I Finally Managed To Draw More Aurora Fan Art :)

The Void Dragon (oh, and that Erin guy too)

Erin and Voidy from @comicaurora

I love these two and their dynamic so much.

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

I like the magic mad scientist and his big mad scientist goggles.

Also here's a not-animated version

Magnus the Red using powerful sorcery to scare Leman and his Space Wolves.

Quick meme before I leave for a few days.

Following off of, but moving away slightly from all the Fate talk: If you were to write a ‘King Arthur but female’ story, how would you go about it? What would you look for in such a story?

I can think of a couple ways I'd do it!

First, the easy part. Sword in the anvil/stone, whosoever draws it forth is the rightful king of England. Well shit, that little peasant girl just pulled it out like it was nothing. Hail to the king, any objections can be directed to The Indomitable Soul Of Albion Herself.

Or, if ancient England accepting a lady king is too much of a stretch, Merlin has a habit of helping people out with magical disguises. If necessary - and if it would be fun from a story standpoint - our peasant girl of Secret Noble Heritage could get a magical disguise that lets her appear male. Could even go full fairy tale and do something like having her appear as her true self at night, and King Arthur during the day. If we really wanted to blend it, we could let her female identity be Morgan le Fay, Merlin's student with an affinity for dark times. However, doing that would spoil the potential gay drama of letting Morgan be a powerful villainess who learns Arthur's true identity early on, and that might be too good to pass up. And since Arthur's eventual destiny is to be taken to Avalon by Morgan to sleep until England's greatest hour of need, that gets Cool Layers if we let them have a whole enemies-to-lovers thing going throughout.

Arthuriana is extremely loose in the canon department anyway, so while there are touchpoints I'd want to hit, we'd have a lot of freedom of movement in how we'd hit them. This would basically just add layers of characterization to how Arthur would handle the various adventures she gets into - especially if she feels the need to obscure her identity from some or all of her knights. There's a surplus of damsels in various folktales that could be Arthur stuck in her secret identity due to Magical Hijinks.

Unfortunately, Guinevere's foundational role in the story almost always involves her sleeping with dudes who are not Arthur, and since the overall story of Camelot is a tragedy whose downfall is brought on by a schism in the royal family, we might need to keep that for thematic consistency. And it takes on layers if we stick with the "Arthur's public identity, at least at first, is a Dude" thing, because - shocking as this may be - some people actually aren't even a little bit gay, and if Guinevere ended up politically wedded to Arthur only to learn that her husband is in fact not her preferred gender of lover, she might not be jazzed about that.

Other than that, let the cool swordfights and quests remain unchanged and I think you've got a good recipe for episodic character drama.

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!

A little head bonk kiss <3

VR-LA’s design just kept getting more and more detailed as I progressed lol, but the simplicity of Maxim’s compared to him is honestly quite in character. But yeah! Tis them, they own my brain.

Have you read/watched Nimona? If so, thoughts?

The kind of emotional gutpunch I can't bear to watch without ample preparation. The first ten minutes are the hard part for me - it's always a wrench for me to get through a "good-hearted character is cruelly framed" plotline, so I really appreciate how quickly they get that out of the way and how Nimona immediately brightens the mood when she shows up.

Overall, truly one of the best examples of how a creator can use their personal grief and rage at injustice as a medium to sculpt a story. The narrative manages to feel deeply authentic to a real emotional journey while still feeling completely contained within the story. I'm not entirely sure how to put this, but sometimes when a writer gets allegorical with their experiences, it can feel like the story gets put on pause so the characters can turn out to the audience and speak in the author's voice about their thoughts on the subject - a pretty clumsy way to communicate a message. Nimona does not do that. Instead, the many real-world parallels to bigotry, propaganda, queerphobia, church corruption, xenophobia, and regressive policies driven by terror of change feel like they arise naturally from the setting within the story rather than being imposed on it from the outside, which is extremely quality writing and characterization. Nimona's story is so clearly informed by ND Stevenson's life and gender journey, but Nimona herself feels like her own person who is messy and grieving and putting up walls and self-destructing and still - still - a fundamentally joyful, gleeful person who absolutely loves being alive when she isn't being brutally beaten down for the crime of existing inconveniently.

Also, it's a comparatively minor thing, but I really like how, like with She-Ra, Nimona creates a world that is passively non-homophobic, with gay relationships front and center and evidently regarded as completely fine and not worth commenting on - which, to me at least, made both stories remarkably relaxing and comfortable to immerse myself in, because I wasn't being randomly jumpscared by reminders of real-world hate - but it still uses allegory to address the real-world roots of homophobia in the form of xenophobia, correlated injustices like classism, and the monster-ification of The Other. So it can clearly state "hating people for how they exist is Always Fucked And Wrong" without having to dunk the queer audience in the icebath of "hey remember how people in the real world think you personally should be dead?" Again, not sure I'm phrasing this super clearly, but it's a balance ND Stevenson consistently strikes with his work, and I really love how he does it.

Animation's gorgeous, voicework is consistently top-shelf, love the aesthetic of Cyberpunk Arthuriana. Wins across the board.