Hatchetfield 🤝 Springfield
Small town ending in "field," corrupt mayor, lawyer that caters to the rich and has an inexplicable New York accent, a squeaky-voiced teen that seems to have every single job, a sea captain that talks like an extra from the version of Treasure Island that starred Bobby Driscoll, and a seemingly picture-perfect fundie family (the Chasitys and the Flandereses).
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Character A separates from Character B to take a breather from the kiss, only to laugh in surprise when Character B starts pulling them on top of them.
"What are you doing?" they question, straddling Character B; feels Character B pressing against them. They blink, swallowing heavily; it doesn't take much for them to understand what that means, as they cautiously grind their hips down against Character B's, testing the waters.
Character B's hands sneak up their torso, hands cupping their clothed breasts, massaging them gently as Character A lets out soft little sighs and breathy moans, hips quickening with speed; ducking down to bury their face on Character B's neck every now and again out of embarrassment and to muffle the noises they were making.
"Wait, wait, wait," Character B breathes out, holding onto Character A's hips to stop them from moving. Character A sits up, looking down at them, heart skipping a beat at the way Character B stares up at them with hooded eyes. "We shouldn't be too loud, yeah? How about we go somewhere else?"
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y'know what i find interesting about sun now that hw2 is out?
i've seen various interpretations of him since the game's release with all the new dialogue and scenes we got ranging from "stressed and in bad need of a cigarette and a three year vacation" to "petty bitch" to "caring but pushed to his limit" and like
the thing is, they're all right
he probably played favorites with some of the kids--cassie's testament combined with his general mannerisms certainly make me think so. sun is a little mean to the player character. he insults you, he talks down to you, he treats you like you don't have two brain cells to rub together when you screw up. in the carousel level, he's clearly begrudging that he can't simply do the job himself. he is petty and he is stressed and he is frustrated
you'd think, then, that sun would happily let moon do what he will with the human employees he clearly detests, with the kids that obviously frustrate him. you'd think he'd make good on his threats to turn off the lights himself, to let these people get what they deserve. how many times have we dreamed of petty revenge on the shitty customers and coworkers we've had to deal with in our jobs?
he doesn't. instead, he resigns himself to a life of isolation to keep moon in check, doing whatever he can to keep anyone else from getting hurt or dying. despite all his hot air, sun cares. deeply, selflessly. when we see him during the ruin segments of hw2, he's shaking in fear, hiding in scant light he has access to in his and moon's horrible room, out of easy reach from most, trying in the only way he can to keep more tragedy from occurring. he knows how bad his situation is; he's acutely aware of it in a way most of the other animatronics don't seem to be. his actions speak far louder than his words, and god knows he has plenty to say
sun is a deeply flawed person who tries to do good in spite of it all, and to me, that's fascinating
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I was wanting to try doing an art piece in the style of the signature spell poster art pieces you create. But I’m not really the best at coming up with a composition for such a thing.
Do you have a process for how you come up with the compositions for them?
oh, awesome! it is an INCREDIBLY enjoyable style to work in; I hope you have fun with it! :D
I'm not great at putting my thought/art process into words, so my apologies if this doesn't make a lot of sense, but I'll try! my first step is always to do a LOT of thumbnails to figure out both the idea and how I want to show it; not trying to do a real sketch or anything, just little doodles to figure out what exactly I'm trying to portray. (I also call these "garbage passes" because they're not meant to be any good, they're just there to throw things out. aha. ha. ...anyway.) I think it's important during that first stage to really focus on the idea and the layout and not to get too bogged down in the actual drawing yet!
I tend to save my final thumbnails, so I'll use 'em as examples (I posted the ones up through episode 5 here if you're interested!) (and, uhhh, spoilers through episode 5 also in this post, hopefully that won't be an issue!)
the main thing I try to think about in composition is balance -- not necessarily in terms of symmetry, but in where each element is placed and how much space it's taking up. remember, empty space is still space! it's also really important to think about the parts that don't have anything in them, as much as the parts that do!
personally, I like to divide things up roughly by both halves and by thirds -- there's a lot more in-depth info out there on why the "rule of thirds" in particular works well visually, but in short, our brains tend to focus on things that are placed closer to imaginary division lines, instead of in the exact center of an image. so even when I'm doing something that is very centered and symmetrical, I try to keep that in mind and generally aim around those for landmarks like faces/eyes (or...where they would be, anyway) and other focal points.
it's not a formula of "the character's face should be in this division of this grid" or anything, more like "our minds like to focus on these areas, let's think about how to use that", if that makes sense! and of course rules are made to be broken, art is lawless anarchy, and so on. but it can be a good starting place for deciding where you want to put things!
(blue - thirds, red - half)
and against the finished versions, because they do usually end up changing a lot (including the empty space of the border):
(...these actually lined up a lot better than I thought they would. :') it makes me look like I do things way more intentionally than I do.)
other stuff I just try to keep in mind is that our eyes like following arcs and paths, which can be a good way to guide the eye:
and frame and control the focus:
honestly, composition is one of those things I feel like I struggle with a lot, so I'm not sure how much of this is helpful or actually makes sense outside of my head. but hopefully it helps a little! it's all just stuff to think about while drawing and not anything hard-and-fast, so don't, like, stress out about making sure things are lining up exactly on the thirds or anything. again, it's more "our brains think these are the dopest parts of the rectangle" than anything else! take advantage of the cool parts of the rectangle!
NOW GO HAVE FUN DRAWING seriously though, it is always super cool that other people like this idea and style enough to want to do it themselves and for other/their own characters! thank you! ❤️❤️❤️
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The brotherly moments are what I’m looking forward to the most for the sequel. I’m hoping we can potentially get a scene that will top the reunion scene. Are there certain kinds of brotherly love moments you’d like to see in the sequel?
Big same.
What I'm most looking forward to is all the little subtle shows of affection: headlocks, side hugs, cap tugs, belly pokes, shoulder nudges, jabs, jostles... all the bits of body language that made their relationship feel so close and real in the first movie.
And of course, the return of that silly little secret handshake.
Another thing I want to see is more of Mario's protectiveness.
I know some are hoping that he gets a little overprotective after being separated from his bro in the first movie, but if we don't get that I want to at least see Mario's pre-adventure protectiveness.
Or the kind of protectiveness he exhibited in the Super Mario Adventures comics, where even though he's focused on the fight he always keeps an eye on his brother, and the moment Luigi calls out for help he immediately becomes first priority.
On the flip side, I want to see more of Luigi being the emotional support/voice of reason. He may be a ball of nerves in moments of peril, but he's proven to be very levelheaded overall.
Since I picture the arc of the sequel being Mario slowly coming to embrace the role of a true hero– with all the responsibilities that come with it– it'd be nice if he had a low moment of feeling like a failure that Luigi talks him out of.
Now, if they're going to try and top the reunion scene in the first movie, there is one surefire way to do that: slow down.
As good as that hug was, there was so much going on that it was hard to feel the full impact on the first watch.
Quiet things down for a moment... pump the breaks... focus in on the facial expressions... let us really feel the hug. Throw in another forehead touch while you're at it.
But you know what I'm really really excited to see?
Sword and shield fight dynamic.
I desperately want to see them fighting side-by-side without the superstar! Give me Mario spearheading the charge while Luigi watches his blindside! Mario throwing himself mindlessly into a dangerous stunt so long as Luigi is there to catch him, Mario fighting in close combat while Luigi draws the target's attention with long-range attacks, both of them falling into perfect synch when they need to deliver an extra-powerful blow.
I am so aggressively obsessed with the idea of their character traits being fully exhibited and explored through the way they approach a fight, you have no idea.
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