Another thought about the "Dante gets Angeloed instead of Lady and Trish" AU is Lady rallying a relief effort of sorts in Redgrave City during the month between the Prologue and Mission 1.
Of course the Qliphoth has still taken over Redgrave City completely, but thanks to Lady's efforts, plenty of citizens were able to evacuate, and the military was called much sooner - though they didn't manage to do much, and ultimately gave up.
Maybe some soldiers do stay, however - what's the army gonna do? There's a demon tree - and sort of become Lady's little militia.
While Lady is helping survivors escape, and slowing down the Qliphoth, Trish is surveying the threat on her own - learning what she can about the Qliphoth and this new demon king. And, of course, looking for Dante.
Also, as long as we're including women today, perhaps one thing that gets Nero to go back to Redgrave City when he does - besides Nico creating Overture - is Kyrie wanting to go assist with the relief effort.
Nero - understandably - argues that Kyrie needs to stay with the kids, but she - correctly - reasons that the demon tree could very well spread beyond Redgrave City, and even into Fortuna. She's no warrior, but an extra set of hands could go a long way towards helping those brave people get by, and she can't rest easy knowing she could be doing something but isn't.
Nero can't argue with that - he feels the same way. He hates feeling like dead weight.
So, they leave the kids with a trusted friend (not for too long, DMC5's story only lasts for like a day, after all) and go to Redgrave City. Kyrie, so she can help the relief effort, and Nero, so he can kill Urizen and end this once and for all.
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This got brought up during a conversation with a friend last night, and I realise it’s important to say here.
The way we treat improvement in online art culture, art culture in general but especially online, by only measuring technical prowess is deeply harmful. This issue is not only harmful to beginner artists, whom this most affects, but also wreaks havoc on the minds of even those well entrenched.
We do not emphasise enough how important it is to be comfortable with the physicality of art; how much of art is coordination, and positioning, and finding a comfortable environment: both in a spacial sense and psychological sense. Time and time again, we push for this self-flagellating, motivation-via-punishment strategy, both from ourselves and from our peers, in a hope that this strife shall motivate us, and time and time again it wreaks insecurity, pain, and even total abandonment of the craft altogether.
Look at the state of the online art community. Take a look at any big Youtubers or prolific Instagram posters, and see how many of them continuously breed an environment of self-disparagement and dissatisfaction. How they, intentionally or not, pass these values onto their audiences. I’ll never forget when in one of her art tip videos, Lavendertowne said it was better to improve and be dissatisfied, rather than stay at a certain level and be comfortable.
Just what do you think art is for?
I was fortunate to have come along in my own journey to see this advice for what it was: harmful. Dissatisfaction as motivation. And some people manage to propel themselves off of that; clearly, Haley had. But what this advice either fails to consider, or does so as a form of weeding, is that this shit will utterly decimate the will of anyone not masochistic enough.
That this can and will cause the stagnation they are oh-so fearful of.
It’s sickening.
I hate how much capitalism has fucking twisted online art culture. That it’s turned the beginners on themselves and set them as rabid dogs on each other, and uplifted an Elect Few as flagellant martyrs, bearing the light for all who follow.
The simultaneous lie that art can only be achieved by those born with an innate talent like myself, and that also, if you work hard enough, beat yourself up hard enough, you’ll finally earn your worth. This emphasis on scarcity, whether inborn or dragged up by the bootstraps, either way serves the same end: to deny the fact that art is not special.
That art, just like cooking, is fundamentally human; we all do it, whether it’s prepping instant noodles, or drawing a stickman.
Let’s unpack that, for a moment: the stickman.
Do you know just how much is stored there?
A basic understanding of form, of emphasis on key features(prioritising the head, leaving a potential for emotion), the way it taps into human identity, the fact it’s flexible and can easily be changed-- Hell, alot of humanoid guidelines can be boiled down to stickmen with varying levels of buildup.
It’s so fundamental.
And yet we can go even deeper than that.
Think about how universal the experience is of just drawing shapes. How many of us picked up a crayon, or a twig, or a ballpoint pen, and ran absent patterns over the plane of our medium-- How then they’d allow us to go further, and relay the things we saw around us; whether solely for artistic pleasure, or as a form of preservation; and how neither are entirely divorced.
How my little cousin, scribbling with my coloured pens, is doing the same thing I do in my notebook and on my computer, the same thing Leonardo did with his pencil and his paintbrush, what artisans in the Americas and all over did when decorating their pottery, when they inscribed it, as we all do, with that human soul, and what humans have been doing far, far beyond recorded history, possibly before we were even human.
How essential something like this can be in building hand-eye coordination, another thing that is often neglected in this discussion! That not only are you struggling with technique, but also breaking-in those neural pathways; getting your arm used to these simultaneously repetitive and yet fluid motions. I? I don’t do proper lineart-- My hand is too loose. I’ve tried, and I’ve done it, but the experience was miserable, and there’s no need to put myself through it just because that’s “procedural”.
Your art, at the end of the day, is for you. You may show it to others, and do what you will, but at the end of the day, when the sun goes down, and it’s just you, and your pen, or your stylus, or your paintbrush, or whatever, it’s for you. Whether you started out with “pure” artistic intention or not, here is that.
And it may take awhile to break that in. We’ve made art, even private, into such a performance. Sketchbooks are not meant to be these neat, orderly things-- They can be, and that’s beautiful! --But in a sense, they’re more akin to something as a diary. A little place to pour the soul; to wander where you may, unfettered and unbound.
There are no rules here. There are guidelines. Nothing more.
Take what you will, and go forth.
If you’re struggling to make progress, and you’ve assessed that you do infact want that progress, then consider it’s not technique you need to worry about, but enjoyment; comfort, a degree of assuredness.
You won’t backslide into incoherency if you take your pedal off the break. Let yourself adjust to the road ahead, and drive where you may. And it will be awkward! And it will feel uncomfortable! And you will have those horrid moments where you’re ripped out of your own view and see yourself through the lens of some nebulous judging entity on the outside!
But allow yourself to ignore it.
Because now, you can take your art on your own terms; not on art Youtuber’s terms, not on your disapproving social circle’s terms, or whatever overly-hopeful expectations have been set on you because that’s what we as a capitalistic society do to people displaying any sort of prowess or potential of; Yours.
You deserve to be comfortable with your own work. You deserve to look at something, and feel however you may, and feel as though it isn’t a big deal. You are allowed to find pleasure in just being. That is what art is for: to answer the longings of a yearning soul.
Go forth, love of mine,
And be.
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