i so badly wanna draw more and be more frequent with posting art but. Man. im coming to terms with the fact that i am incredibly burnt out from working full time hours and not rly giving myself time to rest. art is very exhausting and i find it hard to get the motivation and energy for it anymore so im very sorry @ my followers for not consistently posting 😔 hopefully someday ill be capable of drawing more often again!

lonely

[ID: A limited palette of green and pink, Vashwood comic. The first page serves as a prologue. The first panel shows Vash speaking to someone off screen while Wolfwood is lingering behind him. A black arrow is drawn pointing at him. In the second panel, Vash is buying donuts in the distance while Wolfwood is once again in view, lingering. and the black arrow is drawn pointing at him. In the third panel, Vash is leaving a cubicle and turning towards his right with a slightly peeved expression. He sees Wolfwood, leaning against the cubicle, waiting for him, and with the black arrow drawn, pointing at him, implicating the consistent hovering of Wolfwood’s presence during Vash’s everyday. At the bottom of the page, they’re drawn out of panel with Vash turning to Wolfwood and saying with an irritated expression, “You’re really following me everywhere, huh?” Wolfwood responds, “What, you got a problem?” Vash responds without hesitation, “Yeah, kinda...”

The second page starts with a new day. In the first panel, Vash is seen alone, weighing apples in his hands at a mart, with crowds passing behind him. In the second panel, he turns to his right and starts to say, “Hey, Wolfwood...” In the third panel, he’s startled from seeing a stranger, whom he’d accidentally called out to when he was expecting to see Wolfwood. He says, “Oh, you’re not him. Sorry!” In the fourth panel, the stranger walks off and Vash muses, “Right, he said he had something to do today...”

The third page begins with a close up of Vash's miffed expression, the continuation of Vash's thoughts, "Now that he's not here, this is just like how I used to be, but... It feels lonely somehow. Oh well, I'll see him again tonight, like always." In the second panel, it shows Vash walking through the marketplace crowd, alone. In the third panel, the door panel is a close up of the door opening with a peek of Vash's head. He says, "Wolfwood!" In the fourth panel, Vash is holding a bag of food with a bright smile and says, "Are you hungry? I got you something to eat today!"

The fourth page begins with a shot of the room, two beds being highlighted, one of them being made properly with the blanket draped over the bed and the other with the blanket folded and pillow sitting on top of it. There's no sign of Wolfwood. The second panel shows Vash with a disappointed look as he thinks, "He's still not here?" The third panel shows Vash putting the bag of food on the table. Stapled to the paper bag is the receipt with a written note "For Wolfwood." Vash's thoughts continue "He does like to stay out so, I guess there's no reason to worry..." The fourth panel shows Vash sitting his bed somberly with his thoughts continued, "It's not any of my business anyway..."

The fifth page starts with a close up his blank expression as he looks downwards, thinking, "Even if he left completely... That'd be understandable and better for him. I'll just travel alone again... like before... Huh?" The next panel shows Vash's composure break, tears welling up in his eyes suddenly, as he didn't expect to cry. He starts to sob, putting his hands to his face to quiet himself and wipe at his tears, as he says, "Ugh... Dammit... I miss h..." The last panel shows Vash leaning over into his hands, still crying, and in the back, the door swings wide open with a bam as Wolfwood walks through with the punisher swung behind him. He shouts, "SPIKEY! You in here?!"

The sixth page starts with Wolfwood confused, looking at Vash and Vash looks back, just as confused, with tears in his eyes and snot out of his nose. Wolfwood starts saying, "Ah? You..." No longer in panels, at the bottom of the page, Wolfwood takes the Punisher off of himself and starts to walk towards Vash, continuing with slight concern, "What's wrong with you? Did something happen?" Vash, hurriedly begins to wipe at his tears, denying immediately, "No! No, I'm fine! Nothing happened!"

The seventh page, Vash points towards the table, with a hand still wiping at his tears and he smiles as he says, "I uh got you food. On the table." Wolfwood looks towards to the table and responds, "Oh. I was getting hungry, thanks." He turns his head back to Vash immediately after with an uncertain expression, knowing the other wasn't responding to his concern, and says, "But, I know you're an idiot with this stuff, so I'm reminding you again. Don't brush it off if it's an issue, alright?"

The eight page, Vash's tears have dried and he looks to Wolfwood with a soft smile and responds, "Yeah. It's okay though..." A panel at the center shows a side view of Vash approaching Wolfwood. At the bottom of the page, with no panel, is a close up shot of Vash's hand, holding onto the edge of Wolfwood's jacket sleeve, as he says, "Because you're here now. Wolfwood."

The final page is a back shot of both of them standing next to each other, Wolfwood's head tilted slightly to the left, not fully believing Vash as he says, "That doesn't answer anything, Spikey." Vash responds, "There's no need to talk about it! You should enjoy your food. Let's have a drink too?" Wolfwood responds, "Tsk, tsk. Fine, yeah. I could use one." END ID]

I think I already talked about this and I've seen others mention it but it's been on my mind again:

Is it weird that grian is usually drawn looking like a teenager or just a kid in general while the others look like adults

here's some tidbits from the Laughingstock Misunderstanding fic outline, just 'cause i got mild amusement outta them and thought y'all might too <3

as much as i love stardew valley i really don't like the emphasis it places on marriage and kids. it's just something about the way that you HAVE to add a nursery to your house in order to complete the house upgrade achievement (and of course you need all achievements to achieve 100% completion), the way having kids is an achievement in itself. the way that when your spouse asks you if you want to have kids your options are "yes" and "not now". i'm genuinely really thankful for the option to turn your kids into doves. the way the DAY after you become best friends with someone single you get a letter in the mail telling you how to ask someone out, the way there's ANOTHER achievement for dating ten people (well. it's really for reaching a ten-heart friendship level with like eight people but there are only so many people you can do that with without dating them). the way the mayor says at your wedding ceremony that "from this day onward, [name] is going to be just as much a part of the community as anyone else" implying that you weren't a part of the community until you got married. the way the eight heart events are supposed to just be you becoming best friends with that person but at least three people's events involve them secretly being in love with you during that supposedly platonic cutscene. i personally love getting married in stardew valley but not everybody wants that and the pressure the game puts on you to settle down and have a nice little family with 2.5 kids kind of puts a damper on the fun.

You know, that one old mathematicians plan with cyanide coated peanuts sounds pretty promising rn.

Please Kind Fellow May I request but a crumb of Jigen please c:

i miss my wife tails

Northeastern american mood this week

Get Your Life Together AU

incoming: another fucking voltron rant because i watched a langst edit and now i wanna cry😭😭

they did not take time. they did not slow that show down for a little bit. especially for lance. cause he did not getting a fucking moment to find himself again after he FUCKING DIED. we saw him homesick, we saw him missing his family, we saw him insecure about his position on the team, we saw him insecure about himself, but we never actually saw him go anywhere else but being sad. he really did get barely any character development.

and tbh i feel like in a way just all the characters didnt have a moment to slow down. and i know, i know, its a kids show, its about fucking robots for fucks sake, theyre in the middle of a war. which, yeah. youre right. but there couldve been so much more, for him, for all of them. what about them? as people, with feelings. where are there emotions. why is it only sadness and happiness and not the enitre confusing spectrum of emotion between. does pidge not feel lost after she finds her brother? yeah, hes back, but i bet she didnt imagine she would be fighting an intergalactic war, and now matt is too. she imagined family dinner, brother barging into her room, dad making corny jokes, house happier and full of life.

hunks family was put in a fucking work camp. he had seen this across the galaxy, zarkons army imprisoning people, making them work, killing them. did he imagine that for earth ? did he imagine that for his family? how the fuck did he cope fighting a war, anxious as he is? how did he cope at all?

shiro isnt even in his fucking original body. thats fucking weird. im not saying that in a rude way bc like yeah, organ transplants are a thing irl, and a major life saving thing they are ! but like, how odd it must be to have someone elses kidney or heart in your body. nevermind to have your entire soul and conciousness put into another body, you but not really you.

keiths life,,, dude probably just doesnt even give anything a second fucking thought anymore. but like, could they not have shown him showing some more emotion. fair enough if he doesnt always cry in the moment but rather late on, but you'd think seeing allura die, they wouldve at least put some tears in his eyes. he had fucking no one before he had voltron. only shiro, and even then he was alone for so long when shiro had been on his mission. you cant tell me he didnt want to think of voltron as his family. they bonded :(

and lance, gosh lance. i feel like, if we looks at this as it is, lance would be the character that people think back on and go "oh yeah, he helped me accept my emotions, he helped me become the best version of me and gain confidence in who i am". in the fandom hes seen as someone with big emotions that he wears on his sleeve, but also someone who will put everyone else and their needs before himself.

he's a story of self-sacrifice, quite literally. he's the story of sincere love, of casual admiration. he's the story of the most wonderful friend, of loyalty, of no, I'll step down because there's a cause bigger than me, and im not the one for the job when there's people like my friends and you on the team.

and no one wanted to explore that? no one wanted to see him do more than just, what? flirt and literally die and fall in love and barely find his place on team voltron? that was it for him. it shouldn't have been, but it was.

Building off of what I wrote in my fic "Sparks," I'm really compelled by the idea of Ford genuinely no longer being interested in sailing around in a boat with Stan by the time they were seniors in high school.

I like the idea of it not being just a symptom of the resentment that had been building between them, nor it being a dream of Ford's that only paled in comparison to west coast tech, but it being a genuine loss of interest on Ford's end. I think it complicates things even further in some really juicy ways.

Like, imagine going through high school slowly losing more and more interest in the dream you've shared with your twin and only friend ever since you were little kids. How do you break it to him? How do you explain it to him without making it sound like a rejection of him? Without it making him hate you?

How do you explain it without it feeling like a spit in the face to all the hard work he's put into a plan that started out as a way of him comforting you by telling you "it doesn't matter what people say about you, you're going to be an adventurer who sails away into the sunset and never has to hear their mockery ever again, and there will be babes and treasure and heroism, and then they'll all see how cool you really are!"

And all through high school you think to yourself, "he's going to move on to more realistic dreams any day now, and then I won't have to say anything about it!" But no matter how many times you mention something else he could do with his life that he seems interested in, or bring up the challenging logistics of traveling around long-term in a boat, he sounds just as committed to the childhood dream as ever, and completely oblivious to how apprehensive you sound.

So resentment grows, little by little. Because that's easier than confronting the soul-crushing levels of guilt that are building up inside of you, every time you don't take an opportunity to tell him you don't want to do the plan anymore. You don't have a single person in your life who modeled how to have difficult conversations for you. As far as you know, having this conversation with Stan would crush him into tiny little pieces and then he would hate you forever, and you can't stand the idea of losing the only friend you've ever had.

So tensions grow. A lack of interest turns into a bitter resentment that, if you were really being honest with yourself, is directed more at yourself than it is at Stan.

And then the falling-out happens, and it seems like you were proven right. Stan hates you now, and he's never going to forgive you for giving up on his dream. But two can play that game, so you try to hate him too. Because if you hate him too, then maybe it won't hurt as much that he never came back. That he never even turned up at school, or by the boat, or in through your bedroom window in the middle of the night. He knows what dad's like, and how he says impulsive exaggerated things when he's angry, and haven't you both dealt with his harsh words countless times before and been able to dust yourselves off and joke about it later? So why isn't he back at home, joking with you about how absurd your dad acted that night, being impossible and belligerent about ruining your dream, but at least now you're even, because you've ruined his dream too.

-

And now imagine you find out he risked the lives of everyone in existence to bring you back, right after you had accepted your fate was to die killing Bill. It would be terrifying and confusing and infuriating. If he cared so much, why didn't he do something to reconnect with you sooner? Why did he ignore you in favor of trying to make it big without you? Why didn't he take the infinitely safer and simpler action of reaching out to you without you having to track down his address and send a desperate plea for help? You were convinced that he didn't care enough to bother with you unless you had an important enough reason for him to come. But even then, he thought your plans were stupid. He didn't want anything to do with you, not even with the world at stake.

Did he save your life out of guilt? Does he pity you that much? It doesn't add up with what he did in the decade leading up to shoving you into the portal. And the dissonance between the version of him in your head that hates you, and the man who held out his arms to welcome you back to your home dimension, is so strong that you feel like you're being lied to again, like you're back in the depths of gaslighting and manipulation that Bill put you through, even though there's no way that's what Stan is trying to do... right? You can't figure it out, so you run away from it. You don't want to know the answer to whether or not Stan hates you, because you don't know which answer would hurt more, so you try to make him hate you more than ever, because at least then you would know for sure how he feels.

And in the end, after he sacrifices his memories for you, and for the world, things seem clearer. The layers upon layers of confusion and anger and hurt seem to have washed away like drawings in the sand, leaving behind the simple truth: that you two had an argument, and didn't move past it for forty years, and despite everything you put each other through, you both still want to re-connect.

So you sail away in a boat together.

And at first, it's wonderful. It's exactly what you want. It feels like an apology to Stan, and a thank-you for saving the world, and a once-in-a-lifetime chance to heal the rift between you two, and it's good to be back on earth, and you wonder why you ever doubted the dream you two once had.

But then, after the first long journey you spend on the sea together, when you get back home to dry land, Stan is already talking about planning your next adventure out on the open sea. He recaps every adventure you had on the first trip, over and over again, and he wants to chat with you all through the morning and long into the night, and you don't have the words to explain to yourself that you don't have enough social battery for this, and suddenly you're slipping back into the horrifyingly familiar feeling of Stan being overbearing and needing space from him and how could you think that? How could you think that about him after everything he's done for you and everything he's forgiven you for? But the longer this goes on, the more you realize that you still don't want to spend the rest of your life sailing around with Stan. It's great fun in moderation, but the idea of your whole life revolving around Stan and going on adventures with Stan and being in a boat with Stan with no time to be by yourself thinking about your own things and figuring out your own dreams makes your skin crawl with a claustrophobic kind of panic that you still don't know how to put into words forty years after the first time this feeling grabbed you by the throat and ruined your friendship with Stanley.

But the first time this happened, it nearly ruined his life forever. You can't let yourself feel this. You don't feel this. You're happy to spend the rest of your life fulfilling Stan's lifelong dream, and making up for the time you crushed his dream, and sure, maybe he crushed your dream once too, and maybe it would be nice for him to support your dreams like you're now doing for him, but you can't say that. He saved the universe, and it would be horrible and ungrateful and cruel for you to try to voice these feelings, especially when you don't know how to voice your feelings without it making other people feel like you twisted a knife into their gut. So you try to pretend the feeling isn't there.

You go out on a boat with Stan again. You planned out another incredible journey together, and this should be fun, and you should be happy about this, but the unspoken feeling you shoved as far down in yourself as it could possibly go is eating you alive. The worst part? Stan is starting to notice. You have never been good at hiding your emotions. The trick to it has always been to convince yourself you don't feel it at all, and not think about it, and that has always worked like a charm. But whenever the emotion claws its way back up to the forefront of your mind, you can tell Stan knows something is wrong. So you can't even give him the happy ending he deserves. You can't even convince him that you want to be here on the open seas forever with him, like he deserves. And you keep trying and trying to hide it, but Stan keeps asking in roundabout ways, like "You're being awfully quiet, sixer," and "whats that look on your face?" and eventually it comes exploding out of you like a shaken-up soda bottle dropped on its cap.

And then it's like you're back at home in New Jersey again, standing in the living room while dad grabs Stanley by the shirt. It all comes pouring out of you, in the worst possible way, with the worst possible phrasing, like a pandora's box of monstrousness, and Stan tries to fight back against the sting of your words, but you're made out of acid and you're burning through him and you can see it on his face, and there's never any coming back from this, not this time, you'll just have to either jump into the ocean or become a monster forever, so Stan can hate you more easily again, and-

-and at the end of the outburst, you're still on a boat in the middle of nowhere in the ocean with your brother, in dangerous waters, and you have things to do to keep the boat running smoothly.

You can't run away from him. He can't run away from you. You're stuck here for at least a couple more weeks, even if you turned around and sailed back towards shore right away.

-

And the thing that compels me so much here, despite how unbelievably angsty it all is, is that it sets up a situation wherein the Stans might end up forced to actually address the decades of resentment and confusion and wanting-to-reconnect-throughout-it-all that they thought they could gloss over and heal with enough time spent adventuring together on a boat. They might end up forced to actually address the crux of the issue that drove them apart in the first place: Ford wanting a little more space to feel like his own person, and to feel like he's able to have his own dreams, too.

It wouldn't happen easily, nor right away, but if they were stuck together on a little boat in the middle of nowhere surrounded by magical creatures they have to protect each other from in order to make it back home alive, then after they had one fight where they brought up all the things they silently agreed to never bring up again, it would probably happen many more times, and each time it would leave them both angrier at each other than ever, until eventually something honest slipped through amidst all the saying-anything-except-what-they-mean bickering. And once enough of these honest moments slipped through, then they would have a thread to tug on to start to unravel the gargantuan knot of their decades of unresolved conflicts.

And then, eventually, maybe Stan could learn that he can have a good friendship with his brother without needing to be glued to him at the hip, and Ford needing a certain amount of alone time doesn't mean he dislikes him or wants to abandon him, and Ford could learn that he can be honest and have a meaningful connection with someone without it driving them away and making them hate him.

I know this is random but reading your blog and seeing your art made me so motivated I made my 1st animation ever (not counting pixel art ones), after not drawing digitally in months and it looks kinda basic and it isn't colored but I made it and I'm really happy with it so I guess what I'm trying to say is thank you for motivating me to make digital art again! I hope you have a wonderful day/night :)

MKJSJWJW HI!!! THANK YOU SO MUCH FOR TELLING ME THATS GREAT!!! Animatics need time and patience so the fact you went straight for it is so cool!!!! I bet it looks lovely!

Hope you have the greatest day/night too!

why does no one talk about the sadness you feel when you lose interest in your best hobbies

I CANT USE CSS ON ARTFIGHT...............

if i reblog my art from my other sideblogs here will you guyhs promise to be nice to me

I’m really curious to see how the show will deal with Roy’s aggression (and aggression in general). Like, just two episodes ago we saw Jamie flinch and recoil away from him, because he slapped a fork out of Jamie’s hand.

Last episode he (and beard) encouraged the rage inside the himbos against the west ham players. I know intention is more important than causation, but you cannot tell be that if Roy was still a player he would have head butted every single one of those west ham players (who did nothing wrong).

This episode he was just so fucking psychopathic that Trent dropped his mug and even beard looked freaked out. He’s scaring grown men in they’re workplace. That’s just fucking harassment. Trent doesn’t know him. They’re not close.

It’s been really disconcerting to me how much more aggressive this season is. How haven’t we seen the aftermath of the last game? What the fuck did ted say to the himbos? What will be the breaking point? WHAT happens to make it inexcusable anymore?