Had To Doll Up The Gang As DC Characters For Spooky Season! Believe It Or Not, The Rainbow Was An Unintentional

if it sucks hit da bricks <- litany against sunk cost

take it easy but take it <- litany against burnout/apathy cycle

fuck it we ball <- litany against perfectionism

now say something beautiful and true <- litany against irony poisoning

really helpful technique ^ once you know how to divide by halves and thirds it makes drawing evenly spaced things in perspective waaay easier:

My new favourite archery image!

This painting is located in the Church of the Nativity in Prague, and is dated to 1663. It is also the basis of at least 3 D&D character concepts that are stuck in my head now.

If you want more info, art references, and tutorials, check my Patreon!

this poem is about being nonbinary.

A bit of a strange question, but if there were any of your videos you were to "remake" today for any reason (ex: you feel like you misrepresented the original text or spread misinformation), which would it be and why? None of them is a perfectly valid answer

Again: bit of a strange question, but I've been thinking about my own creations and how I could have done so much better with some of them, but I also know that is a sign of my growth and constantly chasing "what if I did this instead" isn't always healthy for nurturing a creative mindset, and I was wondering what your opinion might be as a Creator of Things with a bit more experience than I

There's been a few trope talks where I've thought later of other angles I could've explored that might warrant sequels or part 2s, but I don't dislike any of the summaries enough to justify a rework.

I always find "I could've done this better if I made it now" to be a bit of a fallacy. I'm only better at making things now because I made all those earlier things. If I knew everything I'd learn from making a project before I started the project, it wouldn't come out the same.

I think when it comes to the "rework remake perfect" instinct, it helps to zero in on what the impulse is really grounded in. In my experience, more often than not, it's not actually about making the art better, except incidentally. It's usually about showing that you are better. It's demonstrating your competence and your higher standards and your skills, and more importantly it's overwriting the proof that you were once less than perfect. If people look at your old work and think that's all you're capable of, they'll be judging you poorly!

If that's the motivator, it's a very unhelpful one. You can't control for being harshly or incorrectly judged. It's a fruitless effort to stave off potentially upsetting outdated criticism, and it's not even going to work. Fear of critique is an unreliable and untrustworthy motivator.

If it really is about making the art itself better, perfecting your magnum opus with your newly leveled-up skills, that's a little more solid. But from where I'm standing, it's always better to use those skills to make something new instead of polishing something old. The older, unpolished work has already acquired its audience that finds it appealing for reasons that might never occur to you. Trying to bury or overwrite it just deprives that audience of the thing they like, and maybe makes them feel bad for having liked it in the first place. Also, usually when you look back on the older work, you'll conclude that the problem is everything and it'll need to be torn down and started from scratch. I know when I revisited the first three chapters of the comic, when I let my critic brain spin up, it wasn't shading or lineart I wanted to fix - it was panel composition, overall pacing, the entire structure of the chapters as a whole. I would've had to make them all over again to be happy with them, and they wouldn't be the same story by the end.

I've been thinking a lot about the Discworld through this lens lately. It ended up over 40 books long, but everyone agrees that the first two are not what you should start with, because they're the worst ones. They're entirely parodic, purely referential of at-the-time major fantasy series, and borderline mean-spirited in places. If you haven't read Fafhrd and the Gray Mouser and Dragonriders of Pern, you're not gonna understand like a full 50% of The Colour Of Magic.

It's clear that when he started in on them, Pratchett was entirely focused on taking the piss out of a genre he found mostly shallow and unimpressive. But the Discworld wouldn't leave his head, and everything he made fun of he clearly eventually found himself overthinking. He'd make little one-off jokes in the early books about Dwarves having no women and a hundred words for gold, and then twenty books later he'd have a Dwarf gender revolution make waves across the Disc, and then he'd write Thud!, a book that delves deeper into the nuances of Dwarf societal structure than Tolkien ever did.

If you look for them, there are continuity errors everywhere in Discworld. In his introductory book, Carrot defused a dwarf bar full of rowdy brawlers by guilting them all into writing to their poor lonely mothers back home. Shortly thereafter, Carrot will be outraged at the mere concept of an openly female dwarf. Pratchett even eventually wrote Thief of Time, a book that loosely explains that the Disc makes no sense because history has been broken and put back together incorrectly twice, and therefore any continuity errors are because of that.

He's the writer. He could've gone back and fixed it, edited the reprints to be less disruptively discontinuous with the later books. Instead he continuously moved forward and allowed the world he made to grow without cutting it off from its roots. And because he didn't bury his older, far worse work, we have the privilege of following the Disc's evolution from the very start, and seeing how this shallow, stock fantasy world parody became something incredibly rich and complex without ever pretending like its early installments never happened.

Anyway, that's why I think it's better to move forward. You make more good stuff that way.

Only you

Artwork by Nataliya Mashinskaya

“May you have a life of safety and peace”, said the witch, cursing the bloodthirsty warrior.

Recently with Arcane ending and the backlash/critics the second season received I've come to feel like it's even harder to start writing and creating art (as in, "if even people on that level aren't perfect, what chance do I have of making something truly good?"). How do you deal with this feeling, to start creating, knowing all the mistakes you're gonna have to make?

Well that's an interesting question. I think Arcane is actually a really good example for this. Because as far as I can tell, everything Arcane did with its story was, from the creators' perspective, a success.

I didn't see any glaring mistakes in Arcane season 2. I just saw a lot of decisions that served the themes they wanted to explore - love being unbreakable even when the participants have hurt each other unfathomably, sisters and sister cities falling naturally back into care and alliance when faced with an outside threat, the blinding allure of vengeance and rage and how it's a trap that must be actively escaped.

I think it's always important to meet a story where it's at. "I wanted the story to be a different story" is never a useful criticism. A storyteller needs to tell the story they think should be told. I think Arcane is throwing some people because season 1 in isolation looked like it could have been setting up some different threads - I was expecting them to more thoroughly explore the class divide in Piltover and Zaun and how they could navigate mending their relationship after so many atrocities and injustices inflicted on Zaun, but instead they used the sister cities as a mirror for Vi and Powder, and Vi and Powder are two people who love each other and have hurt each other and despite that will never stop being sisters, so that gets reflected back into Piltover and Zaun. I don't think that's a perfect analogy, but I do think it's the analogy they were going for.

A story cannot be every story. They picked the story they wanted to tell and executed it in the time they had, and I think they did good. That's a lesson we can all internalize as artists; my art, once created, cannot contain every possibility it held before it existed. And even if I fulfil my vision as closely as possible, some people are going to wish I'd done something else. And if those people have such a strong vision of the story they wish I'd told instead, it sounds like they should probably tell that story, since it's already taken shape in their mind. "I wish this story had scrapped its plans and themes and explored this OTHER idea" isn't useful as a criticism, but it is a very powerful artistic motivator.

Today's Detail Diatribe was, as always, awesome and I loved it. More rambling about Castlevania and it's themes is always welcome. Now onto the important questions, can we get the Golden Trio on the dash? Their dancing antics were a constant delight.

can do