SPOILERS FOR DRDT CH2!!!!!!!!
So, uhhh. I'm rewatching some of the second chapter, and i feel like everyone is so suspicious. It kinda feels like there's evil stuff going on behind the scenes that Teruko ended up missing because of how little she interacted with the others this chapter.
I haven't seen many people talk about the whole Hu and David thing? Like sure, they both went to make sure Nico was okay, but the way Hu acted when David started his villain arc was. strange? to say the least?
Also there is DEFINITELY more going on with Nico trying to kill Ace.
At first, i was SO convinced that Whit was the culprit because of the inevitable bonding that would happen between Charles and Teruko if he died, (Charles feeling like he can't trust anyone the way Teruko does after someone he befriended commits murder) but like.
J is suspicious.
Hu is suspicious.
Eden is suspicious.
Levi is suspicious.
At this point, im inclined to believe that they used the power of friendship and worked together to kill her or something. There mighta been people who were so out of the loop that they didn't know Arei was going through her redemption arc. Or they did know and were like,'i dont care, you still suck'.
Basically, I don't think anyone is going to walk away from this trial without being the slightest bit guilty.
(ALSO SIDE NOTE, SOMEONE PROBABLY LIED ABOUT NOT GETTING THEIR OWN SECRET!!!! I FEEL LIKE THAT'S WHAT IT'S BUILDING UP TO. I THINK IT MIGHT BE HU, WHICH IS WHY SHE DOESN'T WANT TO REVEAL WHAT SECRET SHE HAS. NOT NECESSARILY BECAUSE SHE'S AFRAID OF THE OTHERS KNOWING WHAT IT IS (which probably also played a part in it tbh.), BUT LIKE BECAUSE SHE WANTS THE OTHERS TO TRUST HER. I DONT THINK SHE MEANT TO LIE BUT SHE WAS TO SCARED TO SPEAK UP ABOUT IT OR SOMETHING.)
Btw Veronika needs to fess up about what secret she has. The trial is probably going to depend on what secret she has, and she's going to be so damn stubborn about revealing what it is.
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part 2 of this ask
📝Process for hurt mezu drawing
here are the steps i dug out of an art server's wips channel lol
1. initial sketch
2. refine sketch. thats lines now babey. (omitted "the sleeves are KILLING ME WAHHH" stage that led to this)
3. grayscale, to use with gradient map (this is a more polished grayscale than I started with, i dug the working file out to get better images)
4. find nice gradient map (ended up being the same one I'd used for the piece i made right before. the goal is to make what's essentially an underpainting, not to color the whole thing with one map)
5. tweak and add colors that arent in the map with hard light layers & also sneak in a layer for special effect and atmospheric/ scenic perspective while you're at it
6. shading & more finishing effects. pretty much all of the shading was done with hard light layers! the only non-hard light layers I used for the shading were the particle effect layers & like one faint glow layer to fix some values. blood was done with linear burn
✨Inspiration for hurt mezu drawing
the coloring method (grayscale -> saturated gradient map underpainting -> additive color adjustments) is something I tried out with the piece i'd made right before (the one where gozu is holding mezu from behind) & turned out really well, so I wanted to keep going with it
I also wanted to draw them angstily again because it'd been a very long time. like half a year at least. angsting them is very enriching for my soul so I try to do it regularly, this one was overdue
subconsciously referenced the poses in the initial sketch from this old thing (feb 2021). i love doing this. all my for-fun works recycle old elements in some way. my favorite game is "what old art reminds me of what im doing rn" im so good at digging stuff out of my archives for it. everyone loves when i do this
the gangi-kozou panel also
i went through a "shade in bold red-orange & dark blue with hard light layers" phase in like..april/may of 2021. i still like that stuff a lot so I wanted to revisit it
💚Things you like about hurt mezu drawing
repasting the link there but the sixth image in the process is essentially the final so you can just look at that
the colors are nice!! I'm real happy with using more saturated colors n I think the warm vs cool balance works really well
the sleeves (man being dramatic on the sand meme)
no like fr look at the 2021 piece's kimono sleeves vs the one I just did 2.5 years later. so satisfying
Gozu's expression came out nice
i think the claws and flash lines successfully added Emphasis to Gozu's expression & the piece overall
the poses … the drama …. the brush textures are also good
⏳Things you’d do differently with hurt mezu drawing
add in a liiitle more contrast...aka use a wider range of values. Some lighter lights and darker darks. I miss my 2021 hard neon lighting
a bit more distinction between the characters and the background also
the composition isn't bad but it could be better. Should've thought more about the way the eye would flow around the image in the drafting stage (solid b&w color block thumbnails are good for this)
Moar Sparkles. (I put a solid amount of large & low opacity light bubbles in there & some finer brighter dots especially around the claw stems, but I think more clusters of tiny bright lights on the characters themselves would've gone hard)
💌Some favourite feedback on art
as the wise man Austin Kleon once said: keep a "praise file" of all the positive feedback you get (if you've never read "Steal Like an Artist," you must). so. i am prepared for this question hold on
tastes like sugar glass
multiple people have told me my art is soft & dreamlike
jayce you reblogged my touchstarved art with nice tags on april 10th ive got that saved love uou
umm theres a lot...anytime someone keysmashes or feels emotional because of my art i get happy ,,, lys messaged me about the hurt mezu piece that made me happy also,,,,,there is so much joy in the world
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this has been sitting in my drafts as a response to some ideas that were circulating online a week or two ago due to that bang sihyuk interview, and it's clumsily worded but i still feel like it's a valid take so i'm just posting anyway. i'm not a music professional or connected to the industry, so if i'm far wrong just ignore this random post. i just get frustrated that for all the talk of strategy etc. everyone seems to act like bts (and by extension jk) are an established *western* act while either still promoting like a kpop act in sk schedule-wise or like a beyonce/tswift level act (which ... yeah duh) with vast u.s. name recognition (not so much) - and then wondering what's not clicking
idk about this "crisis" but i know one thing has struck me about the kpop and sk press and kpop stans in general
i touched on it back when i was talking in my tags about like crazy getting traction in the us
and what i meant was that those involved in kpop are too blinded by the industry cycle and too used to that cycle's accelerated evaluation by stans and press alike
like no one in the us who is not already a fan is waiting on the day of release to listen stream and buy. it is NOT like sk with weekly shows, several comebacks per year, etc etc
and most especially it's not this thing of: create song, choreo, mv, do a spate of music shows, see what hits if anything, maybe leverage concert dates if it does - but if not then done! next concept! move on and keep it moving - got to fill those music shows and if you don't constantly have new pieces to show you could lose attention and traction
but the general public in the u.s. is NOT socialized to all tune in to check out what's new at a certain time each week or whatever
only some check the charts and even that is mostly just to see where their personal fave is
what gp recognition goes by is repetition (that's one reason why radio is weighted so heavily in ratings- not fairly, but it's true): have we heard a song before? was it in the car on the way? was it in the club? was it in the music in the background at a store, at a party, on a friend's playlist?
when americans say they heard a song "everywhere" it means literally you could not escape it - and for that kind of feeling or environment to exist, it has to happen over *t i m e*
true, yes, sometimes a song takes off and gallops out of control like a wildfire catching but that is the exception not something that can be planned for or marketed into existence
and once you are a big enough name and have enough fans (us population @ 330 million so ... a lot more fans than it take to equal the same percentage of sales in sk ... so only a sliver of a percentage of that can mean a #1 bb hot 100) you CAN get that immediate-drop chart push
but most of the time, u.s. artists need to build up name recognition with the folks who wouldn't know a music chart if it popped up in their excel spreadsheets. that's why you get youtube reactors or even music business professionals months after release going oh i didn't know they even had an album/track/mv out
the larger a group, the longer it takes for things to disseminate past the early adopters and the media who watch them and the industry (nobody wants to be left behind, so journalists/talking heads are always like pets when you walk into the kitchen: heads on swivels in case it turns out relevant, and will write things just to be on top of a possible trend)
and this is where, i think, after watching hybe and its american arm try their push on jk, the kpop focalists are veering astray in their plans and projections: not seeing immediate huge success (or not *sustained* huge success) they think there is some kind of crisis rather than understanding that a u.s. or even just western gp fandom cannot be a top-down thing - it will take time
bts are huge (and yes a triumph for bts IS NOT and SHOULD not be lumped in as "a win" for kpop in general as has been pointed out is too often the case) but in the first days of jk's album release, *2 months* after seven had debuted, the huge nationwide retailer where i work couldn't even get his name spelled correctly in the point-of-sale database, so
the u.s. music industry is a big machine and busy on its own, many listeners only stay in their own bubbles and don't pay attention to anything outside that, because just keeping up with the output of one scene or genre can take as much effort as watching the kpop industry as a whole
to break wide you need to be either insanely ubiquitous and not just on social media (which runs the risk of people getting sick of you just as fast) or you need the slower groundswell of people going from "oh *that's* them? i heard of them but i didn't know that was their song" to "omg that's my song!! turn it up!"
there's just too much out there today to catch people's attention and the media cycle turns ever faster - used to, a song could be out and getting steady radio play and it still wouldn't hit the consciousness of the national public for like 3 or 4 months sometimes. sometimes it could take a year or more.
so this thing of short promotion periods for kpop acts - even bts! - is just not viable as a way to attract a wide gp following in the states. being on late night tv shows is a good step, but since the advent of streaming the influence of shows like that has waned considerably since the days of ed sullivan or johnny carson.
jk's run of promoting *was* the right kind of thing to do in fact - it simply should have been much more spread out over time. you can see all his album collab artists have things coming out *now* ... and there's no way to really take advantage of that with the curtailed promo.
and yes, obviously jk did get probably the second longest promo period of all of bts chapter 2 solos efforts (i think yg's tour ran longer?) and it was cut off for very valid reason! but!
i think bangpd et al. taking the fact that they couldn't make jk a household name in the u.s. nor nab him a grammy nom (nor any other kpop groups) within the 5-6 months of their fairly blatant push for us recognition as indicating a "crisis" is just not looking at the long game.
they didn't get all the accolades right away, so it seems they've decided 'that didn't work we need to make some big changes' instead of continuing what they'd been doing in support of the artists
it's this attitude of welp they didn't give us a grammy we were entitled to even though it's the first time we played ball in this particular way, so now we're worried bc we don't know how to shop kpop beyond people who aren't primed for it
like, they are looking at the business of it, and likely accurately, but not at the audience itself
it's not that the observations bang is making are wrong i just think he is basing them off premature information - songs in the u.s. DO benefit from purchase power, but they ALSO rely a lot on word of mouth. not for charts positions necessarily, but for longterm growth, support, and more importantly demand, you cannot beat a fandom that grows on its own.
the paid promotions at the end of the day serve the same purpose as bts's early days vlogs in the current western music climate - getting the artist and songs in front of as many eyes and ears as possible. but then you have to allow time for that wave to spread - and the bigger the pond, the more time it may take
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