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lemon-wedges · 1 year

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Just wanted to ask (and feel free to not answer), but how do you draw so much so quickly? I'm always impressed by how fast you doodle or paint. Also, wanted to say that I appreciate your Barok and DGS art as a whole.

and with this ask i have finally reached an artist milestone 😭

Well theres a short answer and a REALLY long answer (which ill put under cut when i get there).

short answer: practice + refs

which.....can be an annoying thing to hear. And as someone who studies art and has bought a LOT of online courses trying to figure out how industry people can just churn out work like nothing. it feels like a let down every time i find out their big secret. just practice and photo refs. Every. Single. Time.

LONG ANSWER:

its how you studying your refs. heres how i do mine

sorry if this is rambly. but ill try my best to at least be clear. BUT THIS is the EXACT way i taught myself how to be quicker.

I do not know if youve taken any art classes but essentially one of the ways to study gesture drawing is by first tracing ur photo ref to get a sense of the flow/proportions of the body. youve probably seen a billion of these tutorials floating around:

So last year around hmmmm june/july? i was NOT looking to get better at my anatomy or gesture. i was actually trying to get better at clothes. but my problem was it took me so long to draw out a figure (which i was fine with cause i liked how my people looked at the time) that i could never really just focus clothing part.

So i told myself look. ur not looking to draw in this style like this forever. so for now SIMPLIFY SIMPLIFY SIMPLIFY!!!! I WANT THE BAREBONES OF A HUMAN HERE TO MAKE A MANIQUIEN FOR CLOTHES OK

but how do i do that....

Im gonna use this piece as an example from my rise and yosuke fashion palooza month. FIRST u see i got all my photo refs together. i like those poses on the right and i want to switch out the clothes for the other ones i picked out. i trace out my poses. kind of like the tutorial up top but since this is about draping i was focused the exact places their waist/arms/legs/etc would bend.

and like the tutorial u turn off the photo ref and do a drawing based off that traced piece.

then i would turn on my refs and add on my clothes

And after a month of just doing that over and over and over. i was surprised to find that figures and poses were so much easier to understand when i would break them down like this. and once u get familiar with them the faster and more confidently you'll draw them.

I and still do this btw. heres my otasune from the last week

i used photo refs for all my sketches. if i cant find anything online to match what i want i just take photos of myself. and some might say well arent u just relying on reference TOO much?

AND AGAIN take it from someone who has spend a lot of money buying classes from their fav artists in the industry. The Secret of how they churn out so much cool work so fast always turns out to be this. practice and photo refs.

Every. Single. Time.(tho this is omitting a lot. im not getting into like they way they stylize their art work. that actually the fastest and funnest thing to do once u have ur base down)

Now PAINTING

The thing is, i dont actually post up all my work on this blog. So theres a ton of stuff you havent seen me do. These are some paintings i did 2 years ago for a class.

I already know how to pick my values and set up lighting. When you see me painting my figures now. i am not focused on learning these basics im actually just honing a technique.

you might see me post readmores with these kinds of wips. I lay in all my colors and lighting with the lasso tool. ALL THE MAJOR DECSIONS ARE DONE HERE

(the little miniature i add on the side basically tells me what the overall feeling is going to be when i blend in the lineart to be cohesive with my colors) ( also if you had any questions on my prepainting process tho. feel free to ask!!!)

and if you compare this wip to my finished piece youll actually find that i dont stray that far from what i've laid in.

everything happening at THIS stage is about feeling out how i want the textures to blend with one another and getting funky with some brush strokes.

and thats it? im not sure if any of this is helpful but if anything. i hope you come away from this feeling like what ive been doing here is nothing special. "THATS IT???? THATS ALL THERE IS??? well i could have done that :T"

exactly man. you can do ALL OF THIS aND MORE!!! I BELIEVE IN U :D

but ill let this be the last thing i leave u with my friend: my barok sketch and the refs i used for his boobies

#asks #ITS A LONG BOI #art advice #?

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indignantlemur · 1 month

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Hi! I saw all your headcanon stuff on Andorians and since I have a mass of files around the Aenar, I wondered if you knew anything about Andorii? Is there a conlang out there already that you know of? I made one after lazily looking at the barebones wiki- but it is based on the Aenar Conlang I made :)) if you'd like the notes? if Andorii already exists please lmk! Also, love the headcanon ideas- they're amazing!!

Hello! I've been enjoying reading through some of your Aenar headcanons and lore!

With the bare bones of what's available in canon, and even the dubious canon, we know that Andorii consists of extended vowels and a mix of hard and soft consonants. Double vowels - aa, ii, ee, oo - are often either followed or preceded by hard consonants, though rarely both. I've also noted that, rather like Norwegian, they have emphasis on the first and third syllables more often than not, but they occasionally switch that up. The Andorian opera featured in Discovery, for example, while not actually meant to have proper words or a translation, follows these rule at least somewhat, but seems to change where the emphasis on syllables lies. I've been implementing bits and pieces of all of this into Emigre and my headcanons.

The closest I've been able to find to an actual conlang is from a defunct site which records an a priori conlang constructed by Spence Hill back in the 1990s. For the most part, I've spent as much time referencing that as I have inventing words and terminology myself, and I've been keeping the conjugations and tenses very simple for ease of use. I don't rely entirely on Mr. Hill's work, and I draw from multiple sources, but I will say his is the backbone of my own work.

Here's the Grammatical sketch of the Andorian language by Spence Hill and the dictionary he created for your own uses, if you like. The dictionary is not as extensive and comprehensive as I would like, personally, but it gives a solid foundation for creating compound words as needed and the overview of grammar is quite comprehensive. He also has a written script, thought it does not particularly resemble canon Andorii as seen in ENT, or depictions of Graalen found in some of the RPG sourcebooks. I also have a list of words and terms I've created, but some of them are a wee bit spoilery for Emigre.

At some point, I would like to sit down and actually make a dedicated conlang of my own for Andorians, but I'm not fully confident in my ability to do so properly without further education and research.

I'd love to chat sometime about our headcanons, if you ever feel like it! <3

#star trek #emigre by indignantlemur #andorian #andorians #Andorii #Andorian conlang #star trek languages #Andorian language #Graalen

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khazadspoon · 4 months

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mmyeshello prompt: "Blondie has a kitten in his hat" type scene but with Manco and Mortimer

Sorry it took so long! I had forgotten I had an ask and got caught up 😔 here’s a little cute thing

——

If Colonel Douglas Mortimer is anything, it is a man who knows what to expect in life. Few things surprise him after fifty years of hunting bounties, of taking and sparing lives, of surviving on his wits and skills.

And yet, when he hears the soft mewling and low rumble of a purr from Manco’s poncho, he finds himself surprised. He blinks, lowers his pipe, and leans forward to take a peek.

Sure enough there is a small, content looking kitten curled up in Manco’s lap. It kneads happily at the coarse fabric of the poncho as it purrs, its eyes half closed in a display of pleasure and trust.

“Where’d you find that?” He asks, more perplexed than he wants to admit.

Manco smiles. The expression deepens the lines around his eyes, makes him look younger and less cynical about the world. It’s a good look. Mortimer won’t admit to that, either. “He was under the porch of the hotel, came right out and curled around my foot. Couldn’t resist the little fella.” There is a hint of something nostalgic in his voice that intrigues Mortimer, but he doesn’t know how to ask about it.

Nothing about Manco is clear, he doesn’t talk about his past anymore than Mortimer does, maybe even less. He doesn’t even know the boy’s real name.

Manco smiles again. He fusses the kitten, ruffling its dark fur with long fingers. “Reminds me of the time I found one down in some bombed out town during the war. Scrawny thing, but scrappy.”

Mortimer lights his pipe and watches his companion curiously. “You weren’t a soldier,” he says.

Manco huffs, glances up at him as he scratches lightly at the kitten’s fur. “How’d you know?”

“No discipline, too headstrong. No… you’re not a military man. What did you do in the war?”

Manco’s smile falls away as he looks down at his lap. He chews his lip and shrugs. “Something like what I do now, I guess, but with fewer… rules. I had a partnership at one point, nothing like ours. It- it was untied a couple of times. Kinda messily. I got a few regrets from that time.”

“I see.”

He doesn’t, not entirely, but the barebones of the sketch is there. He can see it in how Manco is holding himself; turned inward and thinking of times gone by. Two people tied together, tighter than men like they are should be, chafing against the closeness but needing it nonetheless. Not entirely unlike how he feels about Manco, if he is honest with himself.

The kitten mewls and the smile drifts back onto Manco’s lips. “I might tell you the whole story one day, Old Man, when we’ve finished here.”

Mortimer reaches out and strokes the kitten’s soft fur, feels the rumble as it purrs. He wonders if Manco’s hair is just as soft. Maybe it is coarse from too much sun and wind. Maybe Manco would purr, too. “I’ll hold you to that.”

#for a few dollars more #colonel douglas mortimer #manco #tmwnn #the dollars trilogy #mantimer #mancomer

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kogarashi-art · 13 days

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It's the last previews for Falling Into Darkness!

Important note before I go into some details on the pictures: I will, in general, not be doing this for other fanfics I post. The main reason I did this series of illustrations was as something of a treat for finally crossposting this 10-20-year-old story to my AO3 account. I don't really plan to draw a ton of illustrations for other fics I do.

That being said, I may do occasional images that will be posted with future stories on AO3 (I have a quick one for the first chapter of the next fic I plan on posting, for one), and if I do other fanart, related to a fic or not, I still plan to post art here.

But I'm glad for all the kind comments and everyone enjoying this series of illustrations with me. :D You guys are awesome.

With that, description-stuff (including more behind-the-scenes than usual) below the cut. 'Tis long; be forewarned.

First up, arguably the easiest illustration to do in the whole set. It's a silhouette, so the foreground wasn't really an issue (other than trying to get the edge glow just right, and I still don't think I quite managed but I'm definitely telling myself not to mess with it any further). The background was already painted for the second illustration in the whole set:

I just fixed up the paths and the treetops and added a little lookout stand to the building on the right, now that Sonic and Sally weren't blocking those spots. After all, it's supposed to be the same view anyway, so I figured I'd make it easy on myself and not have to completely repaint the scene.

The second image employs some little cheats here and there. Here's the original sketch from my sketchbook for comparison:

Very loose, lacking detail. Straight lines are more like suggestions. The robots are spiky blobs. I have a literal note next to a stick figure and a hollow shape telling me to get some references. There's the barest hint of the alcoves the robots are standing in.

I didn't show this level of behind-the-scenes off with other illustrations in this series (though I suppose if anyone's ever interested, I could do a process post about how I worked on these), but one of the first things I did with this series of illustrations was sift through the roughly fifty individual sketches I'd drawn to illustrate various parts of the story (not counting redraws of portions), ranging from vague shapes to much more detailed drawings, to narrow it down to the ones I was actually going to finish for this project. I ended up with 27 total images, including the two I'm previewing today, focusing on having at least one but no more than three images per chapter.

Once I'd determined which sketches, like the above, were going to become a finished piece, I then went through each and every one of them in Photoshop with a sketch pencil brush and filled out the sketches to a point where I could reliably ink them. That meant things like swapping out figures that didn't work with redraws of them or making size adjustments, like so:

The first image is the second illustration, and you can see I redid Sonic because his initial pose didn't work. The redraw was actually a pose of him I did to draw his post-Mobianization robotic elements from the end of the story, but the stance was actually good for what I needed, so I Photoshopped it in and then sketched the rest of the replacement drawing digitally. The second image is Sally watching Knuckles walk away, and you can see that I changed her left arm, and also reproportioned her body prior to inking (bigger head, smaller body).

And for pieces like the final one in this illustration series, I sketched in all the details that were missing from the initial sketch (which, as I said, was pretty barebones; in my defense, it was the last one I drew, and by that point I was pretty tired of drawing robot hedgehogs so Sonic was something of a stick figure in most of the last chapters' sketches).

And here's where one of the cheats comes into play. I drew one robot hedgehog. Specifically the one you see the most of, near the tip of Robotnik's cape by the drafting table. I drew it on its own layer in Potoshop, then copied and pasted it into all of the other holding bays, erasing parts that wouldn't be visible as I went along. I also went and found those references I needed for Robotnik and Snively and drew the two of them properly.

And then, because I much prefer physical pen-to-paper inking over digital (my tablet is not one of the fancy screen ones, and I've yet to really get comfortable digitally inking with it, despite owning it for nigh on twenty years), I colored all of the sketches red, assembled them in groups on letter-sized images, and printed them out onto cardstock (my preferred medium when I'm going to be traditionally inking). I inked them with my various inking pens (some Sakura Microns, some Faber-Castell PITT pens), scanned each sheet back into my computer, and cleaned up the lines in Photoshop (the reason for the red printout was to make it a bit smoother removing the sketch from the inked lines, though it wasn't as clean as I would've liked; oh well).

That left us with the above. Because I inked them each by hand individually, the robots don't look copy-pasted, because it was the underlying sketch that had been, not the ink work. The tables and holding bays also have straighter lines thanks to using a proper ruler for those (though I didn't concern myself too much with things like perspective and right angles), and after drawing the straight line, I went back freehand over spots to give them a bit of that hand-inked wobble.

From there it was a matter of laying down the flats in Photoshop, then shading, adding effects, etc. I like the cold yellow light I've got on the robots, and the overall shading on the yellow cape. Also that sense of satisfaction when I called this one done, because it was the last one. Huzzah.

I'll see you on Monday for the last chapter!

#drawing #artwork #sth #sonic the hedgehog #sally acorn #doctor robotnik #snively #behind the scenes #LOTS of behind the scenes #like seriously I went on a bit of a ramble #I regret nothing

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whenyoulosesmallmind · 4 months

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I fratelli Karamazov 1969 [EP1] - Ivan & Smerdjakov + at Katja's, the beginning of the three thousand rubles affair

As a farewell to 2023 and to a happy new year, I bring you... some more Karamazovian dramatics!

part one | part two | part three (you are here!)

Some sparse notes before the translated transcripts start under the cut: 1. usual disclaimer that I'm not a professional, just an amateur, and am doing this out of pure insanity -- if you want to discuss translation related things or have some corrections, my inbox is open and your thoughts are welcomed <3; 2. mild trigger warnings for (time appropriate): strongly implied slut shaming and more vague possibly mysoginistic remarks made by Smerdjakov about Grušen’ka -- i feel like Smerdjakov himself is sometimes made to fit into the evil gay "advisor" stereotype and that might not be everyone's cup of tea -- while I don't think these bits take anything away from the writing and actually contribute to paint a more vivid picture of the society and the time the work is set in, we must keep in mind that this is a 1969 adaptation of a 1860s novel and that there are things about it that might squick some nowdays; 3. I'm actually really sorry that this took me so long to finish, I've had the dialogues written down and a rough sketch of the translation sitting around for months and polishing it turned out to be an harder task that what I thought it would be. There's still some sentences I'm not 100% sure about, but done in this case is better than perfect, and it doesn't matter how much I mourn the formal you in english, I gotta learn to work without it; 4. that said, this time I relied in a couple of scene on a lot more stage directions than last time, I felt that some more prominent acting/staging choices, especially in the Ivan & Smerdjakov bit, were important enough to warrant a description -- Katja and Dmitrij's interaction I feel instead it relies on more subtle choices for its effect, that are harder to describe, especially on Katja's side, so left it more barebones to give the dialogue more space (so you should watch it to get the full effect, wink wink nudge nudge); 5. enjoy the insanity <33

Interpreters: Umberto Orsini as Ivan Karamazov, Antonio Salines as Smerdjakov, Neda Naldi as M. Chochlakova, Maria Grazia Antonini as Lisa Chochlakova, Carla Gravina as Katerina Ivanovna and Corrado Pani as Dmitrij Karamazov.

Original script by Diego Fabbri, directed by Sandro Bolchi.

You can follow watch the drama here on YT or here on RaiPlay -- I suggest the latter, it's free and it's the original source, but youtube's still there if you prefer.

[INT. – AT THE KARAMAZOV’S/IVAN’S ROOM] min. 14:19

(Ivan snaps his fingers from behind a screen – Smerdjakov enters: he’s here to help Ivan get dressed)

Smerdjakov: (with a servile tone – to keep in mind for all his dialogues: he never drops it) I’m not allowed to say certain things, as I’m just a servant who should only thank his master’s benevolence, but if I may risk a word it’s only because I’m devoted to you, Ivan Fëdorovič…

Ivan: (with a harsh tone – emphasis on devoted; he keeps up the commanding/angry tone until stated otherwise) I sincerely don’t understand why you should be devoted to me! – As you put it.

Smerdjakov: I like to hear you talk, Ivan Fëdorovič… when you’re arguing, downstairs, with your father–

Ivan: That’s rare!

Smerdjakov: (cont. – must note: as Smerdjakov is helping Ivan button the back of his waistcoat, they are talking in front of a mirror and the last piece of this line is spoken while they’re both looking at their reflection) Well, those times I… I never miss a word. Sometimes I even hide, I must confess, to not lose the flow of the conversation… and I can say that you don’t converse: you reason.

Ivan: Is the frac ready? – Did you iron the frac?!

Smerdjakov: Ironed, Ivan Fëdorovič: I overlooked the ironing myself because I don’t trust that muddler, Marfa, nor that hick Grigorj.

Ivan: (amused/sardonic – he’s putting on the cuntiest little round glasses) What is it – what would you have told me if you were allowed to speak freely?

Smerdjakov: Well, now maybe… I wouldn’t dare…

Ivan: You’re allowed! And don’t make me beg you…(grabs Smerdjakov by his hair and pulls him close) you’re cunning.

Smerdjakov: But maybe you already know, Ivan Fëdorovič–

Ivan: What should I know? (he releases Smerdjakov)

Smerdjakov: Dmitrij’s new sudden infatuation for Agrafena Aleksandrovna… they’re talking about it, in town, because Agrafena Aleksandrovna – Grušen’ka, you understand? – she has her own history, and those who have their own history are on everyone’s lips.

Ivan: It’ll be my brother Dmitrij’s usual whim.

Smerdjakov: Well… It may be something more. Certainly something different.

Ivan: Dmitrij has a fiancée.

Smerdjakov: The noble miss Katerina Ivanovna.

Ivan: (with a softer tone, almost dreamily, clearly he’s thinking about Katja) …and there is not a girl more fine nor fascinating – (back to the harsh tone; note that after this rise he softens a bit) so?!

Smerdjakov: And who might say the contrary… but this Grušen’ka, as those who know her say, looks like she might have other… other requirements. I’ve told you she has a history and, for a man as intelligent as you are, it’s all said.

Ivan: (laughs) The shoes – get the bone shoe horn, the long one.

Smerdjakov: (kneeling to put the shoes on Ivan, who is sitting on the bed) And then there’s more that’s riling Dmitrij up, there’s almost a challenge.

Ivan: The gossiper that you are…

Smerdjakov: (laughs) If it were gossip, I wouldn’t speak, Ivan Fëdorovič, but I can always stop here, if you prefer.

Ivan: And speak, then, say what you want to say.

Smerdjakov: For… this Grušen’ka has, how can I say it – given his age, fallen in love is a kind term, is it? – the master fell for her, too.

Ivan: What master?

Smerdjakov: (Smerdjakov looks up to Ivan) Ours – (he looks at the shoe he’s putting on Ivan) mine. Fëdor Pavlovič, you father, sir. (laughs) He’s fallen madly in love!

Ivan: (as he kicks Smerdjakov away, sending him sprawling on the ground) You’re a reptile!

Smerdjakov: I swear on everything I believe that this is the truth!

Ivan: And since you don’t believe in anything, you perjure!

Smerdjakov: (as he gets up to his feet) I guarantee you, Ivan Fëdorovič – the master confided in me, and I already had to run some tasks for him at that lady’s… I don’t badmouth: I confide in you, if you allow me, of course… Fëdor Pavlovič, despite his age, is gone for her to the point he even wishes to marry her – (reaching for Ivan) to this, we’ve come!

Ivan: (he gets up, puts distance between him and Smerdjakov again) Do the two know?

Smerdjakov: The two? – you mean, the father and the son? (as he gets Ivan’s frac and helps him wear it) I believe so, and this is, I think, the true reason for the hatred: no more the heritage. And it’s not yet said that the older one won’t have it his way, Dmitrij’s impetus notwithstanding – and I find him a handsome young man, a young man who should be liked, on the contrary: who is liked, undoubtedly; but this time, in this challenge, eh!, who knows? Because it looks like this Grušen’ka lights, how can I say, lights the amorous fantasy in more mature… elderly men; it’s one of her particularities, they say.

Ivan: (angry) Stop it! – (then, distraught) I have no more need for you, I’m ready.

Smerdjakov: The coat is downstairs, in the wardrobe. I’m sorry I upset you, Ivan Fëdorovič.

Ivan: (still distraught, upset) I’m only thinking about poor Katerina Ivanovna; ignorant, I suppose… (he scratches at the door frame with his fingernails) that upsets me.

[INT. – AT KATERINA IVANOVNA’S/BALLROOM] min. 19:52

(the scene opens with the camera following a waiter carrying a teacups tray through a moderately crowded ballroom; he stops by M. Chochlakova and Lisa)

Waiter: Please, madame.

M. Chochlakova: (takes one of the offered teacups) Thank you.

Waiter: Some tea, miss?

(Lisa shakes her head; the camera returns to following the movement of the waiter amongst Katja’s guests, until he passes by Katerina herself and Ivan and focuses on them – note: Ivan isn’t wearing his cunty glasses anymore, but he’s cuntily holding a cigarette)

Ivan: Yes, I am… I am worried for Dmitrij, the argument with my father over that damned heritage is exasperating him: he withdraws, he hides; we can’t find him for days and days. Do you see him?

Katja: I was hoping to have him with us today, I had a note delivered to his domicile but… who knows if he’ll show up. However, you don’t have to worry so, Ivan Fëdorovič: I know Dmitrij, I know what is troubling him at this moment. We need to let his agitation placate naturally. Why did he target his father so intensely – because now he needs money and he doesn’t have any, and he’s so proud he won’t borrow from anyone: and so he gets exasperated.

Ivan: So you think, Katerina Ivanovna, that money might pacify him.

Katja: No, it’s not the money that gives him peace. Dmitrij is the most generous man I have ever known, money obsesses him only because it lets him act fully free.

Ivan: (smiles) Mh, I admire your intelligence and your… extraordinary lucidity; I did not think that a woman in love could see with such clarity the man she loves.

Katja: I believe it is love that makes me see so clearly, for Mitja’s sake. I know the situation I find myself in.

Ivan: Do you know about… the news, too?

Katja: I know the news, too. (she spots Dmitrij, who just entered) There he is! (she turns back to Ivan, their faces are very close) He came.

(the camera cuts to Dmitrij, standing very still; at Katja’s aunt’s call he comes towards her and kisses her hand)

Katja’s aunt: Dmitrij Fëdorovič, don’t pretend to be a statue, come closer!

Lisa: I hoped you would bring along your brother Alëša…

Dmitrij: Don’t you know he walks a different path than us? And he’s serious about it, my little brother – he’s not like us, he doesn’t mistake the devil for holy water (he spots Ivan and Katja sitting together) Anyway, I see another member of the Karamazov family already preceded me, and is already here.

(to Katja’s aunt) You really want us all, eh?

Katja’s aunt: We would really like to have you all – because you’re pleasant, you Karamazovs.

Katja: (she stands up and walks towards her aunt) Aunt, I’ll let you have him all for yourself later, but may I speak to him for a moment first?

Katja’s aunt: Youths and feelings’ rights, I’ve always respected.

Katja: Dmitrij Fëdorovič, if you’ll follow me. (she exits with Dmitrij following)

(the scene cuts off with a shot of Ivan pensively about to take a drag of his cigarette, he seems to be following Katja and Dmitrij with his gaze)

[INT. – AT KATERINA IVANOVNA’S/KATJA’S ROOM] min. 23:07

Katja: Come, Mitja, come.

Dmitrij: Will it be a long talk? Maybe an explanation?

Katja: (rummaging through a vanity) No. No, I just have a favour to ask you Mitja; you should send this parcel to Moscow for me, to my sister Agaf’ja Ivanovna. It’s not urgent but… you really must be the one doing it, Mitja, because no-one in the house should know.

Dmitrij: Would it be a secret, then?

Katja: There are three thousand rubles inside, my sister needs them, or her husband does, I didn’t understand very well. In any case, I’m sending them personally; there (she hands him the parcel) I told you you can do it at your leisure, then you’ll give me the receipt, but… it has to remain between us, understood?

Dmitrij: I’ll do it right now, I’ll bring you the receipt immediately – (he makes for a side door) can I leave from here? I’d rather not pass through the ballroom.

Katja: But why, Mitja, what are they going to say about this sudden escape?

Dmitrij: They’ll say… they’ll say you asked me to tend to an urgent and delicate matter. Isn’t it the truth, Katja? And then, you won’t be alone: someone from the family will keep you in good company – actually, I’m wondering, why didn’t you ask Ivan for this favour? He would’ve been happy to make himself useful.

Katja: What you’re saying isn’t worthy of you, Mitja. Maybe you don’t even really think it, but… you want to hurt me, I feel it.Dmitrij: Is there anything I’m not worthy of? What is it that’s not worthy of me? Come on, Katja, you know very well how low I can go. I’ll do what you asked me to, and without anyone knowing. (he leaves)

#the brothers karamazov #i fratelli karamazov #mitya karamazov #dmitri karamazov #ivan karamazov #katerina ivanovna verkhovtseva #pavel smerdyakov #sam.exe

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