Latest Posts by the-crabmaster - Page 4

this is it. the dumbest thing I've ever drawn.

bonus (technically a spoiler for an unintroduced character)

Leyendecker's June Graduate but make it Erin

(reference/original pic under cut!)

omfg i forgot that i never showed tumblr my greatest achievement. my pride and joy, my pi-ass de résistance

It’s a shiny rock, what’s not to like?

i always give a lazy two finger salute when cars stop for me at a crosswalk and it's devolved so much that at this point I feel like an icon of jesus whenever I cross the street

oh dont mind him. yeah he does that sometimes (@comicaurora) and

i named this one nuisance in my aurora borealis folder

Something about how Kendal named himself only after Alinua agreed to go with him on the several-day-long journey to Windscrest. Something about how he absolutely refused to name himself when he thought he'd get Vash back to his body soon. Something about how even after he decided to name himself he decided to name himself for a tool that belonged to Vash, that only Vash wielded, that had been both literally and figuratively a part of Vash's incarnation, that was just a useless hunk of metal without him. Something about how you can immediately know when Vash is controlling the body because Vash moves like he's comfortable in his own skin, and he revels in that comfort. Something about "Are you a god?" "No. Just a weapon. But I belong to one of Zuurith's enemies."

the void

this poem is about being nonbinary.

wanted to try a thing......... erin / voidy is from @comicaurora

@comicaurora piece inspired by this tweet (screenshot/image under the cut)

I like the magic mad scientist and his big mad scientist goggles.

Also here's a not-animated version

The Void Dragon (oh, and that Erin guy too)

Erin and Voidy from @comicaurora

I love these two and their dynamic so much.

Godling

Kendal from @comicaurora

The moment I read 2.1.45, I knew I had to draw this lady. Exams can be worried about later.

Also, I realised too late that the little triangles on the chimera's head are probably horns. If Red sees this, I sincerely apologise for the cat ears.

I finally managed to draw more aurora fan art :)

imagine if the oceans were replaced by forests and if you went into the forest the trees would get taller the deeper you went and there’d be thousands of undiscovered species and you could effectively walk across the ocean but the deeper you went, the darker it would be and the animals would get progressively scarier and more dangerous and instead of whales there’d be giant deer and just wow

So I’m reading The Green Knight for my Medieval English lit class and I went back and watched your Arthuriana videos for fun nostalgia, but I noticed when you were covering the Green Knight you called Arthur tired. Was there a specific reason why you did that or is that one of those things that, if you decided to redo that video, you would change? I just found it interesting bc the poem clearly states Arthur as boyish and his reason for initially accepting the challenge was pride.

The character of King Arthur that lives in my head has a little more "has been through the Arthuriana timeloop too many times" malaise than any proper characterization of King Arthur in the original stories. The story drifts and changes over time but Camelot always falls, because Arthur is a good king - some would say the perfect king - but that still isn't good enough.

I sent these with a bunch of other minis to the Rolling with Difficulties PO box. They are Ancient Drones from @comicaurora 's comic and the designs she didn't use and shared here

Austin said the box was opened and shown to everyone on RWD so I shouldn't be ruining the surprise. Make sure Austin remembers to get them to you Red.

For the rest of you the model is free to download and print from Thingiverse and Printables

So based on that last ask with King Arthur is he choosing to fall in love with Gwen even if she has a high chance of falling for Lancealot? If so, it's tragic. Doomed to love another that won't fully love you back.

Does Arthur even just tell Lancenalot to get the hell put of the kingdom some loops?

I think it's more like-

You become aware of your existence somewhere around the age of 3. You were born under mysterious circumstances you don't know the details of. The first time through, you were growing up in a castle. Lately you find you are growing up among peasantry.

Maybe you have brothers. Maybe you have a sister. Maybe you're an only child. Your family is distant either way. They speak welsh. They speak latin. They speak french. They speak english with american attempts at british accents.

The first few times through, there wasn't a sword. Now it's a consistent presence - a shimmering blade stuck in a plain anvil or a large boulder, haunting your hometown or a nearby forest glade. It looks different every time, feels different in your hands. It was made for you.

There are more trials every time. In the first stories the crown was yours from birth. Lately it's been further and further away, behind more tribulations and tournaments and beasts to slay. More guidance from the ageless old man you remember from the earliest days, the welsh days. He's different every time. Everything's different every time. And still nothing changes.

The crown is yours. It's inevitable. And when the crown passes into your hands, it carries the kingdom with it. It's yours now. And it's going to thrive! You hardly need to do anything. Heroes flock to you and pledge themselves as knights, then spend the decades tearing off on wild quests and adventures, getting into the kind of trouble that serendipitously always keeps the kingdom safe. The adventures feel familiar, but never quite play out the same way. Chalices, black knights, fairy women, questing beasts. You rarely see them for yourself. You're too important, after all. You're the kingdom's beating heart.

You have a queen. You don't spend much time with her. It's jarring how much she changes every time. You hate how much it surprises you the times she genuinely loves you; you never really get to enjoy it. The kingdom doesn't run itself, even if just having you around seems to make the forests grow thick and the rivers run clear. Mostly you spend time with her when you're rescuing her from abduction. You very rarely have children together. You miss them.

It didn't used to end in fire, but lately it never ends in anything but, and you never know when it's going to start. You're never home when it starts, but you spend so much time out tending the kingdom or questing anyway. But you always learn too late - treachery. Your knight, your vassal, your bastard child, your lady love. Camelot is burning. You watch your life's work precede you into the grave.

You die. You sleep under the mountain. You dream. It's quiet.

Somewhere in the world, a writer picks up a pen, and you become aware of existence somewhere around the age of 3.

Have you read/watched Nimona? If so, thoughts?

The kind of emotional gutpunch I can't bear to watch without ample preparation. The first ten minutes are the hard part for me - it's always a wrench for me to get through a "good-hearted character is cruelly framed" plotline, so I really appreciate how quickly they get that out of the way and how Nimona immediately brightens the mood when she shows up.

Overall, truly one of the best examples of how a creator can use their personal grief and rage at injustice as a medium to sculpt a story. The narrative manages to feel deeply authentic to a real emotional journey while still feeling completely contained within the story. I'm not entirely sure how to put this, but sometimes when a writer gets allegorical with their experiences, it can feel like the story gets put on pause so the characters can turn out to the audience and speak in the author's voice about their thoughts on the subject - a pretty clumsy way to communicate a message. Nimona does not do that. Instead, the many real-world parallels to bigotry, propaganda, queerphobia, church corruption, xenophobia, and regressive policies driven by terror of change feel like they arise naturally from the setting within the story rather than being imposed on it from the outside, which is extremely quality writing and characterization. Nimona's story is so clearly informed by ND Stevenson's life and gender journey, but Nimona herself feels like her own person who is messy and grieving and putting up walls and self-destructing and still - still - a fundamentally joyful, gleeful person who absolutely loves being alive when she isn't being brutally beaten down for the crime of existing inconveniently.

Also, it's a comparatively minor thing, but I really like how, like with She-Ra, Nimona creates a world that is passively non-homophobic, with gay relationships front and center and evidently regarded as completely fine and not worth commenting on - which, to me at least, made both stories remarkably relaxing and comfortable to immerse myself in, because I wasn't being randomly jumpscared by reminders of real-world hate - but it still uses allegory to address the real-world roots of homophobia in the form of xenophobia, correlated injustices like classism, and the monster-ification of The Other. So it can clearly state "hating people for how they exist is Always Fucked And Wrong" without having to dunk the queer audience in the icebath of "hey remember how people in the real world think you personally should be dead?" Again, not sure I'm phrasing this super clearly, but it's a balance ND Stevenson consistently strikes with his work, and I really love how he does it.

Animation's gorgeous, voicework is consistently top-shelf, love the aesthetic of Cyberpunk Arthuriana. Wins across the board.

Slowly making my way through the TOTK B roll stream, had a few thoughts on the emptiness of the sky islands. In a way, would it not be more surprising if there were more remains to be seen? Ignoring the whole 'it's a game, decisions were made by the developers' bit, nature can take over surprisingly quickly in the right circumstances. In a way, it's more surprising so much survived in BOTW (like the bomb hut ruins. Fire damaged wood? Should be gone in a decade or two anyway). (contd)

So the thing about the Sky Islands in Tears of the Kingdom is that, not only are the ruins fairly well-preserved - presumably due to having been in the Sacred Realm for the last 10,000+ years - but even with them damaged and tumbledown, it's fairly clear from the layout of the islands and their structures that they were not residences. That's not something that would've been lost to erosion and time, that's something foundational to the architecture of the place.

When the game designers want to show a place people live on the surface of Hyrule, they hit a few key points: distinct-looking homes with beds, places that make food, and an inn for travelers. The buildings are different sizes, decorated or personalized by the residents. They're laid out relative to one another in a way that allows for easy, convenient traversal. It's intentional design that makes the villages feel lived-in, cozy, and worth protecting.

Inside the buildings, little details show the presence of living people, even if the building is empty at the time. Table settings, notebooks, pictures on the walls. They feel like they've been shaped by the influence of people, living and working and customizing their environment.

These are all, to be fair, things that we wouldn't expect to last very long if the town fell to ruin. When we explore the sky islands, we aren't expecting to find well-preserved paper maps or notebooks or anything. But if they were lived-in - if they were Zonai population centers rather than temples, ritual centers and factories - that would still be reflected in the basic layout of the structure itself. A residence is designed to accommodate for every basic need, meaning we'd expect the buildings to have places for them to sleep, to eat, and to relax. On the Sky Islands, we find none of these things.

The most common buildings on the sky islands are these isolated stone one-room ruins. They look and feel like storehouses - a few pots, some crumbled masonry. No doors or interior rooms for privacy, no comforts, no sign of a place to sleep, no adjoining buildings. These things were never homes.

The Great Sky Island is the only really plausible candidate for a place the Zonai might've actually lived, being about town-sized with several buildings, but it's not laid out like one. The buildings are either small one-room storage sheds or the massive Temple of Time, and there's no sign of other specialized buildings that could have been used for things like food, rest or other necessities. The Great Sky Island feels like a large, beautiful public park built grafted onto the Temple of Time.

The larger dungeons are more internally complicated, but not in the way that residences are complicated. The water dungeon looks like some kind of huge open park - wide avenues, plazas, devices built for mobility. It feels like a place meant to be traversed and admired, not stayed in.

The wind dungeon is more clearly built as a weapon platform, nowhere we expect people to live. It makes sense that it feels sterile and lifeless.

The larger, more complicated sky islands are also designed for clear utility. The spheres are some sort of celestial observatories, featuring a control system, a treasure chest, and nothing else.

Wildcards like Lightcast Island were clearly built to serve a single purpose - in this case, a lighthouse and attached microdungeon - but contain no signs of life. Zonai came here for a reason, but they didn't stay.

The glide challenge islands are visually impressive, but ultimately the rings are empty - they don't even have structures on them. They exist for the dive challenge and nothing else.

Same deal with the labyrinths, which exist explicitly as puzzles and challenges.

The mines in the depths are also clearly structured for utility - storerooms, construct part repositories and a lot of conveyer belts for moving zoanite. The purpose of the building is very clear just from the layout, and these are not places where anyone was supposed to be staying outside of work hours.

This, along with the layout of towns on the surface, shows that the designers are very good at constructing architecture that reflects the in-story utility of a place, which means the lack of signs of life in the sky islands is not a limitation of the console or the imagination of the artists - it's an intentional design choice.

The end result of all of this? The Sky Islands feel like somewhere that the Zonai built and visited, but not where they lived. They feel cold and unwelcoming and liminal. There's no sense of loss or tragedy, just a feeling of emptiness - people used to come here, but they don't anymore. There's none of the poignancy of an empty dining table's unused place settings or an abandoned child's toy. None of the Sky Islands that descended during the Upheaval were places where the Zonai lived. At the peak of their power they were mistaken for gods, a massively thriving technologically advanced civilization - I'd expect their homes to be cities, towers of jade and marble bustling with the activity of a post-scarcity utopia. None of the Sky Islands show us anything like that, and given how well the designers can portray a lived-in place even without any people in it, this is assuredly intentional. The Zonai built and visited and used the Sky Islands we can explore, but as a whole they lived somewhere else.

But throughout it all, there's this pervading unease - the fact that there's no obvious tragedy makes the sky islands feel more unnerving. We know just enough of the story to infer that something happened to the Zonai - something bad, if we read into Rauru and Mineru's reaction - but whatever it was left no scars. The Zonai constructs don't even realize anything's amiss. The buildings have been damaged only by time and gravity; the forges and mines and observatories and temples are silent and abandoned, like the Zonai all went home one night for dinner and just never came back.

The Sky Islands don't feel dead, they feel lifeless. A place people passed through but didn't leave their mark on. When Link traverses the islands, he isn't just alone - he doesn't even have the comfort of signs of life. The only evidence he has that anyone ever came to these islands are the fact that somebody built them in the first place. They left no marks, no art, no notes, no diaries, no toys, no graffiti. They're just gone.

I have to get better at writing.

A little head bonk kiss <3

VR-LA’s design just kept getting more and more detailed as I progressed lol, but the simplicity of Maxim’s compared to him is honestly quite in character. But yeah! Tis them, they own my brain.

One of my favourite post formats is when someone with a similar URL to op torments them like they are failed clones of each other and it completely changes the tone of the original post.

this is so so important to me and mine, and I'm asking you to Do Something so I'll respect your time and keep it brief

in the UK, if 100k sign a a government petition it will be brought to Parliament and debated. y'all know this country is suffering from some 80s-style bigotry right now, and this is one symptom: almost 200k fuckholes have come together to force the government to discuss whether it is 'appropriate' to tell children that queer people exist. this is a big symbolic victory for them. and i am burning with fury.

please, if you're from the UK, sign this counter-petition so they can at least see how much of a minority they are. simply put, the attempt to put these bastards in their place isn't gathering enough steam. there are barely 2000 more signatures now than there were this morning (27th January 2023), and that isn't enough. i refuse to let these people feel even a moment of victory or satisfaction. please help.

there's a rare special kind of girl you can only find adrift in the hulks of ruined spacecraft or long buried tombs or inside sealed canisters with warning signs all over

Magnus the Red using powerful sorcery to scare Leman and his Space Wolves.

Quick meme before I leave for a few days.

Have you heard the tale of the queen of thieves?

Legolas pretty quickly gets in the habit of venting about his travelling companions in Elvish, so long as Gandalf & Aragorn aren’t in earshot they’ll never know right?

Then about a week into their journey like

Legolas: *in Elvish, for approximately the 20th time* ugh fucking hobbits, so annoying

Frodo: *also in Elvish, deadpan* yeah we’re the worst

Legolas: