Finally Took A Minute To Put Together The Art Vs Artist For The First Half Of 2024 (everything Here Is

i'm sorry , this is so cute! 🥰

Odysseus, disguised as a beggar: alright ody, you’re about to see your beautiful wife for the first time in twenty years but you CAN’T break character - no matter how gorgeous she is. You got this, after years of marriage, you’ve learned how to handle your wife’s hotness.

[Penelope walks into the room]

Odysseus: oh no she got hotter with age

I have to draw a lot of gold and metal for my work, but wasn't happy with any of the metal tutorials i could find around. I prefer really specific instruction, so after some research i put together what i think works as a generalist's guide/tutorial. Not perfectly accurate, but i hope it's helpful!

Whenever I think about the dark side and how Star Wars talks about it, it's never as small as having a temper or being prideful

It's those character flaws to an extreme

It's the loss of control. The loss of stability. The loss of who you really wanted to be. It's everything you would be if you sacrificed any kind of restraint

No one's turn to the dark side has ever been treated as a freeing experience because that's not what it is. Most dark side users have been broken down and twisted by even worse characters into following them. In most cases, it takes years of pain and suffering to be fully corrupted. It takes direct brainwashing to turn someone quickly. The very few who seemingly turned to the dark side completely by their own choice were just inherently drawn to the worst aspects of a person's nature

Many jedi have their own flaws and struggles. Quite a few lose their way and need time to rediscover themselves and who they are as jedi, but many of them never fall to the dark side because the dark side is more severe than having negative traits

The light side represents who a person is when they are at peace with themselves. It's who they are when they accept their vices as part of them, and then refuse to let those same vices dominate them. Keeping your worst traits under control is not a form of repression

The dark side is the full rejection of all of your positive traits. It's embracing your vices to the point that compassion and kindness no longer exist. It's expressing every negative emotion without thought or restraint

Light represents freedom. You're free to decide for yourself what kind of person you want to be. You're free to choose your way forward. You're free to change and grow as you please

Darkness is the one that represents being trapped. It's the side that chains you to your hatred and refuses to let go. It's what blinds you to the goodness in the world and lose sight of everything you hoped to be

That's why there's no such thing as positive corruption in Star Wars

Excuse me while I save this for a reference...

How To Write A Chase Scene

Before anyone takes off running, the reader needs to know why this matters. The chase can’t just be about two people running, it’s gotta have a reason. Is your hero sprinting for their life because the villain has a knife? Or maybe they’re chasing someone who just stole something valuable, and if they don’t catch them, it’s game over for everyone. Whatever the reason, make it clear early on. The higher the stakes, the more the reader will care about how this chase plays out. They’ll feel that surge of panic, knowing what’s on the line.

Sure, a chase scene is fast, people are running, dodging, maybe even falling. But not every second needs to be at full speed. If it’s too frantic from start to finish, the reader might get numb to the action. Instead, throw in some rhythm. Use quick, sharp sentences when things get intense, like someone stumbling or almost getting caught. But then slow it down for a second. Maybe they hit a dead end or pause to look around. Those brief moments of slow-down add suspense because they feel like the calm before the storm kicks up again.

Don’t let the setting just be a backdrop. The world around them should become a part of the chase. Maybe they’re tearing through a marketplace, dodging carts and knocking over tables, or sprinting down alleyways with trash cans crashing behind them. If they’re running through the woods, you’ve got low-hanging branches, roots, slippery mud, and the constant threat of tripping. Describing the environment makes the scene more vivid, but it also adds layers of tension. It’s not just two people running in a straight line, it’s two people trying to navigate through chaos.

Running isn’t easy, especially when you’re running for your life. This isn’t some smooth, graceful sprint where they look cool the whole time. Your character’s lungs should be burning, their legs aching, maybe their side starts to cramp. They’re gasping for air, barely holding it together. These details will remind the reader that this chase is taking a real toll. And the harder it gets for your character to keep going, the more the tension ramps up because the reader will wonder if they’ll actually make it.

Don’t make it too easy. The villain should almost catch your hero or the hero should almost grab the villain. But something happens last second to change the outcome. Maybe the villain’s fingers brush the hero’s coat as they sprint around a corner, but they manage to slip out of reach just in time. Or maybe your hero almost gets close enough to tackle the villain, but slips on some gravel, losing precious seconds.

And Don’t let the chase end in a way that feels too predictable. Whether your character gets away or is caught, it should be because of something clever. Maybe they spot a hiding place that’s almost impossible to notice, or they use their surroundings to mislead their pursuer. Or, the person chasing them pulls a fast one, Laying a trap, cutting off their escape route, or sending the hero down the wrong path. You want the end to feel earned, like it took quick thinking and ingenuity, not just dumb luck or fate.

if you have any questions or feedback on writing materials, please send me an email at Luna-azzurra@outlook.com ✍🏻

I have been looking for pictures like this. Someone needs mama cuddles.

Yearning for the mother's embrace

Don't mind me rebloging this for future reference...

Bit of a headcanon chart for what bugs in Hallownest might eat, based on what we see in-game anyway. There might be aphid livestock floating around somewhere, but we didn't see it so

Bit of rambling below the cut

edit: I thought the follies/mistakes lost their sapience, but I think I was mistaken! they should be in No (Sapient)

Edible:

Self explanatory. Non-sentient insects that look tasty and aren't horribly infected/weird. Garpede is here because we've actually seen a dead Garpede, whereas we've only seen a fossilized Goam

Questionable:

These guys are either heavily infected, covered with crystals, or very weird. Aspids are hypothetically edible when not infected, maybe? But I'm not sure what that'd look like. As for the crystals, I'm not sure if the effort needed to remove all of the rocks is worth the time. Also despite Uomas and Oomas being here, I like to think Tiso eats Uomas on occasion, until he gets sick

No (Sentient):

Self explanatory.

No (Taste Bad):

Also pretty obvious.

I definitely need this for a character I'm writing.

When writing emotionally reserved characters:

Show your character's struggles with holding in emotions. Just because your character won't let themself go in public, doesn't mean they don't struggle holding everything in.

Find a motive. Pride and/or consideration for those around them can make emotionally reserved people hold back more than would be considered good for them. There are other reasons too, perhaps the initial cause and the reason now are different, but try to give them a reason.

Show side-effects. Everything you bottled up shows itself in another way, whether it's physical or mental. This can be long- and short-term, depending on the severity of the emotions.

Give them coping mechanisms. Everyone who wishes not to show certain emotions has a trick or two to keep themselves in check. Taking a sip of water, not looking people in the eyes, clenching their fists, breathing just a bit too deeply.

Write subconscious signs that they give off, which close friends or family might pick on. Just because these characters want to keep their emotions to themselves, doesn't mean they don't give off signs. Some manage to keep said signs well hidden from those closest to them, but it's more common for environment to pick up on something at the very least.

Very well thought out headcanons.

do u have any headcanons about hk characters and spellwork (who can use what, what's possible and what isn't, whatever) :V?

take all this with a pinch of salt as i am typing from my phone in the back of a van and i am very sleepy

anyone could learn to spellcast with Soul! in the same way anyone could become an astrophysicist. most people do not.

the Soul Sanctum, and the Pale King's use of Soul spellwork, was considered highly innovative. mostly spellcasting is something only a few people can do/bother learning, but in Hallownest the King encourages it and the Soul Sanctum is dedicated to honing the craft, which makes Hallownest weirdly ahead of the game compared to a lot of places. soul scholars were kind of like the educated elite. but also wizards. people talked

you could simplify and say you have two main schools of thought: the scientific approach (Soul Sanctum, Pale King) and the spiritual approach (Snail Shamans, Moth Tribe). the two ways of thinking are not mutually exclusive and often overlap though. both can be used to great effect

there are bugs out there who have done crazy high level things like the Soul Sanctum in less scientifically-themed contexts, definitely. this tier of fanatical spell meddling is rareish though

Soul is the word many bugs use for the life force inside all living things. and yeah, basically! it's not exactly your sense of self though that's different

Soul and Void are effectively infinite. harnessing Soul to cast spells involves channelling it through certain means and generally you only have certain limited reserves to draw from at a time (see Soul Vessels for example)

Soul Master and the rest of the scholars were fixated on surpassing that limit. kind of a "what if humans used 100% of their brain" situation

if you actually found a way to use all of one bug's Soul at once it would be like splitting the atom - incredible amounts of energy released at once, even from an average bug who isn't a spell user in the first place. Mistakes and Follies collapsed into themselves long before they got anywhere near that level. it's basically just not sustainable or doable. (soul master voice: but is it)

spellwork is also kind of like using a certain muscle a lot. if you cast a lot of spells it'll get easier for you. if you're inherently a gifted type who has a lot of potential for spellwork, but never use it or pursue it, you'll still be pretty bad at it and get tired quickly compared to someone with no inherent ability who practices every day

Void is basically like its own version of Soul. the two are different but if you scanned a Void being and found no traces of Soul that doesn't mean they're soulless, it means they have their own version. you're looking at it. it's Void

the average bug does not contain any traces of Void by nature and thus spellwork with Void is rare and very poorly understood. those ancient bugs who worshipped the Void however would have had some in their system. how? don't ask questions you don't want answers to

once upon a time, all Void is/was, in all traces across the world, part of one unit. once in the dawn of time etc etc. the world has changed since but it's fundamentally all the same to itself.

spellwork with Void is essentially using Soul to bind and command some Void to do what you want it to do. this is why shade spell upgrades cost Soul, it's the Soul making it do that thing.

mess around with Void too much if you're a bug and it will do very strange things to the body. it stains shell, it leaks from the joints and the eyes, it puts strange thoughts in your head. Soul is easier, safer, and better understood, and also isn't partly echoing with its own collective sentience.

not that this kind of thing deters a Snail Shaman. pretty sure if a Snail Shaman was given half the chance they'd learn to spellcast with anything. magnets. active plutonium. whatever. mind your business

if you know how to see Soul inside a body, and concentrate, living things generally appear as opaque glowing white cutouts. the Soul inside a living creature is saturated to the point of looking like a white shape in space. you can't see this usually because their body is in the way and it's sort of, tied into their cells or whatever

you can use spellwork to do pretty much anything, if you're clever. the sky is the limit. flashy stuff like attack spells, subtle stuff like enhancing your senses or letting yourself see things not usually visible to the eye, defying gravity, Whatever. almost anything you can think of. the main barrier is that it's difficult and taxing. the average bug doesn't bother

oh god i haven't even done Dream. okay a short rundown: Dream is different again. it's about the self, about thoughts, about the conscious and subconscious, about the mind. you don't so much spellcast with Dream as just kind of... manipulate and explore what's around you. connect with others. influence, sometimes. mostly understand. it's not technically spellcasting though and this post is getting long so i'll leave it there for now sdffgjk

Okay, I wrote a fanfic of what if Crystal of all protagonists fell into the Distortion World and became best buds with Giratina by baking the dragon poffuns, but I never thought of would have happen AFTER Crystal went home.

This is the perfect image. Giratina missed the poffens so much that the dragon had to learn to bake poffens.

Multi tasking.

You can say that again Buddy! Humans are so crazy unique that it's not even funny!

I want to tell a story to the artists and would-be artists out there.

When I was 19, I made a large oil painting of the nerd I would eventually marry. I poured all my attention and care into this painting. It's the only art I have from back then that still holds up as a work I'm proud of today.

I entered it into a judged show at the local art center. It got an honorable mention. I went to see the show with my beloved model. One of the judges came up to talk to me, and highlighted that all the judges really liked the painting. It would have placed, except, you see, the feet were incorrect. They were too wide and short, and if I just studied a bit more anatomy-

I called over my future wife, and asked her to take off her shoe. Being already very used to humoring me, she did. The judge looked at her very short, very wide little foot. Exactly as I'd lovingly rendered it. I would never edit her appearance in any way.

The judge looked me in the eye, and to his credit, he really looked like he meant it when he said "Oh I'm so sorry."

Anyways the moral of the story is that all of those anatomy books that teach you proportions are either showing you averages, or a very specific idea of an idealized body. Actual bodies are much more varied than that.

So don't forget to draw from observation, and remember that humans aren't mass produced mannequins. Delight in our variation. Because it's supposed to be there.