their Meet the Artist piece, check it out here. For more of Camber’s work, follow their Tumblr, @camberdraws!

#creator spotlight #artists on tumblr #camberdraws

1K notes · View notes

endomentendo · 2 months

Note

Kinda weird question, but can you teach me drawing backgrounds? 👉👈🥺

I’m not the best person to ask when it comes to drawing backgrounds…

BUUUUUT!

I can give some tips and tricks I’ve learned over the years.

so when drawing backgrounds, what you need to know is what they’re used for. Not just for a place for characters to move around, but what feeling they give.

take for example of arcane, the city the show takes place gives a sense of wealth, prosperity, and upper class.

While in the depths of the under city, feelings of safety and security leaves as the colors mute and dull in color. Showing how the lower class is seen and acts. which also goes along with describing some world building, like how they live, what’s the streets like, etc. give the feeling you want for the story and world.

Decorating the layout can even show what to know of your character, are they ambitious and an artist: their home might look like a mess or organized.

Speaking about layouts, you should also keep in mind where the focus should be depending on the scene.

Here is a better explanation on how to do it. Guide your audience’s eyes towards where you want them. Not need necessarily, want is what you’re looking for.

Items or lighting and color can help you in what you want your audience to look at. Especially for animation related backgrounds.

which now ties to what’s important to note, perspective and space.

Take a look at how storyboards work with backgrounds, they follow perspective and spacing. This is a little tricky to understand, but what helps me is just make it rough enough to not overwhelm you, but accurate to where the guideline is. Don’t worry on the details, focus on the guide lines, simple and easy to follow.

also not that you shouldn’t always follow perspective if it will mess with the scene.

Don’t make things flat, 2d isn’t real in real life, there are hills and low slopes.

Mess with where the camera is placed and follow its view point.

Another thing to note is to not make the background become the takeaway. They’re just a place for your characters to walk and talk in. Unless they live in a empty vacuum.

Mike Mignola is a great example for simple, yet effective, background art. His perspective can be off, or they can fade out, or they can be simple that a three year old can easily trace. But it works because it doesn’t drive away the focus which is the character.

comics like BONE by Jeff smith, can be simple yet atmospheric at the same time. You can be detailed if the scene needs it for cinematic effect, but mostly you will have a blank back space with the details becoming more complex the closer it gets.

if you want detailed backgrounds, then save it for illustration or painting. If it’s comics or animation, simplicity with that flare of personality is needed. Don’t overwhelm yourself.

but don’t listen to my advice, if you want real professionals: watch Bam animation on backgrounds.

youtube

glad I can at least help. Stay strong compadre.

#Animation #background #art tips #art advice #storyboard #gravity falls #arcane #101 dalmatians #Bone Jeff smith #Hellboy #hoo boy am I tired

230 notes · View notes

bunabi · 5 months

Note

hi any advice for a person who's trying to become a professional artist? everywhere I look in any art adjacent industry people are losing their jobs left and right,being underpaid or are freelancing while working a side job,I swear the only ppl doing well are the ai art bitches…I feel like I'm aboard a sinking ship 🥲🫠

I applied to multiple postings yesterday and honestly I don't know anymore 🫠

The illustrator + 2D generalist + concept artist hiring pools are pretty full right now with all the layoffs

Without connections or an insane online following idk how students and entry-level folks are supposed to make it anymore

Recommendations through positive word-of-mouth from my previous clients has been keeping me afloat so far + commissions + patreon, and I'm blessed with a super supportive parent; if I didn't have those things — and if I was able or willing to do a 9-to-5 office job— I would not be in a position to handle this

And honestly AI is a huge issue, don't get me wrong, but it plays a small part of why these creative industries are collapsing.

It's the unforgiving hours, the low pay, the burnout, the layoffs disrupting entire chains of communication, sudden project cancellations due to trend-chasing and investor expectations and internal politics, the looming uncertainty of the future. The unsustainable profit-first infrastructure is just finally buckling I fear.

Possible workaround: pop off as a fan artist and build a following large enough to subsist on subscriptions. Make a new draw-with-me tiktok every other day and/or stream for five to eight hours a day three times a week. I am in no way joking about this. It's a lot of work to get there but at least it yields consistent results. 🧍🏾‍♀️

#pivoting to furry art isnt enough you need to physically become a cat girl in mind body and spirit this economy #maybe id do better as a goat girl...but deer are cute too...I will leave the floor open to the community to diagnose my fursona #good luck to both of us good luck to everyone #replies

263 notes · View notes

vidavalor · 3 months

Note

*dings the bell* … I’m back.

My Ukrainian friend made potato salad! It has cucumbers, carrots, onion, & canned green peas in it, and it’s absolutely delicious!

Sooo… can I ask what moment/scene you found the most devastating so far? I guess The KissTM is the most popular but I wonder if you’ve spotted something even more heartbreaking?

Hi @procrastiel Much love to you and your Ukrainian friend & please thank her again for me for the recipe as we made it and it was delicious. 💕Hope she's doing well. The KissTM is pretty heartbreaking for sure but I had a couple of moments that I found at least equally as heartbreaking...

The blues below the cut. TW: Depression.

What really got me in S2, in terms of heartbreaking stuff, was the focus on the less "showier" kinds of depression in Aziraphale and Gabriel. I'm not dismissing the amazing Crowley story the show has been telling but it tends to be more overt. The story focusing on depression lingering beneath different types of exteriors-- those who project themselves as being upbeat and/or fine-- was really well-executed and it had moments as devastating to me as the kiss.

The "but that's for professional conjurers only" scene and, in particular, the choices made in Aziraphale's response to Crowley's "my Nefertiti-fooling fellow" response is probably my favorite bit of acting in the series entirely to date. Michael Sheen broke me into little pieces with the way he conveyed a lifetime of pain, depression, anxiety and sleepless nights in Aziraphale's eyes on the "professional conjurers" bit and the smile...

...I love how you literally watch the pain of it all melt off his face at Crowley gently reassuring him and the smile that starts and then becomes just a beam of love he can't keep off his face. It's gorgeous.

It's actually what makes The Final 15 hurt even more, really, I think-- because you know that this is what Aziraphale needed. It's the same core set of problems but he needed 1941!Crowley and he got AlphaCentuari!Crowley because of where they both were at in the moment. It just makes 2.06 even more brutal because it shows you how they do understand each other and how right they are for each other if they could just stop being idiots lol.

I also actually think this is one of the most intimate scenes in the show. It shows a lot of guts on Aziraphale's part to be honest about how he's feeling and that's courage that Aziraphale has in general but was lacking a bit in the present in S2. He lets Crowley in here-- which is the theme of all of it and what he's not doing in S2 very much, especially in 2.06-- and we get a scene where Aziraphale is vulnerable and hurting and trusts Crowley with it and Crowley is there to help him as much as Aziraphale helps Crowley. It's very sweet and romantic but in a heartbreaking way because of how it shows how much pain Aziraphale is carrying around with him all the time. The lovely bit, though, is how it also shows how Crowley knows and is trusted with it. That it all takes place in largely the same space as the mess in 2.06? Gah. Devastating...

The other storyline that broke me was Gabriel. I know not everyone has the empathy for him that I do and he can be a total jerk, no doubt, but I thought he was the best example of the show bringing in other perspectives on life in Heaven/Hell in S2. We had angles like Furfur and Muriel illustrating that life for those not on Earth is lonely, isolating and boring and that many are yearning to live a bit more. Crowley and Aziraphale have not had it easy by any means but we are given characters whose perspective is that they're jealous that Crowley and Aziraphale have at least been able to be on Earth and have one another this whole time, which is more than a lot of other angels and demons can say, and that's fair. Expanding upon the glimpses of Gabriel that we saw in S1 and showing that, really, he's more complicated than we might have expected, was something I both loved and was a bit broken by.

Essentially, S2 shows that Gabriel is actually arguably the worst off character of all of them-- Crowley and Aziraphale included. That he really had no one until Beez is shown on his face so well-- Jon Hamm and Shelley Conn selling Gabriel's depression and how healthy this relationship is in almost no time at all really shows how great they both are. Look at this poor bastard, though, really...

He has the worst job of all of them. The Metatron is really in charge of Heaven-- Gabriel's the pretty face, forced to keep everything going or be killed for disobeying. S2 emphasizes how much he and Beez did what they did at the end of S1 basically at gunpoint-- it was kill or be killed and neither of them have the power to overthrow anything on their own. They have enough power, in the future, to probably help sway some things. Gabriel's always had enough power to make differences where he could and he used it to try to protect people. He can be a judgy jerk but he also fundamentally cares about the people around him and he's been drilled for so long into believing that upholding Heaven is his only purpose and only reason for existence that he's even still mulling over the ghosts of those thoughts when he has his whole gravity crisis in S2, even when he can't remember his name.

This is the bit that got me actually teary, though:

Imagine being thousands of years old and no one's ever given you a present. You don't have a birthday. You don't celebrate holidays. No one's ever protected you or been on your side or even just listened. You don't have any friends because everyone is afraid of you and you have to put up those pretensions to stay alive. The people you spend your entire life with are out for blood-- they'd sooner see you stripped of your sense of self and tossed through the ranks or to Hell and take your seat. Your life is one, long, never-ending meeting with your abusive dad and charming personalities like Michael and Uriel and Sandalphon. For six. thousand. years. Gabriel had never eaten anything before S2. He's never slept. Imagine six thousand years of being the Senior VP of Climb Every Bullshit Mountain without ever having a lunch break or ever going home. It's kind of no wonder that Gabriel spent half of S2 taking a nap-- he's exhausted.

He's not from anywhere. He doesn't even have a desk. Is it any wonder that this poor bastard was already rebelling a bit in S1? That he didn't totally get Earth but he was sneaking down there to get tailored suits made just so he could have something that is his own and taking himself for jogs in the park so he could get away from everyone for awhile? He's vain, sure, yes, but really because his looks are all he has that actually belong to him. It's why Beez gives him a pass on the statue-- because they know that this poor guy doesn't have anybody but them. The humans immortalize him in marble like he's a God and everyone in Heaven and Hell is terrified of him-- and he's been terrified of trying to be real with others because who is he going to trust who won't stab him in the back?

All Gabriel has that is his own are his clothes and Heaven even takes that, too. Beez is the first person who has ever seen Gabriel as a person. Is it any wonder why Gabriel likes and goes to Aziraphale for help? He knows that Aziraphale is the only angel who is both kind and sorta sees him there sometimes. He's the only one who ever seems to consider that Gabriel might exist in there as more than just The Supreme Archangel.

Gabriel's memory loss is actually very much akin to the real world occurrence of retrograde amnesia, which can and does actually happen to people who have undergone traumatic events. (It doesn't happen all the time but it's also not as rare as you'd think it might be.) The mind shuts down in such a way as to intentionally forget everything related to the trauma in order to protect itself and that can sometimes result in a loss of identity. The forgetting, though, also frees Gabriel because when he can no longer recall the fascist system of Heaven that has been harming him for so long, the actual self that he's been repressing and hiding shows up.

I see a lot of people talk about Jim as if he's a separate entity from Gabriel and he's really not-- he's Gabriel without the self-protective airs that Gabriel puts on. Jim is really not much different from glasses-free Crowley-- they have the same approach to self-preservation. It turns out, when he's free from the toxic masculinity hellscape that is Heaven, Gabriel likes hot chocolate and tiny dinners and bookselling and is emotionally available and mindfully curious about everything. He's a lot of fun and he cares about his friends and is grateful to have them. He's still a snarky bitch sometimes but so is Crowley lol so... That Gabriel was so miserable before, though, I thought was really pretty heartbreaking.

Now that I've depressed you, we'll leave on the sweeter note of Gabriel torturing some humans to romance Beez...

#ineffable husbands #good omens #crowley #aziraphale #good omens 2 #aziracrow #good omens meta #the archangel fucking gabriel #jimbriel #lord beezlebub #ineffable bureaucracy

196 notes · View notes

fdelopera · 1 month

Text

Exactly, Anon. Exactly. This is why the Ivy League Universities being turned into Hamasnik terrorist bases is so horrifying. Especially with Jew-hating students attacking Jewish students and professors on campus, with the Universities' sanction. The Universities could shut these Jew-hate riots down. The fact that they don't shows that they want them to continue. They're trying to chase away the Jewish students and professors from these schools. That's always the first step. That's what the Nazis did first, too.

This article is taken from the US Holocaust Memorial Museum website. I highly recommend that everyone read the whole article. But even if you read the first paragraph, you'll see the parallels to what is happening on Ivy League campuses today:

After Adolf Hitler was appointed German Chancellor in January 1933, the new Nazi government began an effort to completely reorder public and private life in Germany.

The Nazi regime quickly targeted German universities—among the most elite in the world at the time—for restructuring according to Nazi principles. While the Nazi Ministry of Education initiated reforms, local Nazi organizations and student activists worked to bring Nazi ideals to German campuses. These forces, along with increasing antisemitism under Nazi rule, transformed everyday life at German universities. Throughout this period, students, faculty, and staff made individual decisions that both upheld and opposed Nazi ideology.

With the passage of the "Law for the Restoration of the Professional Civil Service" in 1933, most Jewish professors in Germany were dismissed from their positions. Others, such as Professor Eugen Mittwoch, were able to keep their posts temporarily only due to the political value of their research. After purging Jewish and "politically undesirable" faculty, the regime then targeted the student body with the "Law Against Overcrowding in Schools and Universities." As German authorities continued to "Aryanize" German universities, Jews increasingly lost the opportunity to teach or study. Many non-Jewish Germans sought to benefit from their persecution.

The daily business of university life continued in the wake of these new policies, but political concerns increasingly influenced the way professors and students worked and studied. The practice of denunciation, as demonstrated by the "Request for the Investigation of Professor Hans Peters," illustrates the danger posed to both students and faculty if they failed to follow new ideological norms. Those willing to voice support for the new regime—whether out of enthusiasm or practicality—often received promotions or other rewards. Meanwhile, many others quietly accepted the new policies and passively benefited from the persecution of their Jewish peers. Very few, such as the small student group in Munich known as the White Rose, took any significant action to resist the Nazi dictatorship.

The Nazi government and its supporters manipulated several aspects of the country's traditional university system to turn German higher education into a crucial source of support for the new regime. For example, the German student population had been largely male long before the Nazi rise to power, and German campuses were dominated by fraternities. Those organizations maintained traditional military discipline and dress codes, and their alumni groups exercised significant political power both before and after 1933. Fraternities—often working with the Student Council and Nazi Student League—served as a powerful and violent force for implementing Nazi principles at universities, often going beyond the party platform in their radicalism. A Report on the Camaraderie House for Female Students of Göttingen shows how Nazi student groups used the format of traditional student organizations to train both men and women to become the next generation of Nazi leaders.

Although the regime could rely on many committed student activists, the Third Reich also sought the support of German professors to lend legitimacy to their policies. Because German universities were state institutions, professors' academic careers became vulnerable to the whims and wishes of the Nazi state. While only a small minority of professors had been Nazi Party members before 1933, several prominent professors quickly voiced their support for the Third Reich. In the new German university, political loyalty was valued over academic ability in the assessment of students and in the selection and promotion of professors. Authorities infused university classrooms with Nazi ideology—as shown in the document, "Foundation of the Advanced School of the German Reich". But prioritizing politics over academics affected the quality of German higher education.

Nevertheless, professors—even enthusiastic supporters of the new regime—often spoke out against some aspects of Nazi policy. The case of Eduard Kohlrausch shows how his opposition to student-led book burnings caused his removal from the university administration. Dissent against individual policies, however, did not give rise to any concerted resistance movements. German universities as a whole formed a solid base of support for the Nazi regime, contributing valuable knowledge to the development of technology for the war effort as well as logistical support for the Holocaust.

The Nazification of universities overwhelmed the daily lives of students with new requirements, including mandatory lectures, physical exercises, labor duties, and political assemblies. Many students resented those requirements, even if they supported the Nazi Party. In Heidelberg, for example, where the daily life of students was dominated by political instruction and mandatory physical training, large numbers of students withdrew from the university in search of other educational opportunities. As illustrated in the "Memo Regarding Maria-Elisabeth Koch," students also showed varying degrees of enthusiasm for the labor service that was often required of them in territories occupied by Nazi Germany.

The Nazi government's project of remaking German universities was broadly successful, but it produced unintended consequences. The quality of education suffered significantly as classes were regularly cancelled for political assemblies and students' schedules became filled with ideological and paramilitary training. Moreover, purging Jewish faculty deprived German universities of valuable expertise. Within a few years, many observers in Germany and abroad became deeply skeptical about the quality of German higher education in the Third Reich. Propaganda efforts such as the Carl Schurz tour for American professors and students—documented with a slickly produced video—did not prevent protest. The 550th-anniversary celebration of Heidelberg University met with opposition in Europe, even while prominent American universities such as Harvard accepted invitations.

With the defeat of the Third Reich in 1945, Allied forces occupying Germany began a long-term effort to remove the influence of Nazi ideology in German society. Many German academics who made significant contributions to the Nazi war effort fled to the United States, where they lived comfortable lives and their expertise was highly valued by American universities and the US military. In postwar Germany, many faculty and students who had benefited from the Nazis' discriminatory policies without being especially vocal or enthusiastic supporters of the regime sought to cast their dissent or their silence as forms of political resistance to obscure their own complicity. Although many Germans denied having supported the Nazi regime, antisemitism persisted in postwar Germany. The case of Hermann Budzislawski shows the difficulties encountered by the relatively few German Jews who decided to return to Germany after World War II.

Sources in this collection document the choices facing students and faculty pursuing their everyday lives in the shadow of Nazism and the Holocaust. Over the course of this period, as antisemitic discrimination escalated to mass murder, the higher education system proved to be a source of support—rather than opposition—to the party's project of remaking German society.

#jumblr #jewish history #the goyim are trying to speedrun the 1930s #goyim have always naively asked “How could the Nazi regime have murdered 6 million Jews??” - and now they're giving us the answer #Jew-hate makes you stupid #NOTE: I report and block antisemites. Any antisemites who comment on this post will be reported and blocked. You have been warned.

146 notes · View notes

chaotickimchi · 6 days

Text

Killing Your Darlings - A guide on writing death

(Inspired by some writing tips I saw on pinterest. I decided to try my hand at a “writing death” guide. Small disclaimer, these are suggestions or things to consider, there is no rule book on writing death and your story/characters will ultimately play a role in the shape and shades you colour in your scenes with.)

SHOW DON’T TELL?

How does your character discover the death? Is it really necessary to show the body to the audience?

Consider this, which will have more impact on your character, watching someone die or getting a phone call and hearing the news from afar? Depending on your story, it could be more gutwrenching if your character isn’t there to say their final goodbye. Sometimes not showing the body can be more devastating. Don’t underestimate your readers empathy and imagination, if your characters have a very strong bond, severing that tie from a distance can be incredibly impactful. Just because your character dies, doesn’t mean you have to show the body. If that’s the case for you, then you don’t have to worry about describing the “death scene” at all.

WHAT’S IN A NAME?

Writing a murder mystery or a battle? Well, I suppose your character will see a lot of shit, time to describe the Dead Darling.

Corpse. Cadaver. Body. Remains. Carcass. The Deceased.

Several words refer to a dead body and they aren’t all created equally! You wouldn’t call your character’s dear old granny a “carcass” for example, and how many of us use the term “cadaver” to describe human remains in a casual setting? Consider the context, who is speaking, what is their relation to the Dead Darling? The use of a particular noun can change the weight and mood of the scene, there’s a reason your local funeral director doesn’t go around saying “CARCASS” to grieving widows/widowers, it sounds harsh and nasty. Maybe your character is in denial and doesn’t even describe the Dead Darling as “dead”, instead they view them as “like a doll” or “impossibly still” or looking like they’re asleep.

Context matters, so consider the relationship between the Dead Darling and the character and also the situation they are in. Take the following as a rough example;

Detective Mc Dude has been called to a scene, he’s given a rough description of the victim over the radio as he drives to the scene. He arrives and to his horror, he recognises the body as that of his secret lover. His colleague joins him and fills him in as Detective Mc Dude tries to gather himself. “Detective, the remains were found this morning by a jogger. We’ve yet to make an I.D …” Detective Mc Dude’s mind is reeling as he wrestles against his inner turmoil and the need to maintain his composure and act professionally. Later, he goes to the coroner to discuss the autopsy results. The coroner describes the injuries they have discovered on the corpse. Detective Mc Dude begins to build his case.

While the example lacks a lot of detail and flourish, I do hope it helps illustrate how the weight shifts around with the use of different nouns throughout the example. The coroner in this example feels no attachment to the Dead Darling, this is their job, they see a corpse and try to gather evidence. Detective Mc Dude recognises her body, whereas his colleague sees the remains. Do you see the difference there? Mc Dude sees the person, her body, his colleague doesn’t know who she is or what her story is, he has less connection to her and he sees the remains, it feels more distant and impersonal compared to Mc Dude.

This might be a bit of a head scratcher, the differences are very subtle but can become really pronounced when weilded well in a scene. My advice is to pay attention to discussions of death in real life or books/tv/films etc. Read your paragraphs out loud and see how they feel, sometimes you can intuit what fits and what doesn’t. You may notice things that surprise you, for example, news readers often say “a body has been found” or “the remains of a man/woman were found”, whereas you and your friends/family are more likely to describe a deceased loved one with “his or her body”.

A detail as small as using personal pronouns can carry significant weight, likewise, the type of language used can convey a lot of emotion. His/her body can be used to create a sense of closeness or sympathy, corpse can suggest a clinical or distant view, carcass or remains could indicate a hint of barbarism or malice. That's not to say that “corpse” can’t be used sympathetically or that “body” can’t be used to convey malice, it’s worth experimenting with which types of nouns you want to use.

YOU LOOK LIKE DEATH WARMED UP- OH WAIT

Death comes in many shapes, sizes, colours, smells, and forms. A character sitting at someones sickbed watching them fade away will have a completely different vibe from Detective Mc Dude discovering a stomach-churning murder scene. Unless the dead body randomly falls out of the sky, chances are your character might notice some context clues or details in the environment before we get to the body. This could be anything from the beeps of machines and the sterile hospital smell, or maybe there’s a blood trail on the floor and the sweet stench of death clings to the air. It’s rather likely you’ll set up a scene before you zoom in on the finer details of the body, what kind of things would catch your character's attention?

Now your character has come across a body… What do they see? The glassy dead-eyed stare, mouth twisted in a painful grimmace, the massive gaping chest hole where the facehugger popped out- Wow, that escalated quickly…

Think for a second, what might your character notice first; look of terror in the victims eyes or THE MASSIVE FUCKING WOUND IN HIS CHEST… I know, the blue lips and glassy eyes might feel like a great place to start, but I’m willing to bet a massive pool of blood would catch your character's attention first, they’d probably have to get closer to see the look of terror in their eyes! Consider the larger details if your character is further away and hone in on the finer details if/when they are closer.

Not all deaths are quite so … gruesome. Maybe someone died peacefully, closed their eyes, smiled, and slipped away in a dream. Describing the “look of death” doesn’t have to be all that far removed from how you write regular emotions and expressions, except in death these expressions get locked in or frozen in time. A dead body isn’t all that different from a living one when you think about it, so why would you reinvent the descriptive wheel? A living or a dead body could “wear a painful grimace,” let your character read whatever expressions they can uncover when they find the Dead Darling.

Smells, sounds and other sensations. You don’t have to go ham with descriptions, sometimes less is more, it really is down to you, but another thing you might want to consider are the smells, and sounds going on around them. Maybe your character disassociates a little and you forgo the visual stimuli entirely and need to express death using other senses, maybe it happens in a very dark room, or maybe you just want to draw in other descriptive elements into your death scene.

Sounds: Siren blaring and alarms bleeping, the faintest little ‘huff’ as they draw their final breath, the ominous death-rattle cough, piercing shrieks suddenly cut short, a gutwrenching crunch-squelch, the click of a switch and the poignant silence of the life support machine ceasing.

Smells: bleach/disinfectant, latex gloves, blood/gore, rot and decay, sickly-sweet or vomit-inducing, smog/smoke and fire, the smell of the Dead Darlings perfume, the environment (e.g. outside perhaps the smell of death is swept away by the powerful salty-sea spray or masked by the stink of the sewer the body was dumped in…)

CONCLUSIONS

There’s still a lot to explore, but I hope this has given you some food for thought when considering death in your stories. There’s more to explore, such as what happens after death (funerals, burials, anniversaries), writing scenes where your character murders/is murdered, the various ways characters can die… Faking character deaths … like there is a WHOLE LOT but this just covers a few things I find helpful to consider or at least think about when I read/write stories or generally listen to how language works around me.

Good luck killing you Darlings ;)

#writing guide #writing advice #writing tips #writing resources #writing help #how to kill your darlings in you stories

56 notes · View notes

idoodlestuffsometimes · 1 year

Text

DRAWING BACKGROUNDS: TIPS AND TRICKS

So many people are afraid of drawing backgrounds and I think it's a shame, so here's some tips and tricks, because I'm not perfect at it myself but I think the hardest part is really just knowing where to start.

First off: Perspective

Yeah, yeah, that's the scary word. But I promise you, once you're familiar with the basics, backgrounds are a LOT less intimidating. Don't get discouraged if WHEN you have trouble with it. Even professional artists struggle with it. I promise you, screwing it up is good and normal. That's how you learn after all!

Now I'm not going to go into detail on how to do it here, because honestly there are a thousand and one free resources online and in libraries that can explain it far better than I ever could in a singular broad-strokes tumblr post. But I AM at least telling you you should familiarize yourself with these basics:

Important Terms: Horizon Line: A horizontal line across your canvas, showing your viewer's eye level and providing a location for most of your vanishing points. Vanishing Point: Integral to drawing in perspective. The sides of a 3D object get smaller as they become farther away from the viewer in space. This point is where the parallel lines of a side eventually meet.

The Basic Types of Perspective: One Point Perspective: Good for drawing things that you're looking at straight on. Two Point Perspective: Good for drawing things at an angle. Three Point Perspective: Good for drawing things the viewer is looking up or down at, especially at an extreme angle.

[Click images for ALT descriptions]

And if you're comfortable with these and serious about improving your skills for use in storytelling, I also might suggest looking up:

4 Point Perspective: Great for extra wide or tall shots and for camera tilts if you're doing an animation or animatic. I think some other names for this in animation include "banana pan" and "warp pan."

5 Point Perspective: Fish-eye lens. Good for all your angsty anime boy slipping into madness needs!

Some perspective tips I wish someone had told me earlier:

Objects' relation to the horizon line is constant. A super helpful tip to remember when placing a character or object in space is that they will always (assuming they aren't changing in size or moving up or down) have the same relation to the horizon line no matter how far or close they are. If your horizon line is at shoulder height for your focus character in the foreground, any character of the same height in the background will still line up with the horizon line at the shoulders.

How to pick the distance between your vanishing points: 2 pt perspective uses 2 vanishing points, 3 pt uses 3, etc, etc, but how close should they be? Well, first of all, for anything that isn't one point perspective, one or more points will usually be off the canvas. Super annoying, I know, but the closer your vanishing points are, the more warped your drawing will become. Second, a helpful thing to know is that choosing the distance between your points is basically the illustration equivalent of picking your camera lens! Photography buffs will know that wider (shorter focal length) lenses show more space and make the distance between foreground and background more dramatic, while longer focal length/telephoto lenses are flatter, and more focused and intimate. The same is true of vanishing points that are closer (shorter focal length) or farther apart (longer focal length).

2 point/3 point/etc doesn't actually mean you're limited to that many points total on your page. this one confused me a lot when I was getting started, lol. A lot of examples will show you drawings of nice, neat cities or something, in which all the buildings are facing the same way in order to demonstrate perspective drawing. But in real life, buildings don't all face the same direction. They're at all sorts of different angles. So how do I do that??? Answer: Just because you're drawing in 2 point perspective or whatever doesn't mean you... have to actually keep your 2 points in the same spot. You can move them around, just keep them the same distance apart, so you're not screwing up your camera lens.

Other Tips:

Use reference! The instant you try to draw a house, you're going to forget every house you've ever seen. That's just how it goes. Buildings are complicated. Do yourself a favor and collect a few reference images first, buddy!

Consider details (like architectural style, amenities, and materials) Your building will look more like a building when you keep in mind that buildings have gutters and door knobs and light switches and paneling and stuff, and aren't just boxes with roofs on them. Again: reference! You will forget electrical sockets and baseboards exist immediately. Art brains are dumb.

Use details and texture to fill in negative space Giant stretches of blank space tend to be boring and distracting. Put a few suggestions of wood grain or something on that wall back there, bud, just don't overdo it.

Line weight Darker, thicker lines draw more attention, look heavier, and look closer to the viewer than lighter, thinner lines do. Take advantage of this to draw the viewer's attention to your focal points, de-emphasize less important details, and imply depth. It's up to you to decide how you want to use this and what your style is, especially once you start getting into combining or replacing it with shading, values, and color, but a helpful rule of thumb is to try reserving your thickest lines for focal foreground characters and use thinner lines on backgrounds, especially details in the far distance.

Perspective guides If you're drawing digitally, take full advantage of any perspective tools you have access to! A lot of art programs lately have begun adding perspective guide features that let you set up vanishing points and then literally guide your hand as you draw so you stay in perspective. Some of these include Procreate, Clip Studio Paint, and Adobe Fresco. (still sadly none in Photoshop as far as I'm aware, what the heck, Adobe!). Check through the settings of yours to see if it gives you any perspective guides or other similarly useful tools. They're 100% worth it! And for god's sake, if you've got any skew or perspective warp tools, draw your complicated shapes flat and then warp them instead of spending an hour on it! Don't make my mistakes!

#backgrounds #art tips #tutorial #art reference #drawing tips #perspective drawing #the owl house #hunter toh #doodle art #doodletext #rambling topic #yes i'm using my blorbo to demonstrate art tips what about it #this took longer than i meant it to lol. i got really into the examples #thank you for your patience guys #this turned out to be a GREAT exercise for me as an artist too actually. Trying to explain things is rlly good practice #I didn't even get into values and such. I can only ramble so much I'm afraid

845 notes · View notes

jccatstudios · 8 months

Text

SoC Comic Adaptation and General FAQ

General

Who are you?

Hi, I'm Claire (she/they)! I'm currently studying to become a professional comic creator. I love drawing fashion, expressive characters, and anti-hero action.

Where else can I find your work?

You can find all my work on my website! I'm also on Instagram, Twitter, and Tumblr. You can find my fan art under the handle jccatstudios, and my original art under jcscottart (only on Instagram and Twitter).

How can I support your work?

Besides supporting my work through your lovely comments and reblogs, you can help monetarily support me on Ko-Fi. Your support helps fund my college education.

Six of Crows: A Comic Adaptation

Why are you doing this?

Ever since I read the duology, I always thought it would make a great graphic novel series. When my professor encouraged me to start a webcomic, I took the opportunity to make the comic I imagined into reality. I want to see the whole series illustrated through comics one day. If I got the chance to make the official adaptation, that would be one of my biggest dream projects. I'm also using this project as an opportunity to improve my skills before I graduate.

Will you post it on (insert webcomic platform)?

Probably not. Most online comic platforms are meant for scroll format, and I'm making a traditional format comic. Plus, I post on so many sites already, so I think adding another would take too much time out of actually creating the comic.

Will you draw the whole book/series?

I wish I could! Since I'm not doing this full-time or professionally, that's quite unlikely. It would take years to complete it full-time, who knows how long as a hobby. I'd love to add a six-volume SoC graphic novel series to my shelf, but that of course can't be done without some serious backing. I'm currently working on adapting Chapter 3.

Where's Chapter 1: Joost?

I never drew it! I started with Chapter 2: Inej because I wanted to draw the main characters first. The first chapter of the comic is the second chapter of the book. I name the comic chapters after the book chapters just to make it clear which part of the book they correspond to.

Can I repost your art, use your art for layouts/edits, etc?

Yes, you may with visible credit. If you use it for your profile layout, put my handle in your bio. If you're reposting it or using my art for edits/collages, put my handle in the description. As long as it's for personal use, you can use my art. Do not sell copies of my art, use it in merch, or use it for any sort of monetary gain. Do not use my art for prompting or generating images.

Can I use your character designs and headcanons in fanart, fanfic, etc?

Absolutely! Please tag me if you do. I don't need credit since I didn't create any of these characters, but I definitely want to see what you create. :D

How do you make the comic?

The comic is made with mostly traditional methods with some digital editing. I pencil and ink all of the pages on bristol board. I mainly use the G-pen nib for characters and technical pens for the backgrounds. Once I scan the pages, I do light adjustments to the line art and correct any mistakes. The gray tones come from a single sheet of ink wash adjusted to be lighter or darker. The bubbles and lettering are all digital.

If anything else comes up, I'll add it here! Feel free to send me an ask if you have a question that isn't on this post.

#faq #soc comic adaptation

150 notes · View notes

brabblesblog · 4 months

Text

𝕽𝖊𝖒𝖊𝖒𝖇𝖊𝖗 𝖞𝖊 𝖓𝖔𝖙 𝖙𝖍𝖊 𝖋𝖔𝖗𝖒𝖊𝖗 𝖙𝖍𝖎𝖓𝖌𝖘.

𝘊𝘩𝘢𝘱𝘵𝘦𝘳 1: 𝘛𝘩𝘦 𝘙𝘰𝘴𝘦 𝘢𝘯𝘥 𝘐𝘵𝘴 𝘛𝘩𝘰𝘳𝘯𝘴

A sequel to Whither is thy beloved gone? (AO3)

After the events of ‘Whither is thy beloved gone?’ Lord Astarion Ancuńin and his consort wife navigate their relationship anew. The ghosts of the past - his, hers, and theirs - threaten to unravel everything they’ve worked for.

Two months after their first year as the Ascendant and his consort, Astarion hatches a plan to bring him and his beloved closer.

Now professionally edited by @editing-by-night Originally beta'd by @leomonae and @kringle-c

Read on AO3.

Masterlist

Ban and Astarion by @redreart

Astarion exited the carriage, scanning his surroundings before approaching the shop in front of him. The storefront looked worn; one would even think it abandoned, if not for the slightest trace of movement visible through dust-covered windows. There wasn’t any indication as to whether the shop was open.

He looked up at the sign, at the barely legible lettering on it; the paint was chipped and faded, an obvious victim of neglect. A small sigh escaped his lips. Glasscraft and Son.

Ban Glasscraft. That was all she had deigned to tell him the day they’d met; she had been cagey about her past ever since. In his efforts to seduce her he’d tried to ask her the usual, vapid questions, but had gotten nothing in return. Those were the only inquiries he never got a response to, but at the time he hadn’t really cared. She’d just smile and change the topic and he’d allow it; after all, the goal was to win her favor, not to actually get to know her.

And then what were lies had become truth, but by then there hadn’t been enough time.

His knuckles rapped against the door.

“Have a seat, Lord…” The older gentleman trailed off, watching Astarion stand by the proffered stool.

Astarion eyed the seat warily. “Ancunín.” It looked dingy, and he wasn’t sure if he wanted to subject his trousers to it. “I’m perfectly fine where I am, thank you.”

The man nodded. He took a seat in front of his desk, gnarled hands picking up a leather tome. He offered it to Astarion, who approached and took it with no small amount of hesitation at the sight of its stained cover.

“In there’s all of our designs,” the man said. “You can have the frame inlaid with gold or sil-”

“Gold. Silver doesn’t complement my complexion,” Astarion said airily, adopting the manner of a mildly bored nobleman flawlessly.

“Master…”

“Glasscraft, my lord. Roderich Glasscraft.” Roderich stood and came closer; he was bald, a whole head shorter than Astarion, and as he tilted his head to peer at the book Astarion lowered it so that he could see.

“Yes, well.” Roderich tapped one of the mirrors illustrated on the page Astarion had opened the book to. “This is a little dated, design-wise. But it would still look rather beautiful, I think, in the appropriate home.”

Astarion thought the mirror looked relatively contemporary, but didn't comment. Instead, he pointed at the illustration with his index finger. “How much would one of those be, Master Glasscraft? Inlaid with gold.”

Roderich hemmed and hawed, unsure. He hadn’t sold a single full-mounted mirror in what felt like years. He didn’t remember much, didn't want to, really, not after…

Best not to think of that.

“Six, seven thousand?” he surmised. “I could accept a deposit-”

Astarion waved him off. “I’ll be paying in full.”

Roderich stared at him for a long second, shock upon his face. He recovered quickly, clearing his throat. “Very well, Lord Ancunín. I shall draft up the quotation and the work order this instant. May I know where this mirror is to be delivered?”

“The Crimson Palace,” Astarion began, reaching into his pocket to pull out his pouch. “A little north of-”

“The - what’s it now?” Roderich frowned. “I’ve never heard of that place.”

A pregnant silence filled the shop. Normally the name of their home would have been enough; people had heard the news of Cazador Szarr’s erstwhile estate falling into the hands of a certain Lord Astarion Ancunín, who had been firmly referring to it as the Crimson Palace. Roderich Glasscraft, however, seemed to have missed that tidbit.

Resisting the urge to snap, Astarion took a small breath. Just because he no longer loathed hearing his former master’s name didn’t make it particularly pleasant to mention him.

“The former Szarr Mansion,” he provided, terse.

Roderich paled. “The - Szarr Mansion. Cazador Szarr?” While he’d never been the most informed person, Roderich had heard whispers about that nobleman - whispers of dark, decadent parties, of hushed disappearances.

Add to that the fact that Cazador Szarr had been the only nobleman in Baldur’s Gate to never have purchased a mirror from Glasscraft and Son - nor from any other mirror maker.

Whispers, just whispers. But Roderich couldn’t help the shiver that ran down his spine.

“Yes, the very same property.” Astarion made a show of inspecting his fingernails, feigning nonchalance. He gathered that the man before him had probably not heard about the change in ownership of the palace - and how could he? If the condition of the shop was any indication, he doubted this man had ever done anything other than sit here.

“I’ve… inherited the mansion, upon his passing,” he remarked lightly, “and have renamed it to the Crimson Palace. I would appreciate it if you were to use that name from now on.”

“I- yes, my lord, of course.” Roderich bowed effusively. He realized belatedly that the man before him was unusually pale, with bright crimson eyes. He hadn’t seen his mouth open widely enough to determine the presence of fangs, thank the gods, but was that-

A small, circular scar on the man’s neck, barely visible above the lip of his shirt collar.

Roderich almost wanted to scream, but one thing held him back: it was daytime, and he’d seen Lord Ancunín exit his carriage and walk into the shop, hadn’t he?

Astarion tilted his head at the man, hearing his heartbeat spike. He knew the sound all too well - the sound of cornered prey. He wasn’t here for that, of course, and quickly figured out a way to assuage the man’s worries before Roderich had any chance of ruining his plans.

His hand reached into his breast pocket, pulling out a small mirror. He peered into it, angling himself so that Roderich could clearly make out Astarion’s reflection in the glass.

Astarion sighed, sweeping away nonexistent curls as if they had fallen into his eyes. “Thank you, Master Glasscraft. When can I expect the mirror to arrive?”

The sight of the man’s reflection calmed Roderich. He took a breath. “In two tendays, my lord. Possibly sooner, depending on how sourcing the materials goes.”

“Very well,” Astarion drawled, putting his mirror away. He couldn’t help himself and shot Roderich a grin that was a little too wide, revealing the very tips of his fangs for a split second. “Are you able to do it in one? Of course, you will be handsomely compensated for the inconvenience.”

He needed the mirror delivered when Ban wasn’t home; he knew she’d be in Rivington for most of that day, meeting Shadowheart.

Roderich didn’t miss the bright flash of sharp teeth, shuddering. He felt a bit bad; obviously this Lord Ancunín wasn’t what he thought he was, with both walking in the sun and having a reflection.

“It can be done, my lord,” he said, a little too quickly.

Coin changed hands, then Astarion left the shop with the contract.

The moment he arrived home, Astarion rushed to their study. Heading to his desk, he stuffed the contract into a drawer.

“You don’t even say hello to your wife anymore?” a voice called out, and he slammed the drawer shut, momentarily panicked. He turned to face her, rearranging his features into something resembling composure.

“Saw the carriage arrive,” Ban added by way of explanation; she’d watched him march towards their study like a man on a mission. A rather curious sight, one that piqued her interest, but she put off questioning him about it for now.

“Ah - well. I wanted to put work aside as fast as possible,” he stammered out, approaching her and wrapping his arms around her waist in one swift move. “So I could… ”

He nuzzled into the top of her head, inhaling deeply, inwardly begging himself to calm down. “Mm. So I could focus on my dearest darling.”

“You’d get away with a lot less, you know, if you weren’t so-” The words died in her throat as a hand traveled south from her waist to the curve of her ass, squeezing it.

He looked down at her with half-lidded eyes. “If I wasn’t so… what? Care to finish that thought, love?” Teasing, light. He knew she’d noticed his poor attempt at hiding the contract, but hoped he could at least distract her from prying further right now. He tried to herd her back out the door and hopefully to their bedroom.

“Roguish,” she provided, “handsome, dashing…”

“Keep going,” Astarion smirked. They made it past the doorway, Ban walking backwards. He gently crowded her against the wall of the hallway, caging her with his arms.

She stared up at him, considering what to say next. He was nervous, that much she could tell - as if there was something he wanted to hide, yet despite himself was also begging for her to see.

Free me. Find out, so I don’t have to keep lying.

“Sweetheart,” she began. The words were on the tip of her tongue, to ask him what was wrong; but there was that look in his eyes that said not now, please, and so she didn’t push, opting for playfulness instead. “You really think you can handle all the words I have to describe you with?”

“Try me.” He attempted to lean down for a kiss, laughing when she dodged it and slipped out from under his arms. As much as he was doing this to hide the contract from her, he was also enjoying himself.

“Let’s see. Pompous. Mischievous. Conceited… Do you still want me to keep going?” She began rattling off words, raising a finger at each, as if counting them off. She ke[t walking backwards as he advanced on her, but not towards their bedroom.

The servants all murmured greetings as they passed; they both ignored them.

“Alright, you’ve had your fun,” Astarion countered, a brief flash of fangs visible as he grinned at her. He noticed her taking a left and he tilted his head, curious. He didn’t question it, though, simply following her as she rounded the corner of the hallway, leaving enough distance to properly give the impression of prowling after her.

Ban reached the double doors at the end of the hallway, pushing them open to head out to the gardens.

“Here?” Astarion said, more amused than anything. The groundskeeper approached them, weary eyes immediately recognizing his masters’ intent. He quickly snapped a command to the other gardeners to clear out.

She watched them go, then made her way to sit on the stone bench beside the fountain. “Why not? This place is ours, no? We’re afforded privacy here.”

As the doors were shut behind them he rounded on Ban, the dangerous glint in his eye unmistakeable. He arched an eyebrow. “Honestly, I wouldn’t care if they saw us - if anyone saw us.” He knew she did, though, if only slightly more than he, and for her sake he took one last cursory look around the garden, finding no other soul present.

With their privacy assured he straddled her, his weight settling comfortably on her muscled thighs, lips moving to press against hers. The smell of the roses, of the freshly trimmed grass mixed with scent of her skin - altered, but still the same - stirred some memory in him; his hips twitched and his eyes fell shut. There was still that fear, that worry that she’d obviously seen through what he was trying to do, but Astarion reassured himself he’d tell her anyway. Soon.

Whenever soon ended up being, anyway.

He didn’t want to risk this yet, their endless days of seemingly nothing but happiness, the hours of bliss seeming likely to stretch on into eternity.

“Lie down,” he murmured to her, completely missing that impish grin and the look that crossed her face. As she began to shift under him he let his body follow suit, ready for what would come next-

He felt himself lose his balance, his weight shifting off-center as something shoved him, and he managed a strangled gasp as he landed in the fountain.

He landed on his ass; the water was freezing. His undead body wasn’t harmed by it, but it still felt unpleasant. He sat, clothes now drenched and his hair sopping wet. Indignation filled him; the first thing he wanted to do was scold her, but begrudging amusement won out.

“What was that for?” He looked down at his clothes, his ivory shirt soaked. So much care taken not to dirty them at the shop, only for them to end up drenched in fountain water, anyway. No harm done, but still.

Above him, Ban stod, laughing. She reached out, offering him a hand. Her laughter was infectious; he found his lips forming a smile before he could stop them. Still, he took the proffered hand and let Ban yank him up onto his feet. Astarion stood there for a moment, admiring her strength, then groaned as he belatedly realized that his shoes were also waterlogged and likely damaged.

“Sorry,” she said, although she was anything but. “I think another word would suit you here - gullible.”

For a moment Astarion scrambled for something to say. I could have dissolved! came to mind, but he thought that would only add to her malicious joy. Instead, he opted for disarming her; his hands found the laces of his shirt, and he began to untie them slowly. He let his fingers linger on the exposed skin, allowing her time to savor the sight.

“You ruined my clothes,” he snapped with feigned indignation, fingers still unraveling the laces with a painful lack of speed as he kept his eyes on his prize. “I think some… compensation is in order.”

“As if you don’t get it every single day, Astarion,” she said, crossing her arms in front of her. A little seed of concern took root at his words, ones which sounded all too familiar and all too like his former views on sex. She scanned his face and found that yes, he was just playing here, the twinkle in his eyes telling her he was alright.

He smirked. “True,” he acknowledged. With the laces loose he pulled the sopping shirt over his head, tossing it at her to catch her off guard. It smacked her in the chest with a wet splat, then fell to the ground.

He stepped over the lip of the fountain and onto grass, the squelch of his shoes unwelcome and unpleasant. Leaning down to take them off, he sighed softly as he slipped them off and set them by the bench. “Those shoes were wyrmhide.”

“Are wyrm-hide,” she corrected. “They’ll be fine. Don’t be so-”

The rest of her words were swallowed by his mouth. In a heartbeat he had closed the gap, devouring her lips, hands grasping her ass and kneading. All thought disappeared at the feel of Astarion suddenly being everywhere, and Ban let a small, choked gasp escape her.

He pulled back enough to peer at her face. “You were saying?” he purred, smug. He always knew exactly how to derail her train of thought, a talent that he had admittedly abused in the past. Nowadays he merely uses it to tease…

Well. Maybe he was using it to distract her from the contract. Astarion considered this a necessity at the moment, however, at least until he was ready to approach her with the information.

Besides, he knew she saw through most of his guile now. Ever since they’d reconciled, her perception had only been increasing - vulnerable as that made him feel, there was also a sense of joy at being seen again.

“I was going to say quit whining,” Ban replied, although the intended effect was lost with how breathy the words came out. Astarion’s eyes crinkled in genuine mirth, and he took her hips, moving her around to face the bench.

She’d let him win this round, she thought. Probably.

He growled against her ear. “Make me.” There was no real bite to the words, only sensual challenge. As he nudged her forward she took a step back towards him, pressing her ass against his clothed cock. He hissed, the fingers on her hips digging in hard; a small, playful warning.

“Seems like I already did.” Ban slowly undid the laces of her trousers, huffing in satisfied amusement at the sound of his low groan behind her. The hands on her hips aided her in pushing her trousers and underwear to her ankles, their movements clumsy and rather impatient.

Every inch of the firm, muscular ass that was revealed made Astarion’s already miniscule amount of restraint decrease. He lowered himself, sitting on his haunches, fangs already bared. All thought of the contract, of his worries, were temporarily gone - all he saw was that expanse of skin and the thought of the delectable heat that laid hidden between her legs. He pressed a kiss to one ass cheek, and let his fangs drag against the supple skin, a quiet request for permission.

Her lips curled into a small smile. “You may, sweetheart,” she said; and the moment the words left her she felt the sharp sting of fangs, sinking into the meat of her ass. A gasp escaped her lips as Astarion tore further into her flesh, the pain exquisite. She felt the soft suction of his mouth as he fed; the fingers digging into her hip traced a meandering path along her skin and raised goosebumps in their wake, before slipping between her legs to find her clit. The combined sensation of his mouth and those fingers caressing her there made her instinctively bend over, hands gripping the stone bench and elbows locking to keep herself stable.

How annoying, really, that all her husband had to do to waylay her plans was this - not that she was complaining. Whatever it was that he’d attempted to keep hidden wouldn’t be hard to find if need be, seeing as she’d seen him shove it in the drawer. Moreover, she did plan on asking him about it after this little tryst. But for now…

He licked off the last rivulets of blood; languidly lapping at her wounds in long, slow strokes, then stood back up. He took in the view of Ban bent over, so obviously wanting him. The thought, of course, went immediately to his cock, his hand absently ghosting over the bulge in his trousers.

The thought of taking her here in the garden, in nature, brought forth a flash of memory: that night in the clearing, when they had first been together. The thought made him wistful; his lips curled in a smile.

“Taking your time?” Ban teased, curious at the sudden pause in Astarion’s movements. He worked his own trousers off without ceremony, the quiet sounds of his belt being unbuckled and the rasp of damp cloth against skin the only noise as he pushed what was left of his clothing down and off.

Now completely nude, Astarion approached her, pressing his cock along the cleft of her ass. “Just remembering something,” he said, voice rather somber. Ban immediately noticed, and even as she could feel him slowly rutting against her she frowned.

“Astarion? Is something wrong?”

“No, not really. Merely remembering how far we’ve come.”

And how much more there is left to go.

It wasn’t that right now was bad. He was happier than ever - most of the time. His astuteness allowed him to curtail most situations where Ban would inevitably begin to withdraw from him. However, Astarion knew this wasn’t enough; that there was still so much hurt left to heal, and as much as he wanted it now, he had no choice but to wait. Knew that she didn’t completely trust him either, even as he laid his heart and soul in her palm every waking moment.

It felt unfair at times, in an if I have to do it why can’t she way, but he let it go every time. He loved her too much to ever really push her into something she wouldn’t willingly do, especially after his behavior those first six months after the rite.

Astarion let those thoughts linger for a moment more, then returned his focus to his cock - not a difficult task, with how aroused he was. He was hard, the tip flushed pink and aching to sink home. A quick swipe with his thumb to spread his precum over the head, and he gently grasped Ban’s hips, guiding himself down, past her ass to her warm, wet entrance. The heat was pleasurable, and he stilled there for a moment, his length lightly pressed along her folds.

“If you’re sure you’re alright,” Ban said, and the playfulness was gone, replaced with mild concern. She didn’t turn around, couldn’t see him, but Astarion’s voice merely seemed pensive rather than anything more worrisome.

“Quite,” Astarion reassured her, rubbing his cock back and forth against her clit. Her slickness let him slide smoothly against her, and they both groaned. Of course he was alright; niggling thoughts aside, she loves him, and that was enough. For now.

He rubbed against her one last time and finally pushed in, parting her folds, cock sinking into her heat without another thought. Home.

Ban felt him thrust into her, his length filling her, that all-too-familiar feeling of being stretched that quickly transitioned into pleasure as he took his rightful place within her core. She braced against the bench as his hips began to roll.

A soft fuck escaped Ban’s lips as Astarion began to move. He chuckled, stilling for a moment. “What was that, love?”

“Do I really need to explain?” she snapped. Long, elegant fingers dug into her hips, their grip tight. He drew himself most of the way out, then suddenly plunged in, hitting her spot hard.

“No,” Astarion drawled, the confidence back in his tone. “It would be pleasant to hear, though.” His thrusting was fast, insistent - pulling out and then slamming back in with enough force that it left Ban breathless and holding on for dear life.

Ban’s vision swam, the green of the grass and the red of the roses blurring together as Astarion fucked her. The sound of his ragged breathing, the feel of those talented fingers digging into her skin, the feeling of his cockhead hitting her spot with every stroke - these were things she’d never tire of, she thought, even if they did this every day for all eternity. She’d been craving him, addicted to him, ever since that night in the clearing - no, even before that. She’d wanted him since the moment he asked for help on that godsdamned beach.

The sound of their lovemaking fills the air; it was a raw, primal thing that was full of need and desire - an attraction so strong there wasn’t room for anything else when they were lost in one another. Astarion chased it, that heady feeling slowly uncoiling from his core outwards, that need to explode and to give her what she deserved, to love her with his body, even as he feared that it may be too late for her to ever fully love him back. Because of him, he reminded himself. Not her.

“Hear what?” she teased, and he smirked at the challenge in her voice. With a slight change in the motion of his hips, he rolled them instead, dragging his cockhead against her favorite spot with every thrust. Ban felt the shift; the increased friction made her clench around him.

The tightness around Astarion’s cock intensified and he groaned, the idea of their little contest almost forgotten, but not fully. He kept the pace relentless, and he let out a pleased laugh as anything else she wanted to say dies in favor of a low, needy keening.

“That,” Astarion said, his pace only increasing. He could feel his climax approaching, the fire beginning to burn low in his belly. Quickly he pulled himself out and in one hungry move he knelt and spread her open to lap greedily at her clit, before plunging his cock back inside her and resuming the same punishing pace.

Ban let out a loud whine; the sound only pushed Astarion closer to the edge. Fingers digging in deeper against her hips, nails sinking into skin, his own hips slamming home even harder, he fucked her, all other thoughts and concerns blissfully gone for the moment.

He snaked a hand between her legs, fingers slipping down her mound to stroke her clit in that rhythm only he knew, making her buck against him. The position wasn’t the best, with Ban bent over and elbows locked straight, Astarion curled over her; but it didn’t matter, not when the only thing that existed was them and the love-born lust burning within them.

Astarion knew he wouldn't last much longer; even now he was skirting the edge, barely holding on. He focused on keeping the rhythm of his fingers consistent, their path unchanging, as his own hips juddered and lost their pace. She was close, he could tell, from the way her voice caught to the way her hips canted backwards against him; wanting more of him inside her, as if he wasn’t already buried from root to tip.

“Fuck, Ast-” was the last thing she managed to say before she came, her body jerking hard and her walls clenching around his cock; his fingers continuing their ministrations as she erupted. The feeling of being squeezed as he thrusted, the way her walls hugged him and the sudden surge of warmth from her did him in, and he felt his cock pulse, finally spilling inside her.

He heard her moan his name and he called out to her in turn, as they both drowned in the ocean of their desire.

When the world finally resumed spinning Astarion opened his eyes. He was still buried inside her, and he gingerly pulled out. He pulled his hand away from her hip, a little sheepish about the marks his fingernails had left on her skin even as they already began to fade, her vampiric nature beginning to heal them immediately.

“I love you,” Ban said, as she straightened up and faced him. She felt weak-kneed and light. “Can we head to our room, Astarion? Bathe, maybe? I mean…” She gestured at their surroundings. “I do feel slightly dirty.”

Astarion laughed. “It didn’t bother you that time in the clearing. Why have scruples about rolling around in the dirt now?”

“Says the man who panicked about his clothes getting wet,” she countered.

Astarion leaned back against the walls of the tub, Ban resting against his chest. She’d been silent, and he hadn’t dared ask why, correctly guessing the cause.

“Astarion… ” she began calmly, carefully. “What was that thing you were in a rush to put away today?”

Shit. He weighed his options and settled for the truth. “Something I got for you,” he offered unhelpfully.

“Is that so? Then why were you so secretive about it?”

“It’s a gift,” Astarion said, a tad stiffly. “A bit of decor for our bedroom. I’m sure you’ll indulge your husband in his little surprises, won’t you?”

He didn’t really know what to say, knowing he was deflecting by talking about the mirror itself and not the information that was truly at the heart of the matter.

She sighed and acquiesced. “Fine. I can wait.” Ban shifted, nuzzling against his chest; he wrapped his arms around her and sighed.

“Good.” He was relieved, and he pressed a kiss on the top of her head. “You’ll find out what it is soon enough, and I’ll tell you everything then.”

A promise, layered in another, lesser one. One he swore to abide by, even if she didn't know he’d made it.

If you would like to see more of these two and their story, consider reading my other entries in the series "If I ascend up into heaven, thou art there: if I make my bed in hell, behold, thou art there." Taglist: @elora-the-slutty-songstress @tragedybunny @spacebarbarianweird @ayselluna @enterthedreams @coltaire @qiific3 @misscrissfemmefatale @vixstarria @eatyourheartoutmylove @linllewellyn @ battisonsgf @micropoe10 @thegoodwitchs-blog @akirahime @velcyrptrr @i-cant-get-into-my-other-account @babblebrain-blog @asterordinary @last-but-not-the-least @artist4theworld @gracemisconduct @decadentcoffeewizard @rootin-tootin-n-kind@pursuitseternal @youngtacobanana @krispeenuggiez @girlygmer-blog @cheezits4lyfe @vinegarjello @the0ldmann @wisteriaofthegraves @girlygamer-blog

101 notes · View notes

whompthatsucker1981 · 8 months

Note

real actual nonhostile question with a preamble: i think a lot of artists consider NN-generated images as an existential threat to their ability to use art as a tool to survive under capitalism, and it's frequently kind of disheartening to think about what this is going to do to artists who rely on commissions / freelance storyboarding / etc. i don't really care whether or not nn-generated images are "true art" because like, that's not really important or worth pursuing as a philosophical question, but i also don't understand how (under capitalism) the rise of it is anything except a bleak portent for the future of artists

thanks for asking! i feel like it's good addressing the idea of the existential threat, the fears and feelings that artists have as to being replaced are real, but personally i am cynical as to the extent that people make it out to be a threat. and also i wanna say my piece in defense of discussions about art and meaning.

the threat of automation, and implementation of technologies that make certain jobs obsolete is not something new at all in labor history and in art labor history. industrial printing, stock photography, art assets, cgi, digital art programs, etc, are all technologies that have cut down on the number of art jobs that weren't something you could cut corners and labor off at one point. so why do neural networks feel like more of a threat? one thing is that they do what the metaphorical "make an image" button that has been used countless times in arguments on digital art programs does, so if the fake button that was made up to win an argument on the validity of digital art exists, then what will become of digital art? so people panic.

but i think that we need to be realistic as to what neural net image generation does. no matter how insanely huge the data pool they pull from is, the medium is, in the simplest terms, limited as to the arrangement of pixels that are statistically likely to be together given certain keywords, and we only recognize the output as symbols because of pattern recognition. a neural net doesn't know about gestalt, visual appeal, continuity, form, composition, etc. there are whole areas of the art industry that ai art serves especially badly, like sequential arts, scientific illustration, drafting, graphic design, etc. and regardless, neural nets are tools. they need human oversight to work, and to deal with the products generated. and because of the medium's limitations and inherent jankiness, it's less work to hire a human professional to just do a full job than to try and wrangle a neural net.

as to the areas of the art industry that are at risk of losing job opportunities to ai like freelance illustration and concept art, they are seen as replaceable to an industry that already overworks, underpays, and treats them as disposable. with or without ai, artists work in precarized conditions without protections of organized labor, even moreso in case of freelancers. the fault is not of ai in itself, but in how it's yielded as a tool by capital to threaten workers. the current entertainment industry strikes are in part because of this, and if the new wga contract says anything, it's that a favorable outcome is possible. pressure capital to let go of the tools and question everyone who proposes increased copyright enforcement as the solution. intellectual property serves capital and not the working artist.

however, automation and ai implementation is not unique to the art industry. service jobs, manufacturing workers and many others are also at risk at losing out jobs to further automation due to capital's interest in maximizing profits at the cost of human lives, but you don't see as much online outrage because they are seen as unskilled and uncreative. the artist is seen as having a prestige position in society, if creativity is what makes us human, the artist symbolizes this belief - so if automation comes for the artist then people feel like all is lost. but art is an industry like any other and artists are not of more intrinsic value than any manual laborer. the prestige position of artist also makes artists act against class interest by cooperating with corporations and promoting ip law (which is a bad thing. take the shitshow of the music industry for example), and artists feel owed upward social mobility for the perceived merits of creativity and artistic genius.

as an artist and a marxist i say we need to exercise thinking about art, meaning and the role of the artist. the average prompt writer churning out big titty thomas kinkade paintings posting on twitter on how human made art will become obsolete doesnt know how to think about art. art isn't about making pretty pictures, but is about communication. the average fanartist underselling their work doesn't know that either. discussions on art and meaning may look circular and frustrating if you come in bad faith, but it's what exercises critical thinking and nuance.

#gonna start tagging shit as #ai art discourse #bc lmao stiff just doesnt stop coming

207 notes · View notes

reimenaashelyee · 5 months

Text

The World in Deeper Inspection UPDATE Read: (Chapter 1: Pages 57 to 68) (COMPLETED)

About the comic

Grimsley confronts the man who set him on this goose chase.

And with that… that’s the end of the 10th Anniversary revamp!! Can’t believe it took me almost a year to get this short project done, but blame my school and day job for that! *drives the nail into the TWIDI IS NOT DEAD sign deeper into the wall*

It was enlightening to reinterpret my first ever completed comic (more complete than the strips and unfinished or one-off shorts I had done prior) – basically the one that started me down the road to a career as a published author. I was happy to see how much my style had improved – not just in the layout, flow and pacing – but in how my characters have become more expressive and energetic, and how comfortable I am with the cartooning. Here is the proof that drawing comics helps you get better at comics!! It only took 10 / 11 years!

Plus, after a long while of drawing with a more reserved, professional approach (see: Seance Tea Party, Alexander Comic), I enjoyed the abandon and whimsy of TWIDI. The lettering is inconsistent all over but that only adds to the handmade whimsical charm of TWIDI, so lol.

Anyway – I have the 10th Anniversary ebook edition up on my Ko-fi and itch.io! This edition carries both the original and revamped versions of Chapter 1. No new cover or illustration for it this time; I think they are perfect as they are.

I have been meaning to make a continuation of the end of TCM that bridges the start of Chapter 1. It’s a long time coming: a story that had somewhat existed since the early days of TWIDI in 2010. Hopefully I will find that stability in my life to return.

Open the cut below to see my notes.

There’s also nothing exciting here, EXCEPT I severely cut down on the number of panels (and the verbiage).

As with the previous spread I cut down and distilled a lot of the verbiage. I shifted the dialogue slightly so that the reveal that Mr. Brown is a Lord comes from Grimsley (in 2013, Mr Brown never admitted he was an aristrocrat until this page) – it made more sense since Grimsley had gotten the info independently from the newspaper article and Andrew, and Mr Brown not mentioning it himself fits with his whole lying thing. For this spread and the next couple of them I am zooming out the panels to include more scenery. The 2013 layouts felt very claustrophobic, with the over-reliance on bust shots of the characters to carry the tension of the conversation.

Some more dialogue trimming and background scenery. I decided to change the setting for the chase sequence to be within the cemetery – just ’cause it makes more sense than if it was done all around Brookham. The panelling for it is a bit more dynamic too – look, Grimsley is parkouring!!

I have no idea why 10 (actually, 11) years ago I had so much trouble conveying and pacing this sequence of Mr Brown being set on fire. That’s the hindsight of experience, I guess??? Anyway I added a few more panels for actual build-up, and the blocking is way better now – there’s more energy (especially Skeleton’s expressions) and clarity (omg we can finally see where and what’s happening to the lamp). The last panel is a new addition to better connect with the next spread. Also… I am excited to see how much further I can draw Mr. Brown’s demise.

Man, the difference some changes in pacing can make. I added some panels with witnesses to the fire, just to emphasise why Grimsley and Skeleton have got to run. It’s crazy enough if a Brookie has got to witness immolation in the middle of the Night, but two paranatural spookies??? Also human fat has such a colour hdsjkfhsdkf the things that come out of an immolated body are so eerie….

The 2013 spread is almost perfect. 18 Year Old Me got it.

#the world in deeper inspection #art #comics #webcomics

83 notes · View notes

garden-if · 1 month

Text

After spending a childhood in isolation, Mikhail has finally been able to find freedom in academia. Pursuing the passion of their only solace; the forever gentle sound of song. Though, Mikhail has lived a life of naivety. A life shielded by the harsh faith of their church and family. Now Mikhail will discover the dark underbelly of the city of Vilyuchka — and what it means to be a composer in a city where crime and music are one in the same.

Demo: July 2024

The Garden Sanctuary is an 18+ horror, lesbian romance, and erotica interactive fiction. It takes place in a world built in Gaslamp Fantasy, with Art-Deco and 1920s influences. It is planned to be a browser-based visual novel style experience, with multiple illustrations and CGs placed throughout.

(Character bios and additional info can be found under the cut.)

CONTENT WARNING: The Garden Sanctuary is a HORROR and EROTICA interactive fiction. CWs include gore, violence, body horror, body dysmorphia, gender dysphoria, as well as internal and external transphobia, homophobia/lesbophobia, and ableism. The Garden Sanctuary also portrays critical views of the effects of CSA and incest from a personal perspective. (No on screen depictions, just the aftermaths of such events.)

MC: Mikhail Ilyushin - The Composer - They/Them

Mikhail Ilyushin was raised in one of the many churches of Vilyuchka who follow the single god of Lithos. From birth they were seen as sick, in body and mind alike. Thus they were sheltered from the rest of society in an attempt to protect their frailty from the outside world. During their time in the church they would occupy their dark upbringing with their passion for music. Mikhail had given up on the prospects of freedom. Until one day their overbearing family was contacted by a mysterious sponsor, who was somehow able to convince them to allow Mikhail to attend the University of Saint Yelena in order to pursue becoming a professional composer.

RO: Watcher Uriel - Patron of Pestilence - He/She/They

Watcher Uriel, the cursed angel forced to live on the outskirts of the city. Their very existence brings sickness. Her appearance is gruesome, no matter how hard she tries to mask her true form under a mortal glamor. In spite of the nature of their very existence, they long for only one thing: Love and affection. They are the head of a fanatic cult, obsessed with finding love for their holy angel. Nonetheless Watcher Uriel remains on the ceaseless hunt to find a soulmate. No matter the cost.

RO: Lucia Blackhart - The Violet Songstress - She/Her

Perhaps one of your only hopes of learning what the life of a composer entails. Lucia is not only a prolific melodist herself, she's also an extremely elusive detective. The catch: she only works with criminals in the Vilyuchkan Underbelly. Her allegiances are never set in stone. And while her services are invaluable, you can never fully set your trust in the Violet Songstress. Bonus Route: Because of her good natured relationship with Caim, it is possible to pursue a polyamorous route between the two of them.

RO: Caim - The Wonderland Ensemble, one of the Five Kings of the Vilyuchkan Underbelly - They/Them

Caim is a demonic being who surfaced in Vilyuchka many decades ago. Since then they have founded the Wonderland Ensemble, a ruthless crime syndicate known for its equal worship of pleasure and pain. Caim is an absolutely ruthless criminal, earning them the title of one of the Five Kings; a designation for the most dangerous and esteemed crime bosses in the Vilyuchkan Underbelly. Bonus Route: Because Caim is great friends with Lucia Blackhart, it is possible to pursue a polyamorous route between both of them.

RO: Headmaster Stelliana - Beholder of the Moon - She/Her

Headmaster Stelliana is the only companion you will meet on your journey that has the privilege of participating in regular society. She's a highly respected scholar, and lead of the academic group known as the Beholders of the Moon. Though she just poses as an intellectual elite, she holds a dark secret. Her and her fellow Beholders are apart of a cult seeking to resurrect the Old Gods. Only she and her fellow scholars know what this entails, and what fate this may bring about.

RO: ████████████ ████████████ ██████ ███ █████████

Something about this presence seems familiar. Yet foreign. I can feel my heart pounding against my ribcage. Is it fear, or is it fiery yearning that I feel? Nonetheless something inside of me burns. Threatening to sear through my sternum and breach the skin along my breast. Until we meet again.

#the garden sanctuary #the garden sanctuary if #interactive fiction #if #interact if #horror interactive fiction #dating sim #visual novel #lesbian interactive fiction #sapphic interactive fiction #uhh maybe ill make more tags later i cant rember what to tag this shit #interact-if #twine #twine game

44 notes · View notes

howtofightwrite · 2 years

Note

This is probably not the right blog to ask, but I'm not sure where else: is there a way to write a convincing hitman? Any obvious do's or don't's?

Well, first off it's important to remember that most of the assassins you're familiar with from pop culture are pure fantasy. There's no real world analog for characters like John Wick, Leon (The Professional), Vincent (Collateral), or 47. They belong to a theoretical tier of professional assassins that (probably) don't exist.

I'm going off a 2014 article from The Howard Journal of Crime and Justice, but unfortunately, it's been pay walled sometime in the last 8 years, so this is going to be mostly from memory. The authors classify assassins into four groups: Novices, Dilettantes, Journeymen, and Masters.

Novices are the amateur assassins and hitmen. These aren't really killers for hire, so much as just people who like the idea of getting paid for killing someone. When novice hitmen have ties to local criminal enterprises, it's really easy for police to identify them, because they generally don't travel to commit their crimes. Everyone in the (criminal) community, usually has a pretty good idea who the killer was, and no real interest in protecting them.

Novices who manage to pull off a couple contracts without getting caught graduate into Dilettantes. Again, not a lot to say here, these guys come from a mix of backgrounds. They're not really professionals, but they do commit the occasional killing for pay.

Journeymen are professionals. They may be ex-military, or they may simply be career criminals. As with Novices and Dilettantes, they're likely to stay close to home, which, in turn, makes them relatively easy to identify during criminal investigations. When you're looking at organized crime hitmen, they're likely to fall into one of these three categories. Street level soldiers who get tapped to carry out a killing are usually novices or dilettantes, a criminal enterprise might have some journeymen further up in the organization, at their disposal.

Masters might not exist. These guys have military, intelligence, or specialized backgrounds, they travel some distance to kill their targets, and then they disappear and head home. Here's the problem. All realistic investigation of professional assassins is based examining the failures (something, mentioned in the referenced article.) This means, if someone doesn't screw up, avoids detection, and escapes capture, we don't know anything about them. We only know about the assassins that are stopped or caught. So, let's look at those four fictional characters for a moment.

Wick is a pure fantasy character. He exists in a world with a massive conspiracy concealing a secret society of assassins, that are so well entrenched they mint their own currency. Keanu Reeves is worth watching (in the first film) for his movements, dude moves like someone with a serious combat background. The actual assassin component of the story is just thin connective tissue to tie one fight scene to the next. It's visual art and absolutely worth watching, but not because the writing makes sense.

Leon (Jean Reno, The Professional), is in the range of a journeyman. He operates exclusively in New York, and while it's not (completely) clear how he came to become a hitman, he illustrates some of the problems associated with staying in a specific geographic area. At the same time, not a terribly realistic character, and the idea that the more advanced you, the closer you get to your target is just goofy. It makes for some excellent film, but, if your job is to kill someone, you're not getting paid more to garrote them, than to put a round of .308 through their skull from two blocks away. In fact, you're probably getting paid much less, because your odds of getting out after things go sideways are almost nil.

Vincent (Tom Cruise, Collateral) is probably the most realistic prototype for a master on this list. Through the course of the film, we never get a lot of information about his background, but what little we know is that he travels. His preferred MO is to set someone up as a fall guy for his killings. He arrives in a city, receives his weapons, and intel on his targets, runs them down, and then gets out of town. He has some kind of military, possibly special forces, background. Given he's creating a reasonable cover for his activities, and given that he's getting in and out very quickly, it's plausible someone like that could exist. The most unrealistic element is just that he could carry out so many high profile killings in a single night, multiple times.

47 (David Bateson, also Timothy Olyphant and Rupert Friend, Hitman... all of them), is a bit of a nightmare scenario, but he illustrates something very interesting that has some theoretical realism to it. Now, for those who are unaware, 47 (sometimes Agent 47, or Codename 47), is the player character of the Hitman game series. (Olyphant and Friend played him in the film adaptations.) You can play the character as a complete psychopath, gunning down everyone in your path. There's not much realism in that approach. Beginning with the second game, the series started integrating a scoring system which prioritized killing as efficiently or creatively as possible. Now, creative kills were in the first game, but the only incentive was that they were often far easier than running and gunning. In it's current incarnation, the series has a strong emphasis on finding ways to eliminate targets in ways that appear accidental.

So, we have an assassin who specializes in getting in and out undetected, killing their targets in ways that appear accidental, and travels all over the world. Do you have any how hard it would be to prove someone like that existed?

Now, before I go on, I should point out, there's an inherent absurdity to the games. 47 is a 6'2” tall bald white dude with a bar code on his neck, and no one ever notices when suddenly the sushi chef gains six inches, loses his hair, changes ethnicity and happens to be the last person to be seen near the target who suddenly died of fugu poisoning. It's a running joke in the series that 47 can flawlessly blend into any crowd so long as he's wearing the right outfit.

At the same time, the hilarious thing about that joke is, it's real. When Tom Cruise was preparing to play Vincent in Collateral, something he did as personal prep was to disguise himself in a UPS uniform, and deliver packages in public. This included getting into an extended conversation with someone, without being recognized. This was in 2004, in Los Angeles, he was already a household name at this point. So, while Hitman turns the costumes swaps into a joke, there's a disturbing level of reality to that mechanic, if you look like you belong, people tend to assume you belong.

The original Hitman did have an interesting touch that the later games moved away from: You had to repurchase the weapons you wanted to take with you on each mission. So, there were no forensic ties between his guns from one killing and the next. There's a slight irony because the 1911s 47 carries are a semi-rare variant (AMT Hardballers, usually called Silverballers in game), so he's regularly discarding some fairly expensive, high-end, handguns. At the same time, he's getting paid enough to cover that, though, maybe, a slightly more common 1911 variant would probably be less conspicuous.

So, yeah, master assassins probably don't exist in the real world, and most of the assassins we know about tend to stay close to home, but if an assassin does travel, it would make identifying them significantly harder. Also, be instantly suspicious if your gardener suddenly turns into a 6'2” bald, white dude with a bar code on the back of his neck.

-Starke

This blog is supported through Patreon. Patrons get early access to new posts, and direct access to us through Discord. If you’d like to support us, please consider becoming a Patron.

#Starke answers #writing advice #writing reference #writing tips #writing assassins

1K notes · View notes