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#my art has got to get more experimental

sanstropfremir · 1 month

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if you could bring back one styling that you think wasn't appreciated in its time or the fans weren't ready for (but are now) or just think should be around again, which would it be? (hard round: something other than TVXQ's "Triangle" styling) (and I already know the #1 is Pink Gumby)

(kicks rock) ok FINE i won't immediately say triangle.........

my first instinct is actually something that DID get its due appreciation: arario!! it was genuinely ahead of its time (both in styling and musical composition), and if vixx hadn't done shangri-la we might never have seen a traditional/hanbok styling trend in kpop. but realistically this is kind of a tough question to answer because most trends in kpop styling have been recycled already in some way. i could say something like we should bring back the goofy looks for the early '10s but realistically that's already happened as much as it's going to without completely reverting silhouettes and clothing construction, which is not going to happen. and also i don't think most of those looks were underappreciated at the time. the most frequent type of look that is oft derided by fans and underutilized by creative staff are the infrequent forays into science fiction concepts. songs like 100%'s beat and more famously vixx's error were quite controversial for no legitimate reason, although honestly i don't remember how beat was received since vixx overshadowed them significantly (justice for 100% actually. the beat styling is better), but considering nobody remembers 100% even existed i'll consider it underappreciated. tbh in the current styling landscape of kpop my beef is less with fans not appreciating a styling (bc fans know exactly jack shit about costuming and will accept anything, even obvious garbage) and more with stylists who are unwilling to actually flesh out a concept. this applies to pretty much everything but i see it most obviously in scifi (and fantasy/horror etc, anything that's not boy/girl next door or school) concepts. one of the few cbs that i do desperately want to have a go around again is obsession bc please god can i finally have ksoo and minseok on the song, but also it's a fantastic concept that got most of the way there, it just could have been so much more interesting out if the stylists weren't cowards.

#the x exo shit goes fucking crazy like how could people sleep on that. it's lived in my brain rent free since 2019 #also i think the timing for obsession was p bad. i think next year when kai and sehun get back they should just do the whole thing again #rerecord the whole album the mv new promo cycle everything. i want ksoo on ya ya ya and i will fight about it #i also want more prop stages. and also costumes that use interesting technical elements #like would love a revival of catch me + lighted costumes #even though they are so so so so unreliable. but you gotta sacrifice for art #i cant remember if its janus or witch that used the panels but more shit like that #its less i want to bring back specific stylings and more i want to bring back an era where stylists were more willing to be experimental #oh actually you know what people also hated for no reason: shinee symptoms/close the door. but that styling has also made a come around too #kpop styling #text #answers #kpop questions #i won anyways i got a real triangle hair revival this year 😌

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hezuart · 10 months

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LITTLE NIGHTMARES 3

aaaaaaAAAAAA

DANG OKAy

So I had a premonition for Little Nightmares 3. Last night I had a dream that Mono was just growing old in a tower he chose to stay in as a hermit and just retired there. The runaway kid's real name was revealed to be "Gilbert" and he summoned UFOs that performed a wicked cool airshow over the sea, but then the USA government shot them down and captured them for experimentation. The government was also after a bunch of super powered teenagers and children. They all swam away and tried to escape. Six was amongst them. One of the teenagers took a liking to Six and used her powers to change Six's (super long???) hair a bright red. It was then revealed the government figurehead in charge of the capture raid was Buzz Lightyear from Toy Story. I should also mention every single person including the kids in my dream looked like they were from the Lorax movie. Like imagine Little Nightmares but all Onceler style. I woke up to several dozen messages of Little Nightmares 3 trailer and well... I'm very relieved it's nothing like my dream.

~~~

Anyway! I had very low, negative expectations for LN3. I didn't think it would ever come out, and if it did, it wouldn't be the same. I am SO glad to be wrong. This developer apparently also worked on Little Nightmares 2, so they had a feel for the story, concepts, atmosphere, and gameplay. Little Nightmares 3 trailer doesn't give us a ton to work with, but I see high inspiration from previously unused concepts. Like the crows and mirrors in the Little Nightmares comics, and the giant baby from Little Nightmares 2 concept art.

The crow boy looks as though he can go through mirrors and technically fly with a black-feathered umbrella he uses to float. The girl has a wrench, and at first, I thought she was wearing an ugly gas mask, but it's apparently an old-fashioned pilot hat. So I touched it up in my drawing to make it look more recognizable... and cute. Already their designs are very intriguing. Can't tell what the full story is about, but they're new characters in a new setting, I'm very excited to see the world get expanded!

It's still a somewhat different style and atmosphere to the previous two games, but this developer really seemed like they paid attention and made it as authentic as they possibly could, and for that I am so grateful, I respect them so much. I am now changed! I've got a hopeful and optimistic mindset for the future of this series.

ESPECIALLY AFTER LEARNING IT'S ACTUALLY GONNA BE CO-OP. HELLO?!

WHO WANTS TO DROP ME OFF A CLIFF?? LETS DO IT

#little nightmares #little nightmares 3 #LN3 #i hope we discover their names soon

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ash-says · 1 month

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Being in touch with your sensuality:

On today's episode of ash-says we are going to talk about how to get in touch with your sensuality. Personally it's something I am very passionate about and kind of indulgent too.

Sensuality helps me in feeling alive and in tune with myself. I can't guarantee it for everyone but for me it works wonders. It's like the "Amrut" or "rejuvenating water" (for a lack of better terms) for me. Along with that it's the most healthy way for expressing my sexuality and keeping it in control to not let it affect my day to day functioning.

Here are some ways I incorporated in the last five years of my life to be in touch with my sensuality:

1) Exercise: No matter what I am going to vouch for this always. The way it helps me in expressing the surplus energy and controlling my desires is a chef's kiss. Plus helps in tackling the sluggish feeling.

2) Dance: Especially the slow sensual seductive dance. Not only it's a good outlet but above all that it validates the emotions and creates a space to delve in it to create a beautiful synchronisation with the body movements.

3) Art: Create! Create! Create! Nothing better than creating beautiful art or writing poems, stories,etc to voice your passion for the world and it's offerings.

4) Music: I have playlists on Spotify that specifically cater to my sensual mood. It has all the songs that can set a tone for the bedroom (iykyk). Singing to it or dancing works wonders. It's a magical experience.

5) Meditation: You can meditate on those feelings to internalize it and put all that energy in proper use for achieving a goal,etc. This is something I very rarely do because I am a very active person but putting it out here cause it works for some people.

6)Play Barbie: This is my personal favourite. After all I am just a girl. I put on some makeup, wear a bold sexy outfit or a cute dress (depending on the mood) then spend my time reading a romance novel and listening to sensual songs. It's my kind of therapy🦋🦋

7) Be a model: Being all dressed up but not clicking any photos you got to be kidding me!!! Come on girl! Pose and click! You are not going to be this young again. The best thing I do is this. It literally helps in skyrocketing my confidence. I don't click pictures daily but boy when I do, God forbid!!

8) Unlearn the shame: The basic one. You need to own your body first and appreciate it. I know saying is easy but hey you won't get there if you never start.

9) Imitate things that you find sexy: I will explain this with an example, so I find laying on the bed on my chest with my legs dangling in the air extremely sexy so when I am alone I will lie on the bed in that way as a way of expressing. Secondly, we all know sipping wine while reading a book is incredibly sexy while being dressed all slutty but I don't consume alcoholic beverages so as an alternative I drink pomegranate juice. Plus I find pomegranate as the sexiest fruit for obvious reasons.

10) Invest in things that make you feel sensual and seductive: It doesn't need to be costly. Find your sexy and invest!! For me it's aroma candles, jewellery, deep neck tops, skirts, ribbons, art honestly I have developed a knack to turn any ordinary thing into something seductive atp I feel. Everything works for me. So exploreeee!! If you are experimental enough and don't have parental risks you can try out sex toys too.

That's all for today's show on ash-says. Stay tuned for more illegal tricks and explosive opinions.

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tgcg · 3 months

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==> listen here on youtube

4K+ follower special... & upon request by a few peeps

i enjoy underground hip hop a lot, & i'm rlly excited 2 share some of my favs ive found recently that really remind me of dave in particular. some r also in there because theyre just cool tho heheh. it's got a variety -- old school, modern, abstract, experimental... just a lot goig on.

i ask that u listen to it in order 🙂 i gave this a rlly deliberate track order heheheh. it has inspired segments.

CONTAINS:

(1-28) a superhero-vibe 2000s hip hop region, got temporal themes. gets kinda hype & intense at parts. starts with a 6-song bang.

(33-41) a doseone/yoni wolf/clouddead segment, experimental & vivid & depressing. cw for death and self harm mentions here.

(42-56) THE DIRKALUDE: aka the splash zone. a slightly more modern & art rap segment, getting reflective, chill&silly (chilly), bit "pretentious". kinda wett.

a primetime early serengeti sample platter

same with open mike eagle. because. i love him.

healthy sprinkling of odd nosdam beats throughout 4 daily vitamins & wellbeing

thank u guys so much for all your sapport & for engaging with me on things like this. i rlly hope any who listen enjoy da playlist & find some new artists u can vibe with 🧡 it's really a passion thing, so thank u to anyone who checks it out

the art is 100% based on serengeti's album dirty flamingo

love u all

#dave strider #homestuck #playlist

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epiicaricacy-arts · 5 months

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oh we’re still so young, desperate for attention

this was super experimental so i will talk about my process (+ clearer version) under the cut

i’ve been looking at a lot of “messier” or more textured painting styles recently and an artist that stuck out to me is clariondeluna ! they posted a self-portrait recently that i really liked and i was super interested in the brushwork seen in their work. i love all the textures and how the shapes feel so loose yet everything is so detailed.

that’s not a method for me at all!!!! i cannot paint like that at all and the stuff i like to paint is very different to theirs. which is okay!!!! i had no intention to copy this artists style so closely like with what i tried to do in my raiden painting, i just wanted to try this style out :^)

it’s been a goal of mine to avoid over-rendering like i tend to do a lot, and i think i’ve been doing good with that recently! the mindset i’ve got going on right now is that if i find myself staring at it too hard for too long, i have to leave it and move on. if there’s still something wrong with it, i can fix it later once ive got a fresh view!

i’ve been trying a lot of things with my art this year. i always try to challenge myself with each piece, and to end the year off i wanted to be as uncomfortable as i possibly could be with this painting. i let myself draw whatever i wanted because i still wanted to enjoy it, but everything i did in this process was new, including parts of the subject matter.

i’ve never drawn a head at an angle like this, and i struggle with drawing mouths open. i don’t do bold lighting like this, and if i do, it’s not fire. i’ve never drawn fire! i also rarely work with warm colours and i hate using green, so i combined those to be my colour palette. i like working cleanly so instead of having a dozen different layers for one section, each section only had 1-2 layers for rendering. instead of clipping masks i would simply paint over things loosely and clean it up later. i never like having limbs cut off in a drawing so i had his other arm go GOD knows where. i don’t like weird patterned backgrounds so i made myself figure out how to like it!

IS THIS MY FAVOURITE PIECE OF ALL TIME. no. absolutely not. but i’m very proud of how this came out with all the challenges i put on myself. i WANTED to get better at these things and be more broad with my art, both in terms of the styles and subjects i portray.

okay let’s talk about wtf this drawing is

for those who don’t know, the design in this painting is my fatui/“Father” lyney fan design (read the design post here). the concept isnt super complicated and i don’t really have much explanation for it, but i wanted to combine the story of how lyney wanted a delusion before getting his vision, fire eating circus acts and how olympic medalists will bite their medal to prove it’s real??? don’t quote me on that i’m like 75% sure that’s a thing that happens. i don’t watch sports though so im just believing someone i heard on the internet ages ago.

anyways. i think fire eating acts are cool. and i think the fact that lyney wanted a delusion is very interesting to me. scratches my brain in the right places. and yk as a magician lyneys character revolves a lot around fooling people and creating illusions so i guess what im saying here is that lyney is trying to prove to himself that this power he’s been bestowed is real. bc his whole life his only constant has been lynette so he is trying to see if he can trust this new power. cause i guess this is an alternate universe where lyney does eventually become “Father” but he never got his vision ??? idk im not making lore for this i just wanted to dress up this funny little guy.

ok i’m done

thanks for reading

here’s my dog

#my art #fanart #genshin impact #genshin fanart #lyney #genshin lyney #lyney fanart #digital art #artists on tumblr #artists of tumblr

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psiirockin · 26 days

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Just a little announcement that I’m raising my comm prices around June/July so if you want one at the prices they’re currently at you need to fill out a form before then. 💖 I will be taking the newer forms as I clear up space in my queue + get caught up. I got set back a while from how busy this year has been so apologies for any delays!

Currently my rendered art is $36, flat colors are $26 + sunshine (experimental colored sketches) are $20 all per character! Look in my asks tag or go to my actual tumblr site for the form link if you wanna snag a cheaper comm in the future. =)

Probably gonna raise my rendered characters to $60 a piece, maybe a tiny bit higher just because my art style is a lot more complex now and I take a much longer amount of time finishing a commission than I did a year ago.

#comms #my commissions

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critterbitter · 4 months

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I finally got all my brain ducks into enough of a row to send this! I just wanted to say that Tumblr recommended your art to me on a whim, and I am actually OBSESSED now lol. I had no prior investment in Submas or anything tangentially related to it prior to this (aside from liking Pokémon generally lol), but I couldn’t help but tear through everything you’ve drawn for these silly little rat children and I love them so much now!!! I wanna pick them up and shake him around like little action figures! The shenanigans and the heartfelt moments are just,, UGH so good! I have no words! Thank you for the food I am going FERAL over them <3

Your art is also high key goals for me now tbh. I absolutely ADORE your coloring and rendering style, and also they way you draw Pokémon in general?? Very animalistic but still recognizably Pokémon?? Literally galaxy brained. I’m going to SCREAM. I know you already posted a bit of your art process, but I’d love to know if you’ve got any rendering tips and/or how you get that clean but sketchy look. It looks so good I want to eat it lol.

(Also I really love the way you’ve been formatting Elesa’s dialog, with the extra lines around the letters. It really gives the vibe that her grasp on Galarian is currently shaky at best and idk, I like that you’ve managed to find a way to convey that over text. I think that’s pretty cool :D)

I SAW YOU REBLOG A WHOLE BUNCH AND IM,,, (throwing hearts at you)

Thank you so so much! I’m glad you love these terrible little guys wandering Unova just as much as I do, haha!

As a treat, lemme pull out some drafting for the mini illustrations. I usually start every snapshot with a run down of what I remember from the area, possible shenanigans encountered, and then a doodle of ideas to come.

From there, it’s a SUPER rough sketch, followed by lineart and rough color, and then cleanup!

(More thumbs and their finals below!)

At the end of the day, all my lines are VERY sketchy. I’m a lot stronger when it comes to mashing colors. That, and if you set your line layer from normal to multiply, the lines will always be automatically darker then whatever layer is placed underneath. It’s a trick used quite a bit for placing cel shadows in animation, but it’s useful for lineart in a pinch.

For colors, I like to stick to a limited pallet and branch out only after setting my primary colors. This entire series has been very experimental for me though, as you can probably tell.

As for the last bit— YES… YOU GET IT! As Elesa grows, the lines in her dialogue will start appearing less and less. It’s the little things that map the span of time for these guys.

Yippee!

#ask #mailbox #aah… scared to respond to my inbox because there r so MANY asks but #this one’s asking for tips and i love getting on my soapboxes #and also the sheer amount u reblogged??? holy shit okay if ur gonna put the effort so shall i!!#ANYWAYS!#critterbitter screams into the void #critterbitter

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firegirl888101 · 8 months

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how would the harbingers react to a reader who's good at drawing? like, they like to draw the harbingers or other things

Good at drawing?

I'm shit at drawing so I'm not really sure what to say, that's why I didn't reply to this for awhile. But, I eventually got a couple things when my friend was sketching some stuff in front of me.

Sorry that the current Insatiable Madness chapter is taking so long, I've been studying a lot these past couple of days.

I also got another ask where it asked about Halloween. I don't really celebrate Halloween, because I never grew up with it. I've always been too shy to trick-or-treat and I didn't have many friends (and still don't) who'd want to go with me. Quite sad actually, but it's alright. I don't think I missed out on much.

Is anyone expecting me to make a Halloween special? I don't mind doing it, but I'll need inspiration as I wouldn't know where to start 💀

Actually, the more I think about it, I do have one fun idea. (Harbingers going trick-or-treating??? Halloween party if that even exists? Idk, I'll have to do some research.)

|You can take this with Yandere and without - some will probably lean towards yan though.|

So, to begin with:

Pierro wouldn't be too bothered. I feel if Y/N had a skill they were confident in, and wanted to show it, he'd let his curiousity get the better of him and check it out. But, if it's something like drawing he'll probably leave a comment then leave. Whether it's positive or negative, you be the judge. This man is like a slate slab. No personality I'm sorry 😭😭 (When I see more of his character, maybe I'll like him more?)

If you were to draw this man, he'd be humbled. A Grandpa who received his very first present from his grandchild. Would definitely frame the damn thing in his office (which originally was your parent's) he'd put it on the desk. It's his office now, don't argue for it back.

Capitano would show interest. Not too much since he's the main captain of the Fatui, but still interested. If he's bored, or deems the 'fort' (the house) safe, he'll sit down with you and watch what you're doing. Occasionally asking you if he could doodle with you - but I think that would be very rare. His main objective in his mind is guarding you when your own is low whilst you're having fun, doodling or drawing something.

Would 100% deny the picture of him at first. He'd think, that looks like me, but it can't be. Yes, it's him, you'd reassure. Eventually he does take it and folds it in his coat. After that, he'd probably leave the room in embarrassment. Since then on, he'd definitely keep all drawings you've made of him in his pocket. There's too many? Let's put it in the second pocket. That's full too? Looks like he's buying a new coat. Oh? There's room in his military coat he hasn't worn in two years? That'll do just nicely.

Dottore would be intrigued if he saw you practice anatomy - or if you drew more of a gorey scene. I think he'd be even more interested if you liked to draw the human body with extra things (such as arms, legs, eyes or even got rid of a few), and question you on your design choices and if it already exists somewhere. (He's not fooling you, he's obviously taking inspirations for a new experiment). If he didn't know, or wasn't good, he'd probably ask for tips on how to sketch ideas like yours. He reassures you it's not for any experimentation but once again, he's not fooling you at all.

If you were to draw him he'd treat it like glass. Nobody has ever given him a sketch before - bonus points if you draw him injured whilst you're angry with him. He'd treat it as if you drew him with love, and not as if you'd stab him in the heart if you ever got the chance. What do you mean he shouldn't like it this much? It's a work of art! He'd be very quick to correct the drawing if you got anything wrong. Who knows what this man has in his body at this point.

Columbina would join you in your drawing activities. Maybe add some glitter if you have any. The second you complain about cleaning up, however, she has somehow disappeared and has become very forgetful about the events upstairs. 'How curious!~' She would hum to herself with her usual smile. Is definitely the type to ask if you could draw her. Who are you to refuse? Especially when she gives you that look of daunt hope and kindness which makes you drop your pen in fear. Before you can give her an answer, you've already picked up your pencil and began to sketch her beautiful headpiece.

When Columbina receives her multiple sketches, she's overjoyed. Oh, look how you drew this part! How you drew her clothes! She's quick to kiss you on the cheek as a thank you and runs off somewhere. Huh, you feel like you've just been used.

Arlecchino will roll her eyes at first. She's seen many children in the hearth draw for her. Her initial thoughts were vague, she didn't really see much of your hobby. That was until she actually saw what you were drawing. She would stare as you worked, your pencil delicately brushing against the paper you most likely bought the other day. It soon will become a habit to watch you work, becoming a therapeutic source for her. She sometimes questions why you're drawing... certain things, but she wouldn't actually stop your creative mind from working.

Handing Arlecchino the drawing you drew of her would make her blood rise to her cheeks slightly. Sure, she's received a lot of gifts in this sense before. But from you? What an honour! She'll accept it with a soft smile she'd usually show the kids, and pat your head treating you like one. Little do you know she's trying so hard to control her cute agression response by not tearing the paper.

Pulcinella would react very similarly to Pierro. However, he'd have more experience with complimenting and encouraging 'a child' in a hobby they're having fun with. If he saw your skill, he'd probably compliment it whole-heartedly with a chuffed smile. Massaging his mustache like some aristocrat, in the 1940s... Anyway, he'd be very pleased when he watches you draw more and more. He's happy that you're spending your time doing something you like under the tense situation his coworkers (and him, but he doesn't like to admit it) have brought upon you.

I do not see you drawing this man at all. He's a short, dobby, old, looking as man. I don't see him as the type to ask either, at all. He's minding his own business in your house and plans to keep it that way until the situation is resolved.

Scaramouche really doesn't care. We've all got our own likes and dislikes, but he's not bothered about yours. Will most likely purposefully pass by you working on a piece and insult it just to get attention. He'd never actually mean it though - he just never tells you that important fact. As time progresses he'll sneak into your room just to look at more sketches or finished drawings you've done, and assess your progress from each year if you've been practicing for a long time-period.

Now, here's where things get interesting. If you were to draw him and never show it to him, said puppet finding it for himself in one of your drawers, he'd first feel angry. Why wouldn't you show him this? It's of him! ...But then he'd quickly realise it's because of the way he treated you when you were working (oops). If you actually handed it to him and let him keep it, he'd be delighted. You actually drew him? He didn't even have to manipu-- he means 'ask' you to draw him? This is a good step forward to where he wants to be in your heart.

Sandrone would be delighted to know that she's finally found a use for you in her head. She never thought that purposefully walking past you one evening would lead to her shuffling through all the sketches and designs you've done with awe. Where did you get this idea from? How can she recreate it? Would you be happier and more devoted to her if she were to make your dreams true? She digresses. Watching your creative little mind draw your ideas to life inspires her also, and makes her want to recruit you as a special exception to the 'no non-artificial beings' allowed in her workshop. Thinking of all the monstrosities you could design with her help sends pleasurable shivers up her spine.

Drawing her, however? This was rather unprecedented. Out of all the things-- no, people you could have drawn... and you decide on her? And ooh! You even drew her slave she likes to travel around on, how thoughtful, you're already expressing your adoration for her works! Trust me, don't draw her. You'll give her daydreams that will never happen.

Signora, like most of the harbingers, wouldn't care at first. She hates your house and hates your world, why in Teyvat's name would she be interested in what you're doing? That's what she used to think, until her arrogant slick eyes caught sight of what exactly you were drawing. In my opinion, there's only a couple things that would interest Signora. Drawing dresses, if you were interested in fashion designing, would definitely be the main one. Viewing your designs after you finished them would soon become a small hobby for her, and soon, she'd eventually ask you to draw her in one of your designs.

You'd say yes, of course. An excuse to draw a drop-dead gorgeous woman in one of your designs for free? No way you were going to pass this opportunity! For her hard work in modeling, you'd definitely pay back twice and give her a drawing of her in her harbinger uniform too - which I think would flatter her a bit too much.

Pantalone wouldn't care, and would never become interested. He's a very rich and successful banker, not any ordinary man. As soon as he sees you drawing somewhere in the house, he'll shrug and go the opposite way. He knows what it's like to be interrupted through a thoughtful process, and he doesn't feel like getting an earful from you if he interrupts it. What he does think about, however, is if you're making money from it. Maybe an online business. He asks, and receives a very disappointing answer. No? What do you mean no? These are good, he'd pay for a portrait! Well, if Mora was a usable currency here. Ugh, the thought of being a poor man in this world makes him disgusted.

Drawing him would result in lots of praise. He'd be very happy you used your own time to draw him. He didn't even have to pay for it, it was gift! You even said so yourself. Immediately taken from your hands and framed somewhere. You can't seem to find the drawing though... Pantalone insists it's still in the house, but no matter where you look you just can't find it! Oh well, it's probably better you didn't know where it went. (You would have never been able to find it, he hid the location so well after all.) Pantalone told you he'd give something back to you as a thank you, but you're not holding him to his word.

Tartaglia would be interested the second he sees you doing something he hasn't seen you do before. That looks interesting, let him give drawing a try! He'd boast how his siblings love his drawings he creates, but you knew he was lying to set a cheery mood. Your understanding was backed when you actually saw his 'Amazing Drawing'... It was embarrassing to say the least. He would heed all your little tips and eventually get good at drawing from your guidance! I can see him as the type to use these skills later for his siblings, and as the type to continue drawing even if you begin to get bored of it... He's skilled with his fingers after all-- okay I'm sorry I'm done.

Drawing him can go one in two ways. I see him as someone who will whine about being drawn. He'll say: 'Have you drawn me yet?' in one of the most annoying voices he cna muster. He knows and understands you find it annoying when he asks you to draw him, so he's found a loophole. Just keep asking questions related to it until you get the hint! ...You got the hint weeks ago, but you're refusing to do it. Well, you're refusing to show him your drawings you've already finished and hid out of sight. Showing him these drawings would make him really happy! Would fold his favourite and carry it around with him everywhere like some of the other harbingers. His next commission he's planned to ask you is of a drawing of Capitano. You eagerly declined, not wishing to impose on the Captain's privacy.

#genshin impact #yandere genshin impact #fatui harbingers #yandere harbingers #genshin #pierro #capitano #il dottore #columbina #arlecchino #pulcinella #scaramouche #sandrone #la signora #pantalone #tartaglia #childe #fatui #genshin fatui

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nicomoon69 · 1 month

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I’ve made up so much Bernard lore in my head so I’m just going to dump it here

so post Louis Grieve in my head Bernard transferred to an all boys boarding school his junior year (someone suggested Brentwood so I’m gonna go w that). his parents sent him there as a bit of a last ditch effort to straighten him out, get up his grades and push him out of his silly habits. this also included them making him buzz off his hair since they deemed his old hair unprofessional.

all of it was a huge blow to Bernard’s already fragile mental health and self esteem so at Brentwood he was kind of a mess. he wasn’t exactly a bad student but the people around him considered him even more of an outsider than he was before at Louis Grieve.

eventually Bernard did find himself with a small group of friends (might further develop them as ocs??) who were much like him outsiders. one of said friends also being the first time he fooled around with a guy, which led to several more though none of it was ever serious.

there was lots of denial at first but by the time his time at Brentwood ended Bernard had accepted himself as queer.

he applied for a few colleges, some outside of Gotham but he ended up settling for GU bc part of his couldnt handle leaving his city behind. he chose a double major because he thought that would make his parents most proud and bc biology and physics were the only subjects he enjoyed.

despite everything seemingly going well for Bernard he felt an emptiness that nothing could fix, that is until he found the Children of Dionysus. despite knowing the risks of joining a cult he did. he was in the cult for roughly eight months before he got kidnapped to get sacrificed.

that was a rough version of what happened in my head. I have some more details that I couldn’t fit smoothly into that word vomit so here’s some more

Bernard came out to his parents his first semester, which they took pretty badly and led him to getting kicked out and having to couch surf for a bit before landing on the apartment he was living in during TD:R.

to keep himself afloat with no support from his parents Bernard worked two jobs, one at a diner around the corner of his apartment and the other at a coffee shop closer to GU.

at Brentwood Bernard did a lot of experimental stuff with his appearance ranging from spiking his hair after it had grown out a bit to getting his ears pierced multiple times. a tongue piercing came along somewhere in his time at the cult and Bernard genuinely doesn’t remember getting it.

during junior and senior year Bernard joined the basketball team. he was surprisingly good considering he had never showed any interest in the sport and wasn’t particularly athletic before then. basketball somehow also led him to training himself in martial arts.

since I do hc the Children of Dionysus to have some more Dionysian practices I think Bernard developed both a distaste for wine and eating raw meat (omophagia).

Bernard has been refusing to get drastic hair cuts after the buzz cut and is unlikely to get one any time soon. he’s been taking kitchen scissors to his hair and freestyling it if he feels it needs more shape.

though he’s been out for a while Bernard hasn’t actually dated anyone long term before Tim. most people he’s been with were flings or were blocked after a few dates.

the way Bernard got into contact with the cult is through one of his high school classmates, who he’d seen talk about the ways that joining it had improved their life and how they were much more enlightened. he due to his circumstances was an easy victim after his initial skepticism

there’s just a lot of permanent scarring due to the cult, but Bernard doesn’t bother covering them up with make up or clothes. at least not post getting rescued.

Bernard actually goes to therapy after the cult and was also diagnosed with autism (let me project a teeny bit). it helped him make more sense of his life and gave him more direction.

his cooking passion came from his early childhood, being dimmed out in middle school and only returning after high school. he mostly enjoys writing his own recipes and experimenting with taste. there was ofc the added challenge of budget, but it was one of the few things that made him happy.

his conspiracy theorist side mostly calmed down until he was thrust back into it when he started dating Tim. this was due to odd behavior from Tim and until Bernard found out he was RR (which really didn’t take that long) he was balls deep on conspiracy blogs and threads. he didn’t really quite after putting the RR pieces together though, bc he enjoyed being able to subtly help Tim with his cases.

due to the two jobs and double major previously mentioned Bernard has a terrible sleeping schedule. he regularly stays up past three only to have a morning shift that starts at seven.

gonna quite rambling for now lol, might edit this post to add more in the morning but I’m sick of typing. sorry if it’s a lot, I just think abt him a lot……. yea..

#bernard dowd #tim drake #timbern #timber #td:r #dc #dcu #dc comics #my brain

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familyvideostevie · 8 months

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october twenty-fourth

day twenty-four: james potter james forgets his gloves on a walk along the river | established relationship, fluff, first i love you | 1.2k

The city is lovely this time of year. People clinging to the evenings where a heat lamp is enough to convince everyone to sit outside, vendors selling scarves and hot nuts on the bridges. The days are getting shorter, yes, but you bask in the chill and the energy of it all. Autumn is a season of change, of preparation, and you adore it.

The path along the river is bustling, full of young people drinking beer and kids on skateboards and couples like you and James. You’re due to meet your friends for dinner in about an hour but you got here early to stop at a bookshop and just spend time together.

He’s bought you mulled wine and himself spiced cider. The cups are doing wonders for warming your hands, which are cold even through your gloves. James, however, has forgotten his entirely, and the tips of his long piano fingers are starting to look the wrong color.

“Are you sure you don’t want at least one of my gloves?” you ask him. He shakes his head and reaches for you with one hand. You twine your fingers together as if it’ll keep him warm. James is the kind of person who will not admit that he’s cold even as he’s freezing to death.

“I’m not sacrificing your fingers because of my idiocy, love,” he says. “I’ll be alright.”

You pout at him and he laughs.

“None of that, come on now.” He kisses the pout from your lips until you’re laughing.

“James, don’t spill my wine!”

He tugs you into his side. “Sorry, sorry.” He doesn’t sound sorry at all.

You study him as you walk. His hair is windswept by the breeze coming off the river, his glasses clean only because you cleaned them a few minutes ago. He did remember a scarf, one you knitted him last month in preparation for the cold. Maybe you should buy him a pair of gloves for every coat. You really wish he would look out for himself more, not just everyone around him. But you can handle it being your job.

“Do you think Marlene will be cross if we show up tipsy?” you ask.

He looks at you with amusement in his eyes. “Are you already? You’ve had less than one wine.”

“No!” He laughs. “I just think we should get another, since they’re so warming.” James has finished his and tosses it in a bin.

“You don’t need to worry about my body temperature,” he says. “I will be just fine.”

You grumble. You worry! How could you not? He’s your boyfriend.

The smooth sound of a cello drifts towards you as you walk. “Do you think the buskers are out?” you ask James.

“I love that guy with the tuba that spits fire.”

“Please tell me you don’t think you’re hearing a tuba right now, James.” He kisses your temple with a smile.

“No, love, I know what it is. Let’s find it.”

You end up having to walk under a bridge and through a narrow tunnel but you end up by the art museum James took you to on your first date. It’s a weird one, full of experimental art and big, open floors of interactive installations, but you’d been smitten with him immedietly.

“Good memories,” he says, as if he can read your mind.

“The best.” It’s you who presses a kiss to his cheek this time. “There’s the cellist. Shall we watch?”

James allows you to drag him to the edge of the small crowd that has gathered to listen. He stands behind you and, in a move that makes you feel slightly triumphant, wraps his arms around you and sticks his hands in your jacket pockets.

“You’re warm,” James says into your ear. You lean back into him, one hand on your wine and the other resting on his arm.

“You’re welcome.”

He sways you to the music. It’s like you’re in your own little world with James, sometimes. He has this ability to make everything else fade away, to make you feel like you’re the most special person in the universe, like he’d do anything for you. And you think he would. Your heart aches with the desire to tell him you love him, you realize, to whisper it in his ear every second. To shout it from the bridge so the whole city can hear. It hits you like a truck.

How did you not realize before?

Standing here with him, his hands in your pockets because he likes to be close to you and he knows you’ll keep him warm, is the best place you could be right now. You are happy. A laugh bubbles its way out of you as the cellist starts to play a love song you heard on the radio this morning.

“What’s with you?” James asks, tone cheeky. “Got the giggles?”

You keep laughing, turning your face so it’s in his neck while his hands are still in your pockets.

“God, I love you,” James says. He pulls his hands from your coat and cups your elbows instead and you stop laughing.

“James —” you say, turning in his hold.

“I shouldn’t have said that,” he mutters.

Oh. Ouch. “Did you not mean it?” He hears the hurt in your voice and his eyes snap to you, reading the devastation in your gaze.

He quickly cradles your face and presses his lips to your brow. God, his hands really are cold.

“Of course I did,” he says in a rush. “I love you,” he says again. It sends a thrill down to your toes. “I just…meant to tell you in a more romantic way. Candles and dinner, or something.”

He kisses your lips this time, quick and hard, and flops his forehead onto your shoulder. The cellist keeps his rhythm, oblivious to the enormity of this moment between you.

“James,” you say, feeling a bit giddy. He loves you. “James, come back.”

“No,” he says, voice muffled by your jacket. “I’m embarrassed.”

You tug on the hair at the nape of his neck and he rises. His glasses are cooked so you straighten them.

“This is just fine,” you say. “This is perfect, actually.”

“Oh, is it?” he scoffs. “You’re just humoring me.”

“Maybe I am,” you say. You tug off one glove so you can rest your bare palm on his face. He leans into it. “But it’s alright. That’s what you do when you love someone.”

His gaze brightens, his mouth tugs up at the corner. “That so? How do you know, pray tell?”

You scrunch up your nose at him for playing this game, but you love it. You love him. “Because I love you, you silly man.”

He closes his eyes for just one moment as if he’s gathering himself. “I love you,” he says again.

“You said that already.”

“I’ll say it a million times.” You throw your arms around his neck and he pulls you tight to him, picking you up and spinning you around just once. People are probably staring but you don’t care.

“See?” you say once he sets you down, a little breathless. “Plenty romantic.”

James presses his forehead to yours. “If you say so, darling.” The cello plays on.

thank you for reading <3 reblog, send feedback, general masterlist here! promptober masterlist, find all fics under #fvspromptober23

#fvspromptober23 #james potter x you #james potter x reader #james potter x y/n #marauders fanfiction

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happilyfeatherafter · 2 months

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Happilyfeatherafter’s ficrec Fridays

Good friday y'all. Welcome back to a new fortnight of fics that I’ve read and loved recently. I took my first holiday of the year and IMMEDIATELY caught a cold that knocked me out for the week but at least it meant I got reading done. Save me, destiel, save me.

If you want to find more you can see my previous rec lists here!

29 March 2024

virga(e) by @shineforthee (art by @neversleepuntilfive) has gone straight to the top of the favourite fics ever pile, oh my god you guys, please read it immediately and admire the art that inspired it as part of @deancasreversebang. This fic is a thing of beauty from start to finish. In one version of the story of Dean and Cas, we find Castiel perpetually waiting in the desert, when a 26 year old Dean stumbles upon him drawn to the location mid-hunt. They must learn to trust each other, to figure out what's causing the push and pull that bonds them. The poetry of this fic, run through with this yearning devastating emotion on their journey together, coupled with the incredibly evocatively descriptions and research into the setting, come together to make the most gorgeous picture, the desert a place that seems desolate but is teeming with life. Much like the slowburn romance that flourishes between them. It also links back to post-canon in a way that is seeded so carefully and cleverly, and made my heart explode. It's funny, romantic, devastating, emotional, moving....I can't do justice to this fic with such a short snapshot, please read it for yourselves and come yell at me about it. It's so beautiful. shineforthee also has a great 9x06 fanfic gap one shot and an ongoing wip now too and I can't wait to read that! (Somehow need any more convincing? Check out @bloodydeanwinchester's Virga(e) liveblog).

It's all very complex by artichokeflower okay that was all very serious, so let's turn to a short and sweet smut fic that had me giggling gleefully throughout. 'After walking in on Dean's private time, Cas decides to do a little research and experimentation of his own and gets magically trapped in a book about sexual fantasies. And if that means Dean has to go in after him, well what are buddies for, right?' The thing that is just GOLDEN about this fic aside from the hot smut is the dry sense of humour, borderline French Mistake parody level porn and dialogue between Dean and especially Cas which just gets them so well...the cowboy scenes in particular. Glorious: “I’m sorry, Dean. That’s the end of the erotic violence. Are you hurt?” “Is there going to be any sex in your sexy fantasies?” Dean wheezed. “Not that the whole shoot out wasn’t fun. I just wasn’t expecting as much plot is all.” He coughed. That had probably sounded too eager.

Just Being and Just Having by Englandwouldfall I have recced before but is now complete!! This the post-canon fic series delves so incredibly beautifully into Dean and Cas’ history of miscommunication and gives them the chance to truly talk things out, finding themselves falling more deeply in love as they do so and understand their own mistakes but also what makes them work so well together when they’re no longer under Chuck’s thumb. Each chapter feels like therapy and a brain and heart massage! It sticks the landing so well and I just love these boys so much.

Something Happening Somewhen by allthismusic (@folkbloodbaths, art by @eggchef) aaaahhh time travel young Dean brought to the future to meet older Dean and Cas fic trope my beloved. A @deancaspinefest fic, Allthismusic is a fan of the trope too and this fic is a gorgeous tribute to it and the fics that came before. Cas saves 24yo Dean from an accident and brings him to the future when he witnesses what his life will be. Will Cas have to remove his memories to stop a paradox? Sweet and heartfelt, a joy to read.

Books, Pies, and Roommates by @seidenapfel (art by @kitshay) is a @deancaspinefest two-person love hexagon, with some excellently farcical misdirection. Cas moves in to the spare room of Dean's house, but he doesn't meet him, he meets Sam, as Dean is busy working. Cas is professor but helps his cousin out as a barista and his favourite customer is Deano. Dean's intrigued by the barista but he's not his online penpal and best friend Angel. Lines blur, connections are made, and hearts are gonna get broken...or are they?

Tag list under the cut, let me know if you'd like to be added! Please reblog <3

@dean-you-assbutt-cas-loves-you

#happilyfeatherafter ficrec friday #ficrec #destiel #destiel fic #deancas #destiel fanfic

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lgbtlunaverse · 1 month

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My stance on literary criticism in fanfiction communities is and will stay "only if it's explicitly asked for" and my usual go-to reply to the followup of "But you need criticism to improve!!" is: this is a hobby space, people are putting stuff out for free on the internet, it's not ABOUT quality, it's about fun.

And that's true. But the thing is that I do care about quality, actually. Controversial opinion but I like it when things are good. I want to make good things as a creator and enjoy them as an audience member. I think high quality art is just... a good goal to strive for inherently. And fanfiction is art (We're not having a debate about this. 'Art' is not a word that means high quality or high value. Because then bad art could not exist. Art means that it's art. Artistic expression. Nothing else)

And I think where me and the people talking about how criticism is necessary lose each other is that when we talk about quality, we both want good art to be made. But does that mean "I want a higher number of good works of art to exist" or do we mean "I want a higher fraction of all art that is created to be good"

Because those are 2 very different things.

See: if we mean the first, bad art existing is irrelevant, we only care about making sure good art comes into existance. But for the second, guarding against bad art is an integral part of reaching our goal. We not only have to encourage people to make good art, we have to discourage them from making bad art.

And those dual goals are important. Because criticism can make someone who is less good at art into a better artist. But it can also just make them... not make art.

And THIS. I think. Is where the distinction between paid professional art and hobby spaces, like fandoms, becomes important. It's not that I think you only get to criticise something if you paid money for it. It's that professional art spaces have a finite amount of resources. People need to eat, and they need to be paid, and art costs money to make. And if it's spent on the creation of bad art, that means less good art has the resources to be made.

(Even in something like indie e-book publishing with a lot less gatekeeping or upfront costs, this is still true. Resource allocation is perhaps more direct, directly from audience to author, but even before factoring in things like marketing and amazon's algorithm the truth is that writers have bills to pay and if they're not selling they'll need to find a different job)

What all of his means is that criticism is essential to professional art spaces. Because in order for quality to exist, you need to encourage the allocation of resources to good art and discourage the allocation of resources to bad art.

(It's more nuanced than that. Everytime a bad tropey romance book blows up people start whining about all the superior art this money could've been spent on. But there isn't ONE singular art money pool for the entire world. There are several thousand smaller resource pools that will be distributed among different regions and niches. The money spent on that tropey romance book was never going to be spent on an experimental sculpture. The work that lost out here is another better tropey romance book. Which is why you actually need to know and respect a genre to critique works in it effectively– ok I'll stop now)

And if there are more good artists than you can give resource to (which, by the way, is always true. Every moment of every day there truly great art not being made because the resources weren't there. From rejected ideas to talented people who never got to be artists in the first place because they needed a more stable job) then it doesn't matter whether an overall increase in quality comes from someone improving their craft or from them leaving the industry, leaving more resources to someone with higher quality work. They both have the same effect on the overall quality within the space.

But... in hobby spaces, those limits do not exist. People make stuff and put it on the internet for free. it's not just that they're not making money– even in professional spaces many people don't make money off their art– it's that making money isn't even an option. So that pool of limited resources doesn't exist.

Which means that the ONLY limiting factor for fanfiction is interest. The amount of fanfiction you get is dictated by the amount of people who are interested in creating it. That's it. Someone writing bad fanfiction does NOT mean that a different better fic writer will not get to write theirs.

"But criticism can make the bad fanfic writer better!" This is true, and it's usually what people who advocate for constructive ciritcism want. They do not want bad writers to be replaced by good writers, they want the bad writers to become good.

This makes sense, because as we just established, individual improvement is the ONLY way of improving the level of quality, because the only limiting factor is the amount of interested people

So, do you know what criticism can also do?

Make someone stop creating.

Well phrased or not, constructive or not. ANY critique that wasn't asked for has a chance to make someone want to stop creating. There really isn't a way to make sure you're not hitting someone in their deepest insecurities. And in unregulated spaces like fanfic you also don't have a way to screen for critique quality. There's no professional reviewers here. You can say "criticism is fine as long as it's constructive" all you want, but complete assholes giving absolutely useless critique can and do regularly think their criticism is the best writing advice in the world.

And if someone does stop, you have less interested people. You have decreased your one limiting factor.

And the thing is: people improve by just writing on their own. They might (keyword: MIGHT) improve faster if they had regular audience critique, but they'll improve by the mere act of repeatedly writing. It's the most important factor in improving.

And removing someone from the pool of interested people inherently means they stop writing, and thus stop improving. You have unavoidably DECREASED the amount of quality work that could be created.

The bottom line is: in spaces with limited resources, people either improving or quitting is the point. It's how you gatekeep, and get more good art to be made by freeing up those limited resources. In places where the only limiting factor is the people themselves, anyone being discouraged from making art because it's "not good enough" is a NET LOSS for quality.

Regardless of the fact that human enjoyment should be the first priority in hobbies, if you primarily look at it through the lens of caring about quality, unsolicited criticism hinders quality instead of serving it. The people who want to improve and who will not be discouraged by criticism will seek it out via beta-readers or editors or writing groups, or will explicitly invite their audience to give constructive criticism. At that point, go wild! But if you weren't asked: stay quiet.

#writing #fic writing #fandom #fanfiction #fandom culture #fandom etiquette #long post

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dnp-pet-rectangle · 3 months

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WAD reflection from the perspective of a theatre director

Inspired by @/calvinahobbes who did an amazing job breaking down the show’s metaphors & using her English degree in this post, I wanted to share my perspective on it (even a month later) & get use out of my theatre degree lol. Also, warning, this will be very much a long, long essay with run-ons. I have ADHD & I love when my frequent hyperfixations intersect 🤪 There are major spoilers.

My Background:

I am a semi-professional theatre director, but more broadly, a theatremaker. I have a theatre degree from New York University’s Tisch School on the Arts (NYU Tisch), where I did a conservatory program with one of their studios which focused basically on those who wanted to do a little bit of everything and create new works & was the only studio training directors & playwrights. I originally went into the program as a performer. I did not mean to end up concentrating on being mainly a producer & a director, but that’s a whole other story. I also through that program had to take theatre/performance studies courses, which I loved for the most part & is an interesting interdisciplinary field. But I will try to define terms just in case since anybody reading this may not know any or all the specific terminology I might use. In short, I have a fancy degree that apparently should cost $300k 🤡 & I’m gonna actually use it with doing this lol

Setting the Tone:

While Dan might call this a comedy special or comedy show, and thereby comparing it to other comedians, I actually think he is doing himself and We’re All Doomed (WAD) a disservice. I saw folks compare him a lot to Bo Burnham in the chat (who was actually was accepted and almost went to NYU Tisch for a different studio that focused on solely experimental work), which makes sense considering the theatrical nature of both of them. However, Dan actually goes further into the realm of theatre because of how he utilizes his crowd work (I’ll go into that later). I recognize traditional comedy specials/standup as having jokes or stories, when doing you know like late night talk show interviews, that can be made outside of the context of the show & slip into a conversation. Or with Burnham’s Inside Out, the songs & other parts can be done or understood mainly out of context, as seen through Bo uploading them to his YouTube channel. Comedy specials have the sections of their comedy stand-up thread together, but what Dan has done is weave his sections together. The length along with the intermission/interval being a part of WAD, adds to my point that he is not treating this as different material he tested out at different comedy clubs, but as something cohesive storytelling pieces. I think in terms of testing, Phil was the main sufferer audience member of the initial materials being created.

Anyway, you cannot as easily remove it from the context at certain points, because the transitions & the order of these different sections are treated as equally important, rather than a means to move on to the next section, with some possible space for improv.

Basically, I’m bi. Sorry, my brain started thinking about BIG when I started writing “basically” at the start of that sentence. Actually, what I am trying to say is that I would classify We’re All Doomed as a one-man performance piece/show, so I will be treating it as such in my review/reflection/breakdown. The comedy of it is important and there, but I don’t think it captures what WAD entirely is.

Also, unfortunately due to where I was at mentally at the time & the location it was being performed at, I never saw this live. To be honest, how it got framed marketing-wise did not help me feel connected with the actual purpose of the show, with hope being a key element. So while this was filmed, I am as much as possible trying to remove the cinematography as an element of my analysis. However, some things might be clearer on film, as with theatrical directing, you cannot add a zoom or crop & instead are trying to ensure moments are clear to an audience by what they see and hear through drawing their attention to it. With theatre being mainly about the live output by performers and intake by the audience, at the end of the day, what my job as a director is is to direct not only how the performers share the story, but also direct the audience on what is important to catch for understanding.

Breakdown of Thoughts

Originally, I wanted to rewatch the show again, and started to, but considering I ended up writing about a whole page worth of things for each minute of the show & I was sleepy by the time I was like 5-10 minutes in, I decided to be nice to myself & stay up all night in my comfortable bed instead of staying up all night at my desk trying to take in-depth notes 🙃

I’m gonna breakdown this analysis/reflection into further sections, just to give myself some anchors & break up the blocks of text. Also as a way to just be that pretentious, maybe with an academic flair, as is fitting to be for something about Dan Howell (said affectionately 💕)

The Script/Writing

When considering the text of the show itself, two things came to mind for me:

(1) This is definitely what I would call intertext. Intertext is a piece of writing that relates to another or more other writings through allusions. WAD is an intertext which alludes mainly to other works of Dan’s on his YouTube channel. The ability to get the true impact of the show relies on you knowing Dan (as his internet persona) on some level. And as a theatre maker & longtime fan, I love that it is, it’s what the piece needed to be. As a theatre producer, the hiatus from engaging with his audience and the limited runway given to reactivate interest in him and his creative work I think made it difficult to get that audience in some venues, along with some other funkiness (mainly with promo) I am less knowledgeable on. But I think Dan has already learned/continues to learn from that, which I think may have been valuable for him. (sidenote: I need the tea on all that because I love knowing how presenting venues work with performers, as well as the lack of understanding they have of internet culture as it relates to venue leadership.)

(2) This was a work he made for himself. He mentions this both in the show & in reference to WAD multiple times. But I think what truly came to mind for me was that it is still powerful for him to write for himself. He is writing for what he needs to be hearing or wants to be processing creatively.

I think why it is powerful is that Dan has discussed before how much stress he put on himself regarding danisnotonfire, and later Daniel Howell, videos, focusing on the audience, and how he was presenting a specific style/quality of video to them. Add in the layer of being closeted & actively fighting internalized homophobia, and the anxiety he built up makes sense. And I might personally attribute that more to his need to pass as straight & catering I believe at one point to an audience of cishet men, whether actual or perceived by him. Not all videos, especially the most impactful ones in my opinion, rely on this, but it was a key piece of what he made during his rise in popularity on the platform. This catering slowly decreased with the amount of uploads he was doing, along with a more tangible understanding of his audience thanks to the tours he did with Phil. Basically I’m Gay I think was the true shift where he gave himself permission to write work that had a main audience of himself. That’s where his best work has come from, and I think since then, he’s been able to have the space to process things creatively through his writing.

The Relationship Between Performer & Audience

When I was in theatre school, my directing teacher would constantly talk about not just considering the relationship of the performers on “stage” (I did a lot of more immersive work & we only had black box theatres, which is literally a room that is floor to ceiling black) but also the relationship of the performers & the story with the audience. By Dan knowing mainly who his audience would be, the show can now play with that understanding in mind.

This leads to my point that, overall, Dan does not use the fourth wall, and I think that is what makes We’re All Doomed work. It may also be why he called it a comedy show, idk.

For those who don’t know what the fourth wall is, it is a term from theatre originally that is about the way in which a traditional theatre stage (called a proscenium) has three physical walls around it, while there is no 4th physical wall, so the audience can see the performance. If does exist physically, it is only the curtain that acts as the 4th “wall”. So, in order to keep it as a separation between the performers and the audience, the actors treat the side where the audience is as a fourth wall. When someone breaks the 4th wall, this is when they speak to audience directly, rather than to another character. Examples from English-speaking pop culture would be the asides from Hamlet or Ferris Bueller in Ferris Bueller’s Day Off. But when you are the only person on stage, the only way to have a fourth wall is when you don’t reference that you know there’s an audience there. Hence, a monologue where the character is talking to themselves or an entity that is not the audience directly (or assigned to be the audience by the director), it is the closest you can have a fourth wall when alone.

Dan in his videos and in his previous tours with Phil never were without direct engagement of the audience (obvious with the naming of Interactive Introverts). It was never not a variation on him speaking with the audience in any type of dialogue, even if done parasocially.

Some of that is not new to theatre, but I would say is that it has become more of a trend within new theatre starting in the early 2010s to have more interactivity and a more authentic, explicit message that no performance will be the exact same. I definitely saw that in the shows I saw both Off-Broadway (which sidenote, all that means is that there’s fewer seats in that theatre, not about quality of the work or how worth it is to engage with) and larger settings like Broadway and the West End. That’s what I love about theatre, and why my own work is more about immersion and direct audience engagement.

Now Dan’s creative works have never been skit only or interested in telling a story outside of the realm of connecting with an audience as a variation of himself, so again, him not using the fourth wall overall is appropriate and fits in with what I mentioned about intertext. The piece does however start with a fourth wall for the music number, which I will walk through fully sharing why I am saying that about the song & dance opening after establishing some other concepts to help build understanding.

Design Can Work With You or Against You

I just want to say out the gate that the design was done really well, and I immediately felt a need to emphasize it after watching the first 10 minutes again.

First, let’s talk about the orange & black aesthetic of the show. Dan may have simply said that the orange just looked cool, but I think I would attribute more meaning to that color. Orange brings to my mind at first instance both a bright happiness/warmth and a sense of caution and warning, like road signs (at least those in America). The themes of the show reflect these two ideas and plays with the tension between them. I don’t know if he or the team meant to have that be a conscious choice, but there’s a joke I’ve had with other directors of when they get complimented on something unexpected, they just nod and say “yes, that was a choice”, even though it was just a random thing that happened or was something that you just thought would be cool to do. Orange runs through the show’s designs and it becomes clear that it is a tool for contrast and emphasis for the points Dan & the director want to make.

Now with the design team of costumes, lights, sound, and media, I can see a clear cohesion. Good theatrical design has the designs act as a character or highlighter in the story. Bad theatrical design can take away/distract from the core intensions of the show. It was so clear to me that the design was a character. And seeing that there were two media designers make complete sense considering the labor lift of both creating the projections displayed, but also creating/filming pieces of the media itself. The music/sound and lighting work well to articulate the manic feelings it means to instill in the audience and seeing it as a director, I assume part of the creative discussion was about parts of the media played they wanted to make sure were heard, and the lights help catch attentions in service of those pulled out moments. For costumes, I think Calvina did well in her post at articulating the elements of the costume and the progression it goes throughout the show. I’d rather not take up space to say the same thing truthfully.

With all the design elements, I think three characters could be defined (not including the audience), two as main characters, and one as a supporting character. I would name the main characters as “the Circle” (the looming set piece throughout hosting the projections used throughout) and “Dan On Stage/Dan performing” (the one in the physical space) with the “voiceover Dan/inner voice Dan” as a supporting character. The voiceover only exists in the beginning, and it is only shared with us to demonstrate the way in which the Dan On Stage singing is not really that aggressively optimistic and wholeheartedly believes the words he is singing. He is not the Dan we know from the Internet, so we can cathartically laugh at the attempt to pretend everything is fine. The voiceover only has one role, and it is to force Dan to confront this breakdown has an audience.

Staging an Opening Sequence: Our First Stage Character is the Circle

In directing classes, often what you focus on is called stage pictures, which is meant to help you consider what the actual imagery you want to ensure the audience absorbs for their understanding of the piece. The first and last stage moment of each act should tell a basic story of what happened, and therefore, are heavily emphasized as important for directors. The Circle (capitalized for reference purposes) being lit up before the show starts and then again in conjunction with the light flashes and sound establishes the importance of the Circle to the show. When the projection comes into play, showing the speech of a 15-year-old Greta Thunberg before beginning to add more, we are then introduced to the purpose of the Circle to be an output/portal for the overstimulation of messages, in this case, I would claim it being what comes from the Internet.

The music/sound and lighting work well to articulate the manic feelings it means to instill in the audience and seeing it as a director, I assume part of the creative discussion was about parts of the media played they wanted to make sure were heard, and the lights help catch attentions in service of those pulled out moments. The Circle also through some of the lighting moments, mimic that of a clock, which again adds to the doomsday, the "end is near" type energy. To have the end of the opening sequence build to an explosion which then shows solid orange at the end while Dan is in silhouette begins the introduction to the orange emphasis & proposes a sort of prophet-like version of him after the apocalyptic imagery disappears as he rises to be seen. What we have opened with is setting the tone to how we should view these two characters of the Circle & the Dan on Stage.

Song Time!

Dan is such a theatre kid & I love that for him. His dramatic side shows through the moment he used a rise to start his show at the top of the stairs, first in a place of seriousness with the sharp lighting and smoke to then bring in a very happy music number. The contrast & switching of expectations is a key of comedic works, and shows through most of the phandom who did not know WAD started with that, as it is indeed funnier if it comes as a shock. The movement & music mimic what folks attribute to as musical theatre, which is campy, happy singing. Knowing he was the one who suggested the song for TATINOF, I am loving Dan clearly wanting to have that opening number of a musical moment, even if it is dripping in irony. The Circle & the lights in this acts as a supporter to the message of it being sunshine and rainbows, with literal rainbow lights included. (Sidenote: I am 99% sure the pigeon coo is Phil, so if anything, I’m disappointed he was not credited as Pigeon sound effect AND remote crisis manager. Idk why I could tell, but both times now, it’s what I immediately thought when hearing that part)

I think of the musical number as the only place where he does have a fourth wall, because the number does not directly reference the audience at the start. It’s a one-man moment and it is about the performance not the audience engagement. It starts falling away when he starts pointing out the “and you”s, but the voiceover is the real break in our understanding of the world. It is emphasized by the color inversion of the sun & sky media of the Circle. The director is saying, this is important to how you now interpret what you’ve seen & will see, this is another shift from what was established of this world.

I should mention “world” is the terminology used to name what the environment the story is being told in with consideration, especially in theatre, of how much of a need there is for suspension of disbelief. I believe this term is also referenced a lot when discussing the fantasy and sci-fi genres, since those also requires some distancing from reality for the audience. This ties into a phrase I will probably end up using a lot of “rules of the space”. When establishing this world for the show you are presenting to an audience, there is a type of logic that must be established in order to understand what is the baseline for what the audience will be engaging with over the span of the show. But the voiceover immediately changes the rules of the space, because it messes with the Dan on stage, and messes with the messaging of the Circle. It adds a new context to the Dan On Stage, as while a fan will know that this song is not in alignment of our knowledge of Dan Howell, we get confirmation that this indeed ironic and outside of the branding that Dan has boxed himself into over his time on YouTube.

But the voiceover is also not in alignment with that “branding”. It expresses concerns related to the Dan On Stage’s mental wellbeing. There is no irony or subtext in that voice, it is the most direct in speaking to Dan On Stage, because it is being said by a variation of Dan in voiceover to himself. These could be seen as questions he knows to ask himself, but as someone who advocates for mental health & shares now about being openly gay, I interpret that he may feel he cannot express that outside of his mind for fear of undermining his advocacy points. The discussion of the “wonders” of the Internet also continue building in the tension that exists throughout WAD of how Dan feels about that space. The voiceover then proposes at first a type of equal extreme, which only sees the Doom, and as someone with clinical Depression myself, I think is only a furtherance of the breakdown, rather than the reality check it started off being. Not that what is listed is wrong by any means, but the barrage of it is meant to expand the drowning feeling, not act as call to action or consideration of the intricacies for engaging in the world. With the Circle’s sun imagery & the music having been inverted and shifted to something more sinister, Dan’s movement up the stairs fits a type of circular moment from the first entry of him, where the image of the prophetic figure is questioned on how he alone will solve the climate emergency. The slap & break of character for the Dan on Stage serves to confirm our understanding of the voiceover as the voice in Dan’s head & indeed there are not two Dans.

Also, the sparklers 🎇 showing up really make the key change for the song, but my producer brain is going, “girl, of course you lost money on this show, was that so VERY NECESSARY?” But the dramatic Gemini theatre bitch in me would 100% want this too. I just don’t have a capita£ester working to get sponsorship money in my life, so I have to be reasonable 😔 Also, the confetti with the high note is peak theatre gay so I again, love that for him. And of course, the confetti is orange.

Hints of Orange

When the song reaches its end & the Circle starts showing squares of orange, rather than a full background, this acts as a seed for the breakdown and waterfall of cubes, which Calvina speaks to the orange cube hint at the beginning in her post. The sudden cut-out with Dan simply lit replicates a moment the Circle is not present. The Internet is not present. To crawl to a microphone, the message is not “hey this guy needs two mics”, because we see one on his face, but that the wired mic (which I will now label as “The Microphone”) is a metaphor. It’s a crawl towards sharing out, not suppression. Only when the voiceover of himself points out the audience does he does a full fourth wall break. The suppression did not work, and neither he nor the audience can believe that it was the Truth.

The wire of the Microphone being orange showcases that it was meant to be seen. I don’t think it even in play in terms of the sound, like it might not even be on, considering the feedback nightmare it would likely cause. And no standard microphone used on stages has orange wires, because that would pull the audience’s eyes to it. But that’s the point here.

The rules of the space are now this: the Circle is not always active, the Microphone has significance, the Dan On Stage knows there is an audience. None of these were true before, even the Circle was on before the start. This draws the audience to know there has been a shift & to have the first words said into the Microphone be “We’re All Doomed” solidifies the song moment was a blip, that this is really where we start at. As an example, in the social media section, Dan does a deliberate wrapping of the wire on his hand at the same time the Circle scrolls to the social media icon. It is how the director & Dan are ensuring that we understand “what he is saying and what is been shown on the screen are in tandem”, so if you’re paying attention to that wire, it signals you should look up too.

Every other prop, except I believe the gavel and wig, is also orange. The bubble gun is mainly what comes to mind for me, since the cubes are not as activated as props necessarily. But if an item is to enter the stage, what I interpret it as is that it must be orange, there must be high contrast, nothing in the physical world on the stage can become blurred, only screens have that privilege(?) to have things blend together.

The Power Struggle Between Dan & the Circle

Once Dan has begun directly conversing with the audience, the rules of the space are:

(1) Dan On Stage acts, the design elements react (not including the Circle)

(2) The Circle and Dan have a symbiotic relationship, as neither have complete control over the other & react to what each other are doing

(3) The icons are our guides in understanding the sectioning done throughout the show

(4) Having “One Good Night” is the goal to reach at the end of the piece

As a person, as well as discussed throughout the show, we know that Dan has a contentious relationship with the Internet. It is what has given him his living but has also caused some of his worst moments mentally (2012? I don’t know her). It is the space in which lets him have an audience who have mainly showed him support, but also the space that has fed the cynicism that fuels his clinical depression. There lies in the way in which the Circle exists on the stage & looms over Dan in the background. It’s a necessary evil of what appears on the screen.

Why do I then say that the design elements are reacting? Well, if we remove the Circle from the equation, the lights, sounds effects, and props are all cued off of something Dan does like the clown honk. However, the Circle sometimes cues off what Dan does, but sometimes instigates what Dan speaks to. That especially is evident when video clips play that invoke what media Dan has been contending with on the Internet and the consequences of those things.

The Circle exists throughout both Act One & Act Two, but only becomes passive to the piece when Dan directly shows vulnerability & the removal of protective irony. Calvina spoke to this when discussing the costume choice of him opening the jumpsuit in Act Two to show the orange tank underneath.

Cubes as Articulators

Oh Creator did I have to dig deep into my brain for this term of articulators. So my directing instructor had some key terms that I think I don’t think are universally used, even by American theatre directors or at least in academic settings. She defined articulators to basically be elements that helped give almost like checkpoints for the progression of a throughline in a show. For WAD, that is easily those orange cubes.

When static is displayed on the Circle’s screen each time we transition to a new section, it is not the typical emulation of TV static, it is that sea of orange squares. It is an articulation of those fear, issues, concerns, all those pinpoints Dan speaks to why he says “We’re All Doomed”.

That’s why there is the culmination of the orange cubes falling on him, when he reaches the top of the stairs at the end of Act One. When he circles back to the same stage picture of him at the top, it can been considered a repetition of the prophetic imagery I pointed out from the opening sequence. What changes is that the orange squares enter the physical world, falling onto Dan. He can no longer say they live in his head. They are here and stay in the space until the end of the show. In Act One, they are the looming issues that signal the Apocalypse. In Act Two, they are the rubble that must be sorted through.

Calvina was the one who named it rubble and the cubes as representations of Dan’s problems. To have the audience actually able to take a cube home, she argued, would be symbolic of the audience helping carry that weight. While I’d love that, I mentioned in my tags on her post that I think mentally, that rubble would still be at his feet, even with taking home that visual metaphor. This is Dan we’re talking about, and with personal responsibility being a topic of the show, while it’s not his burden to bear alone, he does have to recognize it exists.

I think the repetition of the prophetic imagery comes to its climax when in the aftermath found in Act 2, voting who to fire into space can and does end up with him being sent by the audience. It represents an understanding of where he exists now from where he did at 18 in terms of social, political, and economic access and the possibilities of his influence. There is a responsibility there that ties to how he can move in the world now publicly, so why wouldn’t he have an existential crisis?

It is a Comedy Though, Right?

This is hundred percent comedy, and obvious dark humor at that. As a director, I love comedy, especially this type, because when an audience gets to laugh, the armor gets stripped away. They have no built-up resistance that let’s any uncomfortable point be heard effectively. It’s why the end’s vulnerability is effective, because we have already joked and laughed about our pains and our desire for escapism. Now we are able to move on into a place of reflection.

To underline why I say this is not stand-up comedy is that Dan has made it a stage show, just one that has comedy as a vehicle for telling this “story”. His interactions with his audience, through both quips based on audience reactions or “heckling” as well as explicitly asking for input into who to shot to space or what to add as a mad lib (generic brand for law purposes), are about being blended into the loose narrative constructed already, not actually to be reactionary like most crowd work I associate with stand-up comedy.

If anything, I could argue that it could be considered a comedy special that “Dan On Stage” is trying to make, but there is actually conflict being introduced that disrupts his set (both the comedy one and the physical one). There is clearly a showing of meta, as Dan makes sure to share thoughts on the creation of the show, the reactions from his overall show branding & imagery, the use of the lift because it was expensive to have. Dan’s comedy style can never be told without reference to behind the scenes, because if this is a creative means to process feelings, there are things about the show & its making that impact what needs to be processed too. It is also related to how his work is strengthened by acknowledging the two-way street of being in a parasocial relationship with his audience.

Can We Have One Good Night?

Another term central to what my directing teacher spoke of was the “Core”, usually a question, though not always, that motivated what was being explored over the course of a theatre piece. At the top, as Dan on Stage exaggerates that love doesn’t exist (which Dan refutes as being an actual belief of his during the afterparty) and other sardonic phrases, he also states he wants to give his audience one good night, because he recognizes the escapism his audience finds in his solo and joint content. We’re All Doomed’s Core is “can we just have one good night, even in the midst of the horrors we have outside of these theatre doors?”. But I would also say that in terms of where his writing was at the time of WAD’s inception and the naming of his mental health book as You Will Get Through This Night, it feels more like Dan himself has been grappling with a Core of “can I have one good night? Or a full 24 hours where I feel mainly happy when all I am bombarded with about the world is suffering?” I think night can be both literal, since we know he has had sleep issues, and metaphorical, as the night can represent this depressive episode he was writing himself out of.

When the mood tracker gets discussed in the last portion of WAD, to see a sea of neutral or uninterested emojis demonstrates when he took the time to do it, the answer that night was “no, not really” 😕. The main one mentioned is the ritual of “Fry Day” he has with Phil (sidenote: why are these British men not calling it “Chip Day”, since this ritual falls on a Saturday?), which is a rare smiley face. The question he likely has then is “can I ever have a good night again?”

So for him to then turn to his own videos during one of those nights, to a video where he states his famous “embrace the void and have the courage to exist,” that showcases what I mentioned of his best work being written for himself, in this case, a future version of himself.

Ending Sequence: Where Do We Land?

When the Circle does not display any media, it again shows the orange square motif, but after mentioning his own video, he turns to his audience for glimpses of what joy exists even in the face of Doom. The Circle changes into a display of different submitted clips showcasing this joy and hope that Dan was clearly looking for throughout this piece. He walks towards the top of the stairs to witness these clips. I cannot for my life at this point having now been separate from it for about a month, but I believe before the submitted media sequence, he states the famous line again of “Embrace the Void and Have the Courage to Exist”. With this last thing spoken, it gives that emphasis needed to take in the message emotionally and then witness what the Void (in this case the Circle) can offer.

A Good Director Should Go Unnoticed

When someone is not versed in theatrical directing, if the audience cannot tell what was a choice by the director or even consider the director themselves, this is weirdly a good sign. It means that it feels natural to what they are witnessing and to the messages that are meant to be communicated to the audience. As someone who also works in government, it feels very similar, as only bad work is evident to the general public. Obviously that is not true for everyone, but is an overall trait I think impacts both an understanding of public service and directing.

I am not familiar with any of the work of Ed Stambollouian, who through research, looks like he has done work with comedians like Joe Lycett (who I am also not familiar with) and directed TATINOF, but also more stripped down, exploratory theatre. Through a quick review of his portfolio, one, I am not shocked that Dan tapped him to assist with directing since there is a familiarity and two, his background tells me he knows how to direct for writer-performers, which is what comedians really are at the end of the day.

To direct for those who are doing one-person shows that they both wrote and performed, it is especially tricky to have the artist hand the reins over to the director. The director in this case acts as the artist’s eyes, because an artist cannot clone themselves. It is impossible for them to wear multiple hats at once, where they can give quality, objective feedback to themselves while also doing a full out performance. For Ed to be someone Dan has worked with before, there is already an established understanding of each other’s work styles, and a trust that otherwise would have to be built up before the work can truly begin to finalize the piece.

In short, Ed Stambollouian and the creative team on We’re All Doomed did an incredible job bringing what I understand Dan intended when he started writing this down in isolation. And @danielhowell you whole-heartedly deserve to call this your magnum opus. What can I say (sorry I can't help lovingly poking fun at you), your artistry shines throughout the show. I hope this too can be something your future self can turn back to.

🧡

(bonus) Thoughts on Orange Carpet & the Phil element

I didn’t fully rewatch the orange carpet, just to keep myself on task & not bring Phil too much into the main reflection without explicit reference in the show, but hearing Dan go “I’m alive in 3, 2…” made me laugh both times. He understands that we just want to know he has a pulse, ya know? Also them pretending it totally was live, when those fools (affectionate) cannot run a real live broadcast from their home for their lives. It just ran too smoothly, esp. in the transitions, for it to be anything but some very, very light editing on one improvised take they did. But I always support them in their acting, no matter how bad, like with DITL Australia’s opener or pretending there were not two apartments or that Google Feud being back was unplanned or Dil being pregnant with a statistically rare alien child or Phil living in a tiled, cramped bedroom or...

Also, Dan’s little laugh at the end of Phil’s sign-off is so fond it hurts. It also hurt that the VOD was hard to scrub through, so another deduction for the Kiswe platform.

Anyway, I’m glad that Dan was able to find space outside of the Dan & Phil branding of the 2010s as well as the image he was forced to manufacture for his YouTube presence, but also realize that with having a core audience that wants him to simply be happy, he can recognize that Phil is part of the things that make him happy. And can do so openly.

He is his own person, but it has been clearly emphasized now that Dan has no interest in not acknowledging that Phil always is and will be part of his present and future. He has made work like WAD & "Gay and Not Proud" to explore his way of thinking without the support of Phil present in the filmed/performed aspect. Dan acknowledges this intention, which is evident with him shooing away Phil at the beginning of “Gay and Not Proud” to process it alone.

It is also evident with the ending of “Daniel & Depression” and the WAD end credit of remote crisis manager showcasing the caretaking role Phil often plays in Dan’s life. But we know that caretaking is reciprocal, considering Phil's tactics with glue as well as his continuing health issues and anxieties. Dan has seen who he is without Phil by his side everyday in the public eye & has no interest in maintaining that Phil is absent for public projections.

I obviously do not know Dan Howell, or anything about him outside what exists on the internet. But in performance studies, there is a foundational understanding that there is no way to not be performing in some way during your day-to-day. Performing is not inherently a bad thing, as there are different roles you take on in your life, where how I engage at work is different from how I am hanging out with friends. This also has basis in gender studies, such as ideas that you can perform your gender "wrong". What has been so interesting to me in this phandom renaissance is the way Dan and Phil each perform as themselves in front of the camera now. What they share out and the layers they include--or choose to not remove--have been stated by them explicitly to be the most authentic they have ever been, without obviously removing their right to privacy. During the height of the glass closet that was their 2018 content, I remember thinking that it was going to be the most they would show us in the vain of "if you know, you know, and we know who will know". After the coming out videos of 2019, obviously that's not true, but the return of dapg has signaled a message of "we know you know, if you've been in the know" while veiled in a way that is not immediately perceivable by those who are casually engaging with their content. It is an authentic portrayal of themselves without filter, while also providing themselves space to not have to announce everything to the world. When you are in the know, it definitely targeted and causes psychic damage, but I am ready for anything and everything they throw our way.

#we’re all doomed #wad spoilers #daniel howell #danisnotonfire #dnp #dan and phil #dan howell #theatre analysis #performance studies #theatre director

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