Latest Posts by shiftuu - Page 8
Drew some scarlet :)
I love her as a villian, she’s great
Here’s some versions w/o lineart bc I think it looks cool, and I put my sketch in there too
Yeah!
Now that you know how to draw Fwog Spread the gospel of fwog dedicate your life to drawing fwog, know fwog, only think of fwog, Fwog knows all.
day 2/1 Darkstalker and whiteout, if you even care
Proving a point to my boyfriend.
PLEASE REBLOG if you (male or female) believe it is perfectly okay and natural for a guy of any age to cry
Shuvuuia, a dinosaur typically most active at night, is fooled into getting up early by a total solar eclipse.
Just a reminder for people cause I haven't seen many peope posting about it:
If you can, please braid your hair today in honor of Cole Brings Plenty. Cole was a Lakota actor who was found murdered with his hair cut. Rising Hearts has asked that everyone, indigenous or not, wear braids to honor him and remember those that have suffered the same.
If you can't braid your hair, then share posts of others!
Now is also a good time to share some support to indigenous charities, if you're able
https://www.risinghearts.org/
https://landback.org/
https://mmiwusa.org/
https://narf.org/
https://ndncollective.org/
https://www.niwrc.org/
who else is still stuck in the desert
they make me insane everyday [note : i was gonna edit this to tongue and teeth but i found a better audio, enjoy]
(Devlog) What We Learned Making A Trans Dating Game
Hello, Amelia here, the writer for Breathless Winds. It's been 250,000+ words, countless revisions, and three years since this game entered development, and I wanted to talk about what I've learned leading up to release.
The concept for Breathless Winds was actually sort of a joke between friends. I was talking with Doris about how there should be a dating game where you play as a trans woman and your dating options revolve around certain ‘tropes’ we’d both seen in trans fiction-- the totally accepting cishet guy who falls in love with the trans heroine before she even knows she’s a woman, the cool trans woman who the heroine doesn’t know if she wants to date or wants to be, and so on.
Doris wound up suggesting we make this game ourselves. We both like visual novels and want to tell LGBT stories. Still half-jokingly and half-seriously, we started fleshing out what the romance options would be and coming up with a setting-- and soon, we were fully committed to making this game real.
I was a fan of visual novels but had only ever written prose. I knew which visual novels I liked and which scenes stood out, but I didn’t know why they did or how to make my own.
I read some great advice from visual novel developers, but a good amount of my knowledge came from just working on Breathless Winds. As our first project, this game has grown a lot with us and we’ve learned a lot while making it.
Learning How to Write Visual Novels
A bad habit I had to break out of was only using the ‘novel’ part of the game and not the ‘visual’ part. I would sometimes write “He smiled” or lines like that, and Doris informed me that we can convey this much more simply with a sprite change.
It sounds obvious in retrospect, but lines like that are often pretty invisible when you’re reading a non-visual novel. These lines change the sprite of the character inside your head (if that makes sense, haha). I realized that I’m so used to them being ‘invisible’ that I didn’t notice their absence in visual novels I liked, so I would accidentally include them while writing.
I was also writing these routes in a word processor, so I didn’t have the visual portion to reference, myself. I wound up making a lot of ‘tone’ notes like, “Lantana should be smug here” so that the meaning would carry when revising and implementing these into Ren’py.
So, while visual novels share a lot with prose, they’re an entirely different medium. On the subject of representing things visually, I’ve struggled trying to figure out how much can be visually represented and how much should be written.
Every asset in the game has to be drawn by Doris, so if I want the characters to go to a new location for a scene, I have to keep in mind that’s another background that Doris has to draw. If I want a new character to show up, that’s another sprite she has to draw. I don’t want to overload her, but if I’m trying to avoid this entirely, characters sometimes wind up standing in one room talking for ages without anything significant changing on-screen.
I’ve learned that it’s recommended for something to almost always be changing on-screen, though, so sometimes I just have to ask Doris to make a new asset for a certain scene. I still try to stick to locations/characters that already exist more often than not.
Every single thing in a visual novel is deliberate. Another thing I’ve had to learn that I never even considered before is how to write each line so it fits in the text box. It sounds obvious, but when I’m playing a visual novel, I don’t usually think about how each line has to be carefully constructed so it doesn’t need to be split up into two or more text boxes. In my mind, if a visual novel is well-created, there’s not much that breaks a reader’s immersion.
Planning & Outlining
The previous section might sound really weird to some people, so let me elaborate. I’m a lifelong ‘write by the seat of your pants’-er, so the biggest trial-and-error of creating Breathless Winds for me was planning out the game.
Initially, I created outlines for each of the four routes, and we agreed ahead of time on which CGs each route would have. That way, Doris could draw the necessary backgrounds and CGs while I was in the long process of drafting this game. My original outlines weren’t great. I know a lot of people have different experiences with writing, but for me personally, a story is always shaping itself in my mind. When I started making the outlines for Breathless Winds, I knew the concepts we wanted to convey, but I didn’t know what each route (and the game as a whole) was really about yet. This might sound weird and unprofessional, but sometimes, I don’t know what a story is about until I finish the first draft.
So while I was writing, I would look at my outlines and I would think, “this doesn’t actually make sense, he wouldn’t say that” or “this plot point would work better if moved to this other section” or “there’s a plot hole here I didn’t notice”. The story wound up changing a lot in this way as I learned what it’s really ‘about’.
And even after I finished the first draft, I’d get feedback from Doris and/or my editor and they would suggest fixes to problems that even I hadn’t noticed, and then I would revise the route some more, and later on I’d come back and need to redo part of the route to comply with something I wrote in a later route-- I haven’t really felt ‘finished’ with Breathless Winds at any point, and I think I’ll still feel this way after the game is released.
This means that sometimes, a background was created but would go unused because there was no space for the scene that would use it, or we’d need a new CG last-minute, or so on.
When I’m figuring things out as I go while writing a non-VN, the only person that I can adversely affect is my own self… so I’m eternally grateful for all of Doris’s patience with me on this matter. I think Breathless Winds has come out a much better game for all the re-plotting and revision.
I redid the outlines several times as I went. I think I’ve understood how to create outlines that personally work for me-- ‘living’ outlines that hit all the main points, but leave wiggle room for moments when a character does something unexpected, work the best for me.
Scope Creep
So, originally, each route was meant to be 40,000 words. “With four routes, that’s only 160,000 words!” I thought. “And some of my favorite visual novels are about that long, so I can write that much, too!” ← clueless
This is the most infamous mistake that new creators make, and I walked right into it. I should have known better since I’ve bitten off more than I can chew with past non-VN writing projects before, but I was starry-eyed and didn’t realize how much work it is to make a VN. Some of those favorite visual novels I referenced were made by much larger teams, writers whose full-time job was writing (I wrote all of these routes on the side while working at a day job).
If I could have done it again, I would have asked Doris to start out with a really short VN. But, I don’t regret making Breathless Winds at all. It’s brought Doris and I a lot closer, for one. Every time I thought I wanted to give up on this, Doris would motivate me to continue. Without the two of us both and our strong friendship, Breathless Winds wouldn’t exist, and I think that’s beautiful.
No matter what, we’re going to see it through to the end. (I hope people like it, though…)
Anyway, here I am talking about how much 40,000 words is. Each route now is about 60k to 70k words. The problem with having evolving outlines is that they can often evolve into double their original size.
We came up with the idea of the poachers really early in development, and then not addressing the poachers felt like a failing, but by that point it was too late to remove the poachers entirely… and so the game wound up a lot longer dealing with the poachers.
I think that if we had an editor sooner on in the game’s development, then we might have had someone to tell us, “do you really need all of this in the game? Does this plot point really need to be there? Will you be able to write all of this in a reasonable amount of time?”, haha. But Doris and I were really excited about the possibilities of this game when we started creating it, and without anyone to reel us back in, we wound up coming up with more and more things we wanted to put in the game.
Did you know there was going to be an island full of talking rats who say things like “the big cheese” and stuff all the time in Breathless Winds? Yeah.
The Core Design Philosophy of Breathless Winds
So, for anyone who’s read this far but doesn’t know yet-- the premise of Breathless Winds is that you play as a trans woman who doesn’t know she’s trans yet, and she finds love with one of four love interests as she discovers her gender identity.
In real life, it can be a lot messier for a person to date when discovering their gender identity. To put it briefly and mildly, a trans person’s life and sense of personal identity can rapidly change during a gender crisis and the early stages of transition.
However, we wanted to make this game a ‘wish-fulfillment’ type story-- a trans fantasy about acceptance, community, and love. During a gender crisis, it can be easy to feel as if one has lost touch with themselves and become isolated from others. A sincere wish shared by many trans people is to be accepted, loved, and even celebrated as their true gender, not just tolerated.
Since many trans people don’t get love and acceptance in real life, especially with the ongoing transphobic moral panic, we wanted to create a game that would bring this feeling of trans joy and celebration to trans audiences.
We also hope that cis players will still enjoy the story and characters, and maybe come away from the game with a new understanding about being transgender and other aspects of LGBT identity (although we never intended this game to be ‘educational’).
Making Characters that Celebrate Trans Identity
Although we went through several revisions, the core identities of each character stayed the same since the game was first ‘jokingly’ pitched. In another post, I discussed how each character is themed around a change in seasons. (I also wound up theming them around the four humors when I was initially concepting them-- I really wanted to avoid too much ‘overlap’ in the LI’s personalities, haha).
Ultimately, characters are created to serve a role. The LIs in Breathless Winds were designed to be love interests, of course-- characters who would appeal to the hypothetical trans femme audience. As mentioned earlier, we modeled them after other trans fiction tropes because these types of characters have a certain tried-and-true appeal, but this left plenty of flexibility to put our own spin on it.
A trans woman being loved as a woman by a cishet guy can feel like a high form of ‘passing’, ‘fitting in’ to the female gender role, and being validated by his orientation. He only likes women, and he likes you, so you’re undoubtedly a woman. As a cishet guy, he represents a sort of acceptance into a societal norm that trans women can desire to live to. (Lantana, as a cis lesbian, represents the sapphic counterpoint to this-- although there is of course a big gap between the ‘normalcy’ of a cishet man and a cis lesbian woman, and I don’t mean to say those two are equivalent.)
But not all trans women want to live to that (cis) societal norm. Rue and Valerian, as a trans woman and a trans man respectively, are the t4t options.
Rue’s route represents that trans/sapphic ‘envy’ (“do I want her or do I want to be her?”) as well as finding power in community aside from what society considers ‘normal’. We’ve always been pretty clear about what we wanted to do with Rue’s route.
We went back and forth a lot more on Valerian’s route. Initially, we were unsure if he should be trans. He and Rue are the two less-friendly love interests (at least initially), so I was afraid it would come across that t4t is a more hostile option, which is not true at all. But it also felt like a mistake to not have a trans man in the game-- but making Gallardia trans would have required a big overhaul of what we had in mind for him and his route. (Although, childhood friends t4t is a really good idea...)
Beyond that, Valerian takes a villainous role in any route that isn't his own. We were worried that it would be wrong to have a trans antagonist who represents unjust power. However, Breathless Winds is a queer game with other positive trans characters, and we've always approached Valerian as a hot anti-villain man that you can't help but like.
In the end, Valerian’s route is about breaking generational cycles and what it is that makes you a man, and I also managed to sneak in a scene where they dance at a ball in the royal palace, so in the end I think it all worked out great.
Wish Fulfillment and Catharsis
Doris and I both agreed that we wouldn’t depict on-screen transphobia in Breathless Winds. Poppy worries about not being accepted, but fear of acceptance can come with any change in identity. Rue was rejected by her family for being trans, but this doesn’t take place ‘on screen’ in the game. There exist certain metaphorical parallels for transness and transphobia, but every route has a happy ending.
Following up on this-- it can be difficult to write about discovery of gender identity without writing about transphobia, considering how many trans people suffer from internalized transphobia during their period of repression.
Sometimes, repressed/closeted transgender people ‘hyper-perform’ their assigned gender as a form of denial. A trans woman might grow out a beard and join a gym, while a trans man might become very interested in makeup and feminine clothing.
In Breathless Winds, Poppy often struggles with ‘strength’ and what it means to be a man. In several routes, she tries to prove her strength under the assumption that being stronger would make her happy. Afraid the world would reject her if she became who she really is, she preemptively rejects herself.
Not every trans person suffers from prolonged denial, internalized transphobia, or even gender dysphoria. I don’t think it’s impossible to tell a purely-positive story about trans joy.
While Poppy never gets rejected for being trans, faces transphobia, gets called a slur, etc, she faces both internal and external (metaphorical) obstacles to realizing and accepting her identity.
Gallardia represents a societal norm that Poppy can’t live up to herself as a man.
Lantana suffers from certain aspects of her identity as a woman, which makes Poppy feel guilt for wanting to be a girl.
Rue is isolated from town at the start of her route, a ‘punishment’ for breaking this societal norm.
Valerian has to hyper-conform to his masculine gender role at first in toxic ways before finding acceptance from within and from his loved ones.
These struggles are real to a lot of people, but instead of pretending they don’t exist, I hoped to tell a story about catharsis. Poppy is able to live up to her truth as a woman and finds love with Gallardia, Poppy and Lantana redefine what being a woman should and does mean to them, Rue and Poppy find community in others who don’t fit the norm, Poppy and Valerian stop seeking gender validation from a society that was never made to serve them.
Although these powerful forces of oppression exist, loving yourself as a trans person- and loving those around you, protecting the natural world, and standing up for what you believe in- can save the day. That’s the kind of story we wanted to tell.
Wrap-up
There’s a lot more I could write, but this has already gotten really long (sorry!) so I’ll wrap it up here.
Learning how to write a visual novel in terms of technical skill (how to depict events on-screen, how long each line should be) as well as in terms of writing skill (how to outline the game, how to plan visual assets) has been a massive undertaking for me.
Writing Breathless Winds has been a big challenge but also deeply rewarding, and all of your support has made the experience even more wonderful. Thank you for reading and thank you for supporting the game!
“The right belief is like a good cloak, I think. If it fits you well, it keeps you warm and safe. The wrong fit however, can suffocate.” ― Brandon Sanderson, The Final Empire
“But you can't kill me, Lord Tyrant. I represent that one thing you've never been able to kill, no matter how hard you try. I am hope.” ― Brandon Sanderson, The Final Empire
“Our belief is often strongest when it should be weakest. That is the nature of hope.” ― Brandon Sanderson, The Final Empire
I owe a lot to Brandon Sanderson. In the summer of 2020, I was three years deep into the worst reading-slump of my life, struggling with anxiety and depression thanks to a combination of university stress, the pandemic, a full time laboratory job, and living away from home in a strange dead city. My writing was struggling due to lack of time and input to fill up my creative well. I don't remember a lot of that spring, except that it felt like my head was constantly full of mist.
I had no idea how much my life would change when I picked up an audiobook of The Way of Kings to help pass the hours doing tedious sample prep. (Eternal thanks to @siarven for the recommendation and moral support for the past several years <3) Kaladin's ideals got me through that year, and the next, and the next, as I fell deeper into the cosmere.
I picked up the audiobook of The Final Empire this past summer, at another lab job, doing boring sample prep again, and immediately grew attached to Vin's character. I wish I had picked up this book in high school, because I relate to this awkward, intense teen altogether too much. Reading about her struggles was like reading about my slightly younger self, and I want to scoop her up in a hug. It also shocked me just how many of my OCs are incredibly similar to Vin, carrying paranoia, too much truama, great skill, and grander callings on their young shoulders.
Beyond that, The Final Empire is also just so much fun?? as much as post-apocalyptic hell-scapes can be fun, but Kelsier brings such an entertaining energy to the page, and his beacon of hope resonated with those deeper themes that have always been the source of my love for these series. The "learning to fly" scenes are always my favorite, since I've been a little kid I've always dreamed of taking off into the wild blue yonder and leaving my problems behind, and there's no small part of wish fulfillment in this costume bringing me a little closer to launching myself into the sky.
I hope this cosplay did justice to the love I have for these books and for Vin's character. I tried my best to catch most of the details - her single earring, the vials, glass knife, coin pouch, and I even got my hair cut after four years for the occasion. This project started over the summer by hand-sewing the shirt, which I completed as I finished the trilogy. I did not end up cutting the cloak into ribbons to create the iconic mistcloak silhouette, as I plan to reuse this cloak for other projects, but I've added strips to the outside to give some of that look whenever I'm moving or there's wind. These are just-finished pictures in my dorm, but I'll be going outside on the next misty day for a proper photo shoot.
Thank you to everyone who's followed this project and encouraged me along the way! It was a lot of work, and in the end, I'm glad to have a good cloak that fits rather well.
do you ever have an idea that kinda just grabs you out of nowhere and won’t leave you alone until you inflict it on the world? because that’s absolutely what happened to me re: this comic
So there was this thing on the wof subreddit called dragon of the week, which was basically when the community would vote for a character, and everybody had a week to draw that character and it was pretty cool! Eventually, the person who started it kinda stopped posting it and I think it would be cool to bring it back and I think it would also be cool if people from other social medias got a chance in it participating too, so (hopefully) here's the start of the first unofficial Dragon of The Week
I would really appreciate it if anyone who saw this rebloged so more people have a chance to see this!
since the old version of this post was flagged for ‘adult content’…
reblog this post if your account is a trans safe space or owned by a trans person!
along with that, reblog if your account is a non-binary spectrum safe space or owned by someone on the enby spectrum!
Creatures by the requests of twitter users, might do another one with requests from ur guys here :3
hot artists don't gatekeep
I've been resource gathering for YEARS so now I am going to share my dragons hoard
Floorplanner. Design and furnish a house for you to use for having a consistent background in your comic or anything! Free, you need an account, easy to use, and you can save multiple houses.
Comparing Heights. Input the heights of characters to see what the different is between them. Great for keeping consistency. Free.
Magma. Draw online with friends in real time. Great for practice or hanging out. Free, paid plan available, account preferred.
Smithsonian Open Access. Loads of free images. Free.
SketchDaily. Lots of pose references, massive library, is set on a timer so you can practice quick figure drawing. Free.
SculptGL. A sculpting tool which I am yet to master, but you should be able to make whatever 3d object you like with it. free.
Pexels. Free stock images. And the search engine is actually pretty good at pulling up what you want.
Figurosity. Great pose references, diverse body types, lots of "how to draw" videos directly on the site, the models are 3d and you can rotate the angle, but you can't make custom poses or edit body proportions. Free, account option, paid plans available.
Line of Action. More drawing references, this one also has a focus on expressions, hands/feet, animals, landscapes. Free.
Animal Photo. You pose a 3d skull model and select an animal species, and they give you a bunch of photo references for that animal at that angle. Super handy. Free.
Height Weight Chart. You ever see an OC listed as having a certain weight but then they look Wildly different than the number suggests? Well here's a site to avoid that! It shows real people at different weights and heights to give you a better idea of what these abstract numbers all look like. Free to use.
I keep sending people "<3" cause I want to say nice things without know what to say
✨ fragile ✨
Last month's picture, my oc Lucian. It started out as a quick sketch portrait for 2-3 hours.