i've been going down a rabbit hole with youtube videos discussing the shining, and while i dismiss those "theory" dudebro youtube videos that talk about the shining being code for kubrick faking the moon landing or whatever just on principle, there's something that i need to say.
so, there's this poster that literally just appears in the background of a scene in the film. that's it. it's just there. it's a silhouette of a skier with the only legible words being "ski monarch" at the bottom.
for some reason, so many people have come up with all these super involved theories about how "monarch" is actually the name of like a government mind control program. or how the skier's legs bend backwards, signifying it's a supernatural creature and therefore "monarch" is actually code for "minotaur", which should be at the heart of the hotel's hedge mage.
but as someone who's actually from colorado (where the shining takes place), these theories just make me cackle like a witch on adderall.
guys, guys. it's literally just a ski resort. it's a relatively small ski resort deep in rural colorado that's been there since 1939. it's been called monarch mountain since 1939. the slogan that they use in most of their advertising is "ski monarch". the reason the skier's legs look like that is just because that's what people's legs do when you ski, the silhouette just removes the definition. some prop director probably brought that on to add authenticity to the set because the shining, famously. takes place in colorado. in the winter. where and when skiing is known to happen.
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Where do you get all your ideas for these drawings and how do you actually find the strength to do them? Also what happens if you finish a piece and aren't satisfied with it?
Oof, oh man let's see...where I get my ideas from is a tough one, because I get bits of ideas from a lot of different places, and then they just ping around in the circus of my brain until they combine into something I want to make. And with soukoku specifically, there's something about them that appeals very strongly to my sense of humor (not just my sense of humor of course, but it was that aspect which drew me to skk initially), and that makes it easier for me to go "oooh, I want to draw them doing this", or "wouldn't it be funny if they—", etc.
Basically, because I think about them a lot, that leads to things like, say, me listening to the Little Mermaid soundtrack one day while cooking and thinking "Hey, wouldn't it be funny if Chuuya was Sebastian and Dazai was the french Chef" and then running with it and writing a very very weird oneshot. Or, me taking a walk in the snow and thinking "hey what if soukoku were walking in the snow and then Dazai flopped over and started being dramatic about being Snow White" and then my Snow Day comic happened.
As for how I find the strength to do them (and unfortunately I feel like this isn't going to be a very inspirational answer): for me, drawing is a way that I process, calm myself down, and just...express myself. Ah, for example, that recent "Operation Quiet Heart" comic I made recently! I binge-drew that in about two days, because several things had happened to make me Very Stressed and Upset, and so I drew something silly but also comforting because I knew it would make me feel better. And it did! By the time I had sketched it out I had gone from a state of "I am about to either start biting people, or burst into tears" to "Okay I can manage this actually, it's not that big of a deal".
At this point, honestly, it's worse for me when I don't draw. A while ago I hurt my drawing hand while gardening and had to rest it, and in less than a day I started trying to teach myself how to draw with my non dominant hand, just so that I could make something. That's how feral I was going, not being able to draw anything. (I'm actually slowly getting better at left-hand drawing! Can't really do lineart very well yet, but I've occasionally used it for very loose coloring/non-precision stuff when my right hand needs a break.)
It's probably not the healthiest, but...I figure there are worse things I could rely on. Drawing daily has helped me get through some of the worst parts of my life so far—even at times when I couldn't express what I was feeling in words, I could still draw. I think that's just how my brain is wired, sometimes visuals are easier than words. (I like writing a lot, but it's definitely harder for me.)
Aaaand as for what I do when I don't feel satisfied with a piece—I'm gonna put the art ramblings under the cut, since this is already getting long—but the tl:dr is that it depends on how stubborn I'm feeling at the time :D
For example! Sometimes I finish a piece and go "eh", and then I just leave it!
Like this one! I don't hate it or anything, but after a while of messing around with it, it still wasn't quite what I wanted. Close, but not quite. Didn't quite like how Chuuya's hair turned out and such—so, I decided it was a learning experience and left it at that. Maybe I'll come back to the idea at a later point, but honestly I had no plan when I started this one and was just vibing, so I didn't take it as much of a loss.
And then sometimes I get really, really stubborn about a piece, and keep working at it until I get it to look how I want. For example, this one!
This one took me a WHILE, even just to figure out how I wanted the poses to work. I kept drawing sketches, turning off the layer and then trying again on a new layer. So first we had this:
But I felt like adding Dazai to this pose would be awkward, because he would be so eclipsed by Chuuya, so I tried again.
And nope, still didn't like it. having the profiles like this felt too stiff somehow, even though I liked how Dazai was holding on to him. (Also here's an example of me coming back to an idea later, because I recently made a side-profile-facing-corruption-piece that I ended up actually vibing with)
So, I tried again.
I don't have the full undersketch for this one, because I mangled it while drawing, but here—you can vaguely see what I was going for, mostly with where Dazai's arms are positioned. So I had the pose, but then of course there was the process of actually coloring it, and that was a whole other thing. Oh also Chuuya's face took a WHILE for me to get to a place where I didn't hate it.
Here I was mostly just trying to figure out base colors(and the background), and I ended up redoing almost all of it because I was being really sloppy—especially with Dazai's bandages and the curse marks on Chuuya's arms. Also Chuuya's head was a bit too large in proportion to his body, so I ended up selecting all those layers and shrinking it.
Getting closer, I fixed the curse marks and messed around with Chuuya's expression more (but I still didn't like it). Only now I felt like Dazai and Chuuya's heads were too zoomed out and small in this composition (also I tipped them too far back and now it looked like they were falling in a weird way), and also I wanted to add something else because I felt like Chuuya's hands were drawing a bit too much attention (plus it was a messy hand and I didn't feel like fixing it), so I decided to add a graviton to cover the hand and make that lower corner dark. I really wanted the focus to be Dazai's arms holding on to Chuuya.
So I changed Chuuya's expression again, adjusted the angle, zoomed it in, added the graviton, and then messed around with filters to get the colors more how I wanted them to look. And THEN I decided I was done, because I didn't want to overwork it, but yeah! That was one of the times where me being very persistent with a piece actually wound up with something I really liked.
Long answer short: sometimes when I don't like a piece I keep trying until I do, and sometimes I just let it be a learning experience, and try a different approach the next time.
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