Terrible beast lives in the middle of a snowy forest and is terrified of humans until it falls for a big and strong huntress while she's aiming her rifle at it.
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Sometimes I look into Behind The Code's early development and feel both embarrassed and relieved that I won't be working on it for a while.
It really isn't much of a deal, but I know how I posted updates without really showing any progress. I'd write two paragraphs for the script, give up on it, come back two weeks later and start from scratch. And the period between each gap got larger with time.
Majority of the time I 1. worried about people's opinions on the storytelling 2. worried about not being experienced enough as a writer and as an animator to work on an animated series and 3. failed to realize I shouldn't work on an ambitious project like BTC by myself at a young age, while studying and working every day.
And boy, it was quite ambitious.
"The story should be impeccable, none of it should be even SLIGHTLY problematic or overly challenging. All characters should appear at some point (there are over 50 of them). The soundtrack must be perfectly fitting for the situation. It's fine if the animation seems flawed, but it has to be fluid 70% of the time. I must add secret characters and hidden easter eggs in every episode. There will be a total of 7 episodes, 20-45 minutes each. It must have voice acting..." and the list goes on.
A year ago I'd be very disappointed in myself for interrupting the project (or even accepting the fact I wouldn't do most of the things listed), but now I realize I was just a kid, doing kid things and having fun. I regret nothing, and at the moment, I truly wish to get back to BTC after graduating as a biologist and getting a job.
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had a dream where I was a little kid. William Afton wanted to kill me and he was dragging Vanessa with him (she REALLY didn't wanna participate in it). He wasn't wearing the suit for some reason, which meant it was basically angry Matthew Lillard chasing me around the streets as if I had thrown a rock at his car window.
And uhhh I distinctly remember having to climb someone's roof so he couldn't reach me lol
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Recently I've been getting asks about my process when drawing Springtrap.
So I made this :]
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visual representation of my partner playing out my favorite character's voicelines on his phone while i freeze on the spot
visual representation of my partner banging on the door, pretending to be my favorite fictional character trying to enter my room while i lose my mind
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So sorry, I already have an ask in and I don’t want to bother you but I’d appreciate the help if you could. How do you draw the sketch for an animatronic with their mouth open? Like when you draw BTC Springtrap yelling? I just can’t figure it out.
I always imagined upside-down boxes. The lid is the jaw opening and closing.
it works for animatronics like Freddy, Bonnie and Foxy (for Foxy, I usually think of rectangular-shaped boxes rather than square ones)
hope this helps :]
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at this point it's not even spoiler anymore since i've already shown y'all what behind the codes bell and spring's dynamic is like but then i drew them over this meme of two guys staring at each other and i just CAN'T NOT scroll past it on the btc folder and it's basically just
I THINK ITS SO FUNNY THAT THEY HAVE BEEF NEARLY KILL EACH OTHER AND THEN BECOME BESTIES AT THE END
"HEYYY pass me that remnant ova there"
"here u go" *throws it against their head, causing a loud bonk*
"thank"
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LOOK AT THESE.
COOL VILLAIN DESIGNS, RIGHT?
WELL,
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[Trigger warning]: Mentions of death and body horror.
This post is about my understanding of William Afton's possession of the Springbonnie suit!
One of the very few headcanons that I have is that, after his death, William Afton possessed both the Yellow Suit and his own corpse. It was more of an obligation rather than a choice. If he wanted to move around as Springtrap, he needed to bear the excruciating pain. Possessing a corpse meant striving to become "alive" again.
That probably explains why his body didn't fully decompose, even after 30 years: because his soul continuously struck it with jolts of energy, forcing the severely damaged tissue to function under awful conditions (cell membranes rupture and spill their contents after death, but they were forced back together). Here's an illustration:
To me, Springtrap didn't die once or twice, nor a third time. He died thousands and thousands of times and kept on coming back.
"I always come back."
The springlocks weren't the only cause of his suffering. It was the hunger, thirst, lack of oxygen, sleep deprivation, and subsequent infections, paired up with the psychological effects of it all.
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why is this so hard.
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Working on fictional concepts is crazy because I never know when something is absurdly nonsensical or legitimately cool.
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love it when characters show they're flustered in ways other than blushing or shyly looking away
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can i hug it (points at the very obvious and haunting presence of a severely damaged yellowish rabbit animatronic that belonged to a children's restaurant in the 80s)
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Hey, I was wondering if you could do a tutorial on how you draw fur? You make them look so fluffy!!!
Thanks! :]
ofc! Let's make Springdad our muse for this! >:3
pretty much just playin' around with the curves!
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