Cooper Howard and Lucy MacLean's rare and wonderful dynamic (and how it's ultimately alright if they don't become "endgame" or whatever)
First off... I'm saying this as a HUGE ghoulcy shipper btw. I don't wanna hear about some bullshit about how "you just don't like the ship" or something dumb like that (have you SEEN the state of my blog??). I ADORE this ship. These are also ultimately my own thoughts. Do not be affronted if this somehow doesn't apply to your hcs. At the end of the day, this is fiction, nothing more.
Something I have to note on about the wonderful dynamic between Cooper and Lucy. Even if ghoulcy stays platonic, I'm fine with it because this is the closest dynamic to Jack/Liz from 30 Rock that l've seen, and if anyone's seen that show, you KNOW what I'm talking about. Let me explain.
Jack/Liz were two v complex characters that had so much chemistry but the way their "relationship" worked was so unique in that they were never romantic but they're WAY more than just colleagues/ friends, etc. There was literally an article titled like "why you'll never see this kind of relationship in television again" and ghoulcy has the potential to be that again which is still GREAT! It even goes on to talk about how they're COMPLETE AND POLAR OPPOSITES but the dynamic still works and how they feed off of each other in the only way no other characters can. The "dynamic" is THEIRS and theirs only. Seem familiar?
From what we're getting not just in the Fallout show but from interviews with the actors and creatives involved, we're already getting that special dynamic. However, I must stress that many of the comments and those interviews (imo) are sometimes taken TOO literally. The existing text and subtext of the ship is already abundant and ripe so I feel like not EVERYTHING has to be referred to the ship and the ship only. I know it's mostly funsies but I legit wonder if some of this is taken too seriously to the point of misconstruing an actor's words and getting tunnel vision JUST for the sake of the ship and ship only, in turn cheapening what is already there. Kinda like what I've seen with people having to vilify Barb further with unnecessary inferences to scenes that give her more layers (like questioning her genuine love for Janey and Cooper. She can be loving AND a villain y'all. Both things don't have to be mutually exclusive) EVEN THOUGH SHE IS CLEARLY VILIFIED BY THE SHOW BY THE REVEAL SO WHY MAKE UP STUFF? To "punish" her more?? Apologies but this kinda reads as "I need to prop up my ship further so I MUST degrade the other ship" even though it's again... SUPER UNNECESSARY (I must stress I've seen this on ALL sides of shipping/character stanning. Both sides suck when you engage in this behaviour). Have fun and faith in the strength of your ships (ESPECIALLY if they're not "canon" adjacent)!
Anyway, as I was saying...
Going back to 30 Rock, there's literally a scene in the show where they get married due to shenanigans, they get in a big fight the whole episode and in the end sit down and have the most revealing discussion with a councilor about why they're so much more complex than typical relationship. And another scene where they sleep in the same bed together and addressed why they never hooked up with each other and why that's okay. By the way, I was also a HUGE shipper of these two... But I was fine with how they ended up with because the story of their special relationship that makes them uniquely THEM was clear and concise. This did not stop me from reading fics where they make kissy faces. It is possible to do both and I think some ppl tend to forget this.
I'm not saying this for the antis (don't like what you don't like, but if you harass shippers then you can suck eggs and leave. This applies to shippers to non shippers too btw. Be. Nice.), I'm saying all this because I want shippers to not "despair" if the ship that they've become so invested in doesn't come to fruition (and not go overboard into thinking that writers should listen to whatever audiences want all the time, we've been down this road SO many times, it's terrible. Do we REALLY need to talk about how The Rise of Skywalker turned out the way it did due to unnecessary pressure from the loudest antis/asshats in fandom? I think not). Maybe this is also more towards the younger audience members as a cautionary tale because we old ass millenials have seen and been through this but didn't have the immediacy of social media at our finger tips, so it was kinda easier to not be as reactionary. I don't like playing the "you youngins don't know what it was like" card, but at some points it is just a statement of reality. Some of you are/were LITERALLY too young to have experienced this.
Ultimately, what I'm saying is even if ghoulcy doesn't become "romantic", I'm fine with it as long as they stay within the "something more/beyond definition" dynamic which is ALWAYS refreshing to see. Give us more "what are we"! Give us more "it's complicated"! Give us more "we can't be summarized in neat little boxes"!
As long as they don't end up in the pit of "one dimensional interpretation of the Found Family trope which is somehow only just Familial and in this instance Father-Daughter". Please, I BEG. Nothing wrong for people to like this dynamic, but to immediately categorize this into that box is just... Tiresome. You can make the same arguments about "shipping two living beings together on screen all the time" too for sure... But again it leads to my point of if we're going the platonic route how about we NOT just shove it in the same boring dynamic of Father-Daughter that if you want, can find in multitudes of other forms of existing fictional media.
Tldr; have fun but always remember this is all fictional media in the end where we play with dolls in a sandbox. Just remember to BE. NORMAL. and not forget this and start shitting in it and flinging poo at each other. That goes with relationships with creators of said media too. Do NOT become parasocial and expect everything to be catered to you. The creators want to tell a story THEY came up with in the first place.
LET THEM.
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Hello, I’m inlove with your art style and how you draw sceneries!! I really wanna try learning how to draw backgrounds more often, do you have any tips about drawing background? Thank you!
Complete guide to Background painting:
So um thank u for asking me Caleb- chan (˃ ⌑ ˂ഃ )! Im glad u trust me on this! But I'm not actually that confident about myself on this, and as a chaotic anarchist, I'll just dump everything I know about this topic to u...
There's so much to talk about background painting, so this is going to be very long, pls bear w me here n forgive me for the broken english_(:зゝ∠)_
It's better to demonstrate with an illustration, so I'll be using this colorkey for that upcoming animated project as an example(two versions for different methods).. along with some other old pics of mine and this sketch I loosly built.
(Also just like I've mentioned in the color tutorial, this would be the only time I explain the theories n tricks, bc it takes too much time to make these.(;′⌒`) I hope ppl r okay w this?)
Purpose and rules
Well for me personally, I'd like my paintings to be rich in storytelling and emotion, rather than a pure decorative picture. So I'm providing two basic methods here, one about realistic background, another about surreal background.
We'll talk about these two in later chapters, but first, preparation.
Preparation
Like I mentioned in last tutorial, gather information before u start any project.
Some irl images —— for real life physics, I'm studying mostly reflections here.
Refs from the original material —— Ofc
Illustrations —— once you studied the irl physics, check out how other ppl deal with the same situation for inspiration, but pls don't just copy them.
Movies —— I think they're just neat (for a nice overall tone, and that helps making your work more)
You could start by painting characters on existing photos, it's a nice exercise.
Realistic
Realistic background requires the understanding of a lot of things, for me personally, proportion is the most important, bc it's the easiest mistake your viewer could spot.
If u check any tutorials on this they'll say u need to use vanishing points to create invisible grids and , I loosly made these to show u how they work
most of the time u use vanishing points to set up the whole scene, two would be enough most of the time.
( Well, or three points, if u want to do something more dramatic, fancy. Or 5 points if u want to do something even more dramatic. )
( For a more lens based logic, 3 or 5 points work best for a mock up 15-35 focal length shot.)
Do a grid using these points. and build environment following the grid.
Put your character in this environment, and their vanishing point will match the one with this environment.
Determine the lighting for your environment, one lightsource first.
Then do the shadow for your character.
(If you don't want a very detailed background this would be enough? Normally I don't do sharp and clear perspective for a more chaotic and hand crafted aesthetic.)
But again, sometimes u just need it to be extremely accurate.
So I made a model for my animation scene, it's widely used by concept artists, so if u're interested, try it out:
u don't have to make a complete set, just boxes would also help.
Surreal
No need to think about actual background this time, just do whatever u want that makes it look good in 2d composition.
u could check out my tutorial on composition on this.
For topics and ideas to put in these experimental surreal paintings, u could try thinking in a "meta" way?
Like this one, I compositioned it from the understating of texture and material : glass.
all the strokes r square-ish, making everything looks breakable.
and the composition is also square-ish, u see sharp edges for the silhouette
Um... it's something I can't explain to the fullest, but u'll get it one day...
Demonstration
And now, the demonstration: I've painted this twice, this one using Blender as the assisting tool:
My logic here is using a mild color scheme over an existing environment, using strokes following the structure.
I made mock up lightings in my model, so the lighting is easier.
the rest is just putting Butters in this set.
And this one just traditional method + eyeballing: (what I've been using recently)
Since I'm not painting over model, eyeballing the set or use the vanishing point+ grid method from earlier... then set the main tone for it (this time it's blue)
I went for a very saturated blue compairing to the other one.
Then paint the light out, for a main light source. I used yellow for a contrasting effect.
The rest is basically the same, but since it doesn't have a model under it I don't need the strokes to tenderize the solidness of an existing model...
Anyways...
I'd suggest u use whatever method that is more comfortable to you, bc I might not be that good at doing it most effectively_(:зゝ∠)_ and I'm sure you're going to find your own unique way!)
Recording of these two paintings is here, hope they're helpful to u:
Exercise and Summarize
So um, after each painting u might want to summarize. One thing I would do is to remove saturation and check if the grayscale looks good-
check what colors u used the most-
check what angle (or shots or framing) u like better-
check what lighting suits your atmosphere-
these are good for u to develop a style-
There are some tutorials on the internet on more of this topic, I'm sure ur able to find them, they'll do a better job for me I think~
And I'm sorry this came out so late! a lot of things have happened...
Hope u have a good time creating art, and have a nice day Caleb-!
-Maid
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