藍色

Ai | 20+ | she/her | I7, Digimon, Tales | I dabble in various stuff | Art: http://viridian-sky.tumblr.com | icon by @elineyuhu.

[garmmy]

[kbondoxxxxav]

making my niche game into shonenslop agenda meme

[rnsk-kousatsu]

The Problem of Harmony in Digimon Survive

“But… if I told everyone how I honestly feel, it would disrupt the harmony, wouldn’t it? The teacher, and everyone in the class too, would be troubled, wouldn’t they?”

Revisiting Survive made me want to expand on my previous writeups about the game’s themes of harmony.

I actually love how Survive basically treats harmony as the problem of how to live with other people without either erasing yourself or erasing others. That’s why I think the game’s idea of harmony is much richer than mere conformity (i.e., getting along or following the rules). It’s also why Shuuji and Aoi are my favorites, with Saki to a lesser extent as well—we’ll be talking about her too, don’t worry—because they matter so much to the game’s broader thesis about harmony as an ideal. They all feel that to have a place in a group, they must fulfill an ideal. In Aoi and Shuuji’s cases, particularly, the ideals are social roles that are considered morally good, yet can be deeply destructive when overidentified with.

Before we get to the specifics, however, let’s talk about Survive’s idea of harmony. I actually love that Survive isn’t entirely against the ethics of harmony. What Survive keeps rejecting is the shallow version of harmony that most people are taught to admire, which includes values like not burdening others, not being selfish, not creating conflict (at least not visible conflict), and not deviating from the order of the group or society. That kind of harmony might look peaceful on the surface, but the game has no interest in treating it as genuinely good. If anything, it presents it as spiritually hollow, because it leaves no room for difficult feelings or dissent. It also fails to account for the basic fact that other people remain separate from you, and therefore inconvenient.

At the same time, though, the game also rejects the opposite idea that living truthfully just means following your personal feelings, passions, impulses, immediate wants, or whatever else. So its central message isn’t really “society bad, true self good” or “community good, selfishness bad.” It’s more interested in how you find the right balance—how you remain a distinct self within a group, whether that means a specific community or society at large, without either disappearing into it or tearing it apart. To me, that’s much more nuanced than the usual “just be yourself” stance similar stories tend to take, because human beings are social animals and the self is never formed in isolation.

I talked about this at length in a previous writeup, but I think this is also why the symbolism of “becoming one” as false harmony in both Shuuji’s and Aoi’s corruption arcs becomes especially important. In most other Digimon stories, merging with the partner Digimon tends to symbolize trust, integration, and completion (the self made whole through bond). Here in Survive (or at least in arcs involving the themes of corrupt harmony), it’s treated as horror instead, because if harmony becomes indistinguishable from sameness, then the boundary between self and other has to be destroyed. But once there’s no distance between self and other, there’s also no listening, which in turn means there’s no negotiation, and therefore ultimately no true understanding, because difference itself is being erased. In other words, the very separateness that makes conflict painful is also what makes the concept of relationship real. Becoming one is terrifying because it offers peace by abolishing the very conditions that makes peace meaningful in the first place.

Shuuji and Aoi actually show two different ways in which this form of false harmony (becoming one) can take shape. In Shuuji’s case, his whole life is basically built around acceptance through conformity. He’s learned to measure his worth strictly through external approval—essentially, through his ability to become what others expect of him. So of course his corruption arc culminates in a kind of self-erasure through merging with Lopmon in the form of Wendimon (after Wendimon devours him). He and Lopmon only truly become one through shared suffering. Wendimon is basically the image of a boy being eaten alive—both literally and figuratively—by his own desperation to become acceptable.

The fact that Wendimon has dual voices despite the union is interesting too, especially because Lopmon continues to voice the feelings Shuuji tries to suppress (“this hurts,” “I’m scared,” “I don’t like this”). Meanwhile, Shuuji remains trapped in the need to be accepted (“What should I do so you’ll finally accept me? What should I have done?”). It’s as though he has to override what Lopmon is expressing, because if he admits that this is painful—and worse, harmful—then in a sense he loses the only way he knows how to find his place in the world. He can’t yet allow pain to mean that something is wrong, because he still needs it to mean that he must try harder. So his false harmony is basically the annihilation of the self in the name of expectation. In other words, Shuuji loses himself in the need to be loved.

Aoi’s case is a little different from Shuuji’s even though her problem looks similar on the surface. While both of them have a strong social conscience built on self-suppression, Aoi seems to sincerely believe in the responsibility and propriety she feels obligated to enact, rather than being as overtly pressured into conformity as Shuuji is. In a sense she is still pressured, and part of her secretly resents it, but it’s subtler than in Shuuji’s case because she seems to have internalized it as a moral truth more than he has. And that’s what makes her feel more earnest in it.

Aoi’s healthy growth would involve becoming more assertive, more authoritative, and more willing to act and set boundaries. Wrathful does give her all of that, but unfortunately in a corrupted form. She (as Plutomon) finally comes to believe that her own idea of harmony is right and must be enforced. So, like I wrote in that previous writeup before, the fact that Plutomon keeps only Aoi’s voice—despite being a fusion of Aoi and Labramon—feels like a metaphor for Aoi’s care taking on a sort of maternalistic form. She no longer merely privileges her own voice, but begins to regard it as the voice responsible for deciding what is best for everyone else. In that sense, even speaking for Labramon becomes significant, because it shows that Aoi is no longer relating to her partner as a separate perspective to listen to.

I think that’s also why Plutomon feels more morally fraught. She is, in essence, care turned authoritarian. And like I just said, unlike Wendimon, she speaks only with Aoi’s voice because Labramon’s outspoken voice (which used to ground and check Aoi) now survives only inside Aoi’s certainty. So Aoi’s false harmony isn’t really the negation of self so much as its totalization where everyone else must fit into the order she now embodies. Where Shuuji disappears into what others want, Aoi forces others to blur into what she knows is right, so that there will be no more pain arising from “unnecessary” conflict.

The gendered theming works so well for much the same reason. Both of them begin by performing a somewhat exaggerated parody of the role they think they’re supposed to occupy. Aoi starts out as the overburdened feminine ideal: nurturing, excessively compliant, emotionally accommodating, always responsible even while resentful underneath it all. Meanwhile, Shuuji begins as the brittle masculine ideal: stern, forceful, leader-like, stoic, disciplinary—basically the embodiment of authority, though an oppressive one. Neither role fits them comfortably, because each is a performance shaped by pressure rather than genuine selfhood. That’s why both Aoi and Shuuji are so miserable.

Their arcs then move in opposite directions while ultimately serving the same thematic purpose. Aoi has to reclaim authority without turning it into domination, while Shuuji has to reclaim gentleness instead of seeing it as a shameful weakness. I know my friends and I joke about how Aoi becomes the dad and Shuuji becomes the mom of the group by the end of Truthful, but there’s actually some truth in that, I think. They don’t literally become each other’s gender, of course, but they finally stop allowing gendered expectations to amputate the parts of themselves they need in order to become whole.

Related to that, this also brings us to the heavy parental theming in both corruption arcs. Harmony, as a social ideal, is a sort of familial system scaled up. Society gets imagined as a household where leaders become parental in their authority and citizens become children. In this way, conflict equals disobedience and sacrifice equals duty. This metaphor shows up everywhere from nationalism to school culture to workplace organization.

This is even expressed in Bowen family systems theory, where Bowen says the same emotional patterns that govern families also appear in non-family groups and whole society. To further expand on Bowen’s concept, the real opposite of health isn’t actually conflict but fusion under anxiety. A family (or any close group) is an emotional unit, so when tension rises, people start managing anxiety by overaccommodating, overcontrolling, projecting, or distancing rather than by staying grounded as distinct selves in relationship. Bowen explicitly extends this beyond literal families to other forms of social groups as well, through what he calls the societal emotional process.

We can even relate the concept of differentiation of self in Bowen to the themes of Harmony in Survive. Bowen defines low differentiation as being so dependent on others’ acceptance that a person either changes themselves to please others or pressure others to conform to them. On the other hand, high differentiation means remaining connected while still being able to think clearly, act on principle, and tolerate disagreement. This lines up frighteningly well with Shuuji’s and Aoi’s arcs, because they are, essentially, opposite defenses against the same fear of separateness. In Bowen’s own wording, poorly differentiated people either “adjust what they think, say, and do to please others” (Shuuji) or “dogmatically proclaim what others would be like and pressure them to conform” (Aoi).

But anyway, back to the parental theming. The parent-child dynamic is also inherently hierarchical, which connects strongly to Harmony’s broader preoccupation with order. In that structure, the two sides are never truly equal, as the parent occupies a position of authority and control, while the child exists in a state of dependence and vulnerability. That imbalance makes the relationship a useful model for understanding how Harmony imagines order itself as something sustained through power and protection built on unequal roles.

Both Aoi and Shuuji try to step into the group’s parental principle, reproducing its hierarchical structure even when they do so clumsily, at least at first. However, their failure can’t just be reduced to individual weakness. After all, they’re children thrust into a vacuum of authority, trying to become the parental principle of the group in distorted forms precisely because they were never given healthy models of care and authority by the adults around them. Aoi becomes the nightmare mother: the all-containing caregiver who can’t tolerate disorder and wants to abolish selfishness by absorbing difference. Shuuji, on the other hand, becomes the nightmare father: the punitive authority who believes growth only happens by overcoming pain through discipline, before collapsing back into the abused child underneath that role.

Their healthier developments don’t actually destroy those parental energies so much as redeem them. Aoi remains caretaking and group-oriented, but she also grows into a leader who is less self-sacrificing without turning coercive. Shuuji remains serious about responsibility, but becomes more nurturing and guiding, almost teacherly, instead of domineering. Again, by the end, they’re still the “parents” of the group, just no longer trapped inside the false caricature they began with.

Aside from the gendered and parental theming, there’s also a subtler Harmony-related theme here around self-sacrifice. @digisurvive talked about this in one of their writeups, but one of Survive’s critiques of false harmony is the idea of erasing yourself for the greater good. The game keeps showing how morally noble that can feel, because you’re sacrificing yourself for the sake of others. But self-sacrifice in some cases can end up functioning as a distorted shortcut, because it lets you avoid the messier, harder work of staying alive, facing what you did, and learning to share your burden with other people—in other words, working through your relationships instead of just removing yourself from them. It’s a critique of a very particular social logic that if you are inconvenient, flawed, or burdensome, perhaps you can still become meaningful by disappearing usefully.

It’s exactly the logic of “redemption by death.” What makes Survive’s handling of this more complicated than a simple critique is that the game doesn’t only show that logic is failing. It also shows it working, or at least feeling like it works. Kaito’s death in Harmonious can be read as heroic self-sacrifice. But looking at what route it happens in and who’s dying, it’s kind of ironic that the one defined by passion and refusal to be managed actually dies by erasing himself for the group. He dies a Harmony death. Conversely, in Wrathful, the Harmony-aligned Aoi dies uncompromising. She holds her conviction to the last and refuses to yield. In a sense, the routes don’t just swap final bosses, they also swap the moral logic of dying. Each alignment contains the shadow of the other when taken to an extreme. However, that structural irony is easier to recognize from the outside, because for the characters caught within it, self-sacrifice registers not as a thematic reversal so much as the only remaining way to matter.

With Shuuji, this is the clearest case, because his willingness (or should I say “eagerness”) to offer himself as a sacrifice isn’t pure altruism, since it’s entangled with his sense of himself as dead weight. He feels he has to make up for beingh a burden, and if he can’t be useful in life, then maybe he can finally be useful in death. However, that’s not accountability, because you can’t redeem yourself by disposing of yourself. Shuuji’s growth only begins once he stays alive long enough to own what he did and start changing in relation to both himself and others.

With Saki—another Harmony-aligned kid I haven’t really talked about yet—it becomes more complicated. Saki is actually a fascinating addition to this because her struggle is so quiet. If Harmony’s false face is “not being a burden,” then Saki—with her chronic illness—is the living embodiment of a “threat” to that harmony. Her self-sacrifice in Wrathful is her way of trying to balance the scale. And it does contain real courage and care, but it’s still tangled up with the fear of being forgotten and having lived meaninglessly. She wants to do something that will prove her existence mattered. So even here, Survive doesn’t present sacrifice as some clean moral ideal. It becomes tragic precisely because it comes from a girl who hasn’t yet fully learned that her life already has value without needing to end in a “meaningful” death.

Aoi’s case is, once again, slightly different from both Shuuji’s and Saki’s. She almost literally begins from the position of the self-sacrificing caretaker, the one who will carry the burden and do the work for everyone else. Wrathful then shows what happens when that self-sacrificial tendency festers long enough that the martyr ends up becoming a tyrant. Because if she always the one carrying everyone, then eventually she begins to feel that she has the right to decide for everyone too.

Going back for a bit, the self-sacrifice critique is also related to the whole parental theming in the sense that parents are culturally expected to sacrifice for their children. So invoking those themes together can be a way to examine how self-sacrifice is often treated as the highest form of love. The trouble is that this can become problematic very fast, because a caregiver or protector who only lives through sacrifice may start to moralize and even weaponize their suffering because they feel entitled to appreciation. “After all I’ve done for you” is basically the dark side of sacrificial care. Aoi’s corruption arc shows exactly this problem.

So in the end, Survive is critiquing the ethics of harmony that treats both conformity and usefulness as more important personhood, and that assumes the group can—and should—be preserved through the sacrifice of the self. However, real harmony can never be achieved by erasing the inconvenient self. That’s also why accountability matters more than martyrdom, because by sincerely facing what you did and learning through your mistakes, you have the chance to become someone who can live differently. That’s how relationships are repaired and sustained. Real harmony depends on letting separate people continue to coexist despite difference, while helping them bear what they can’t carry alone.

[kurapixel]

apparently never posted survive lines here,

available as linking charms (personal store | etsy )

also taking comms for custom digimon linking charms -- non OC digimon are discounted (and the service is also further on sale rn) so i can add more digimon to the lineup and OC digimon line rates are negotiable (but generally 1.5-2x, maybe less if it's a recolor?)

i'll be taking as many comms as i can before feb 6 because i want to add these to my next charm order but the service will stay up and you can add yourself to the waitlist afterwards

also check out: 01 charms | 02/tamers/dawn-dusk charms

[garmmy]

survive scribbles

bring them to the card game…. 🥺

[garmmy]

i don't think i posted these here? old digimon survive arts inspired by the digimon adventure VHS box arts

[naokitwt]

rkgk. I just wanted to draw Kaito and Shuuji wearing sweaters and surprise Takuma and Ryo.

[garmmy]

this is a story of survival in a strange new world.

[ranshoku]

⚠️ EMERGENCY SKEB-LIKE COMMISSIONS OPEN ⚠️

opening skeb-like comms bc I've got less than $600 left in savings and I need to cover a $250 credit card bill in 2 weeks, so any comms or boost help a ton 🥹

full commission details | portfolio

to order, just fill the form below and send to my email (deutzian.commissions [at] gmail.com)⬇️

No. of characters: Ref(s): Note: (describe character's personality, etc. as detailed as possible) Your offer: (heed the base prices above) PayPal email:

I do have jp translation commissions open too, but since this doesn't get much traffic, I'm reopening art comms again...

[strawberry-crocodile]

Sometimes people get their start in fandom with something like, idk, the MCU or light action shows like Supernatural or children's fantasy like Warriors (this last example said with love), where the writing is an inconsistent mess, characterization can change on a dime, there's no themes stronger than like "family" or "stop the bad guy from changing our way of life". And their fandom experience is taking the hints of interesting ideas presented and dropped and spinning them into something interesting, or just fluffy and fun, and then discarding the rest.

And then these people come to a piece of art that like. Actually has themes and good writing and a coherent vision, but they're still trained on The Giant Trash Heap That Must Be Sorted Through, so they start their routine of excising fun yaoi moments and throwing the rest in the trash, except now the rest is like. A professionally made passion project by a group of skilled writers with a hundred years writing experience between them, and this fan is writing the same coffee shop AUs as ever. And it makes something that feels same-y and fandom out of something unique and well-made and, well, interesting.

And like. That's their prerogative, more power to them, but it makes me wanna pull my hair out to talk to these people about a piece of media I actually care about beyond that Trash Heap level.

And if you're someone whose only fandom experience has been Trash Sorting and you're running into people arguing with you abt their favorite piece of media, give them a second thought I guess?

[strawberry-crocodile]

love and peace, @kingofgoblets. this is a good addition

[saint-starflicker]

[ screencapture is of tags that say: #and honestly i still like that stuff. i too was born in the trash. raised by it. #but you gotta know when you're just scrapbooking bits and pieces #versus when you're reading a full rich text thoroughly #there is room in your brain for both i promise #but even on days when you only have scrapbook energy #don't. do NOT. Pick fights with the people doing the intense reading. #if that isn't what you're into today? you're allowed to scroll on #or open a new file and make that coffee shop au. ]

[mod2amaryllis]

tags from @annabelle--cane are good

[garmmy]

judges of the underworld(s)

[garmmy]

keep on surviving

[abelunwilling]

Kia ora! I don't post a whole lot about my art here, but recently I've had the need to open up some art commissions to help recoup the cost of a recent medical emergency for one of my cats.

After getting some advice from some other artist friends, I've put together a lil ko-fi shop and I'd love to draw you stuff (OCs particularly beloved \o/) to help take the sting out of that nasty vet bill. Please check out my ko-fi here -- and even if you're not in the market for any art, sharing this post will really help!

[pamshindouu]

30 Days Digi-Art Challenge | Day 9: Healing

So... I kinda gave up on this one and drew something very different from the image I had in mind because I couldn't figure out how to make it work orz. But I guess it still looks cute, so that's ok I suppose.

[literaryvein-reblogs]

Hello! Hope you're doing well! Do you have any tips or methods on writing with the five senses technique?

Writing Notes: Sensory Language

Sensory imagery works by engaging a reader’s five senses.

Some Words to Describe Sight

ancient, angular, animated, arrogant, attractive, awkward, beefy, blotched, bold, broken, bulky, cheap, cluttered, colored, crinkled, curved, delicate, dim, dingy, drab, dramatic, elegant, energetic, exhausted, exotic, feeble, flashy, flat, flimsy, fluffy, flush, formal, frail, frilled, glassy, glossy, glowing, grassy, handsome, hefty, irregular, jammed, lavish, leafy, lively, loose, massive, miniature, muddled, muddy, murky, muscular, opulent, orderly, painted, peaceful, placid, pristine, radiant, ramshackle, regal, rigid, robust, ruffled, shabby, shadowy, shapely, sheer, shimmering, shiny, sickly, slender, sparkling, sparkly, speckled, spotted, sprinkled, stout, stretched, striped, sturdy, sunny, supple, swarming, swollen, tantalizing, tidy, timid, tinted, tranquil, vibrant, vivid, wavy, weightless, weighty, wild, wiry, worn, wrecked, wrinkled

Some Words to Describe Smell

acrid, ambrosial, antiseptic, aromatic, briny, burnt, clean, earthy, fishy, flowery, foul, fragrant, fresh, gamy, gaseous, lemony, minty, moldy, musty, odorous, overpowering, perfumed, piney, piquant, pungent, putrid, rancid, reeking, rotten, scented, sharp, skunky, smoky, spoiled, stagnant, stench, sterile, sweet, tempting, woodsy

Some Words to Describe Sound

Words to describe harsh or loud sounds: If you want to articulate abrupt, piercing, or loud noises, use: beep, bellow, blare, cackle, clack, clang, clank, clink, croak, earsplitting, full blast, grating, high frequency, huff, jarring, rasp, rumble, scrunch, shriek, toot, twang, vibrating, wail, and zap.

Words for soft or subtle sounds: Gentle noises can be challenging to describe. Here are some descriptors to use to evoke quiet noises: breathy, chime, droning, fizz, glug, gurgle, jingle, moan, sizzle, squish, swish, swoosh, tinkle, trill, wheeze, whir, and whoosh.

Animal sounds to describe noises: English language readers often associate these words with animal noises, but you can use them to create imaginative descriptions of other sounds: bleat, bray, chirping, cluck, hoot, howl, meow, neigh, purr, quack, roar, woof, yelp.

Some Words to Describe Taste

acidic, bitter, bittersweet, bland, burnt, buttery, creamy, crisp, fatty, fiery, fishy, flavorful, flavorless, fresh, fruity, greasy, hearty, insipid, juicy, luscious, mild, minty, nauseating, oily, palatable, peppery, pungent, raw, refreshing, rotten, salty, savory, smoky, sour, spicy, spoiled, stinging, sugared, sugary, sweet, syrupy, tangy, tart, vinegary, zesty

Some Words to Describe Touch

arid, balmy, blistering, boiling, breezy, bumpy, burning, chilly, clammy, coarse, cool, crisp, damp, dehydrated, dense, dried, dull, dusty, elastic, feathery, fleshy, fragile, fresh, frosty, fuzzy, gluey, gritty, hairy, heavy, jagged, leathery, lukewarm, mushy, oily, prickly, rubbery, sandy, satiny, scorching, searing, shriveled, shrunken, silky, sizzling, slight, slippery, spiky, steamy, sticky, stifling, stocky, sultry, sweltering, tender, tepid, thick, tough, velvety, waxy

Describing how something tastes, smells, sounds, or feels—not just how it looks—makes a passage or scene come alive.

Using a combination of imagery and sensory imagery arms the reader with as much information as possible and helps them create a more vivid mental picture of what is happening.

Types of Sensory Imagery

A passage of writing can contain imagery that appeals to multiple senses. It is useful to break down sensory imagery by sense.

Visual imagery engages the sense of sight. This is what you can see, and includes visual descriptions. Physical attributes including color, size, shape, lightness and darkness, shadows, and shade are all part of visual imagery.

Gustatory imagery engages the sense of taste. This is what you can taste, and includes flavors. This can include the five basic tastes—sweet, salty, bitter, sour, and umami—as well as the textures and sensations tied to the act of eating.

Tactile imagery engages the sense of touch. This is what you can feel, and includes textures and the many sensations a human being experiences when touching something. Differences in temperature is also a part of tactile imagery.

Auditory imagery engages the sense of hearing. This is the way things sound. Literary devices such as onomatopoeia and alliteration can help create sounds in writing.

Olfactory imagery engages the sense of smell. Scent is one of the most direct triggers of memory and emotion, but can be difficult to write about. Since taste and smell are so closely linked, you’ll sometimes find the same words (such as “sweet”) used to describe both. Simile is common in olfactory imagery, because it allows writers to compare a particular scent to common smells like dirt, grass, manure, or roses.

Kinesthetic imagery (a.k.a kinesthesia) engages the feeling of movement. This can be similar to tactile imagery but deals more with full-body sensations, such as those experienced during exercise. Rushing water, flapping wings, and pounding hearts are all examples of kinesthetic imagery.

Vivid vs. Vague Language

The sensory details you select in your writing should create for your reader the same picture you have in your mind. Instead of using vague, general words, your sensory language should be concrete and sensory-packed. This makes the difference between vivid and vague language.

Examples. Vague — Vivid

The food was unappetizing. — The pale turkey slices floated limply in a pool of murky fat.

The sprinkler was refreshing. — The cool water from the sprinkler sprayed our hot faces.

The candy was sour. — My taste buds recoiled from the sudden tartness, drawing my lips into a pucker.

Examples Using Sensory Details

to see - The tiny caterpillar climbed up the bright green leaf.

to hear - The passengers heard the loud screech of the train’s wheels.

to smell - The sweet aroma of fresh strawberries brought back memories of summer.

to touch - The mud felt slimy and cold between my toes.

to taste - The fresh, tangy lemon drops made my lips pucker.

to feel - In the hot July sun, our shirts felt like wet paper sticking to our backs.

What to Avoid When Using Sensory Detail

Too many adjectives—retain only the most powerful words in your writing, deleting any unnecessary words.

Too many adverbs—verbs are stronger than adverbs. Example: "She strolled into the room" is more powerful than "She walked casually into the room."

Clichéd figures of speech—overused language, such as "green with envy", signals a lack of imagination. Use fresh, descriptive words that go against rote thinking.

Writing Beyond the Five Senses

Expand your sensory writing toolkit by exploring sensations beyond the traditional five senses.

Seeing Emotions: Instead of stating emotions, show them through physical expressions. A happy person might have bright, sparkling eyes, while a sad person's shoulders could slump. Characters may also be able to see each other’s auras.

Kinesthesia: Also known as proprioception, this sense is about feeling a body's movement in space. It's the awareness of limbs' positions and movements, which can be tinkered with in interesting ways (say, within a dream or on a planet with different gravity). 

Synesthesia: Experiment with characters who experience multiple senses simultaneously, such as seeing colors when hearing music (sound-to-color synesthesia), and feeling as though they’re being touched when they see another person receiving physical contact (mirror-touch synesthesia). 

Muted & Heightened Senses: Explore the dynamics of characters with lost or enhanced senses.

Sources: 1 2 3 4 5 6 7 8 9 ⚜ More: Writing Notes & References

Additional posts:

List of Sensory Words with Definitions

List of Sounds with Definitions

Some Perfumery Vocabulary

Words to Describe Food

Words to Describe Someone's Voice

Words to Describe Wine

Hope you're doing well yourself, and all the best with your writing!

[kbondoxxxxav]

digimon adventure…. and beyond!

[ashe-hallows]

with how much this site loves its writer ask games, im astounded ive never seen one for artists, soooo

ARTIST ASK GAME!

1. what medium do you use most (if applicable, what software)?

2. most popular piece?

3. your favorite piece(s)?

4. piece you wish got more love?

5. how would you describe your art style?

6. favorite thing to draw?

7. easiest thing for you to draw?

8. thing you struggle to draw?

9. whats something you always come back to when drawing?

10. how do you deal with artblock?

11. do you listen to anything while drawing?

12. describe your process while drawing

13. talk about a wip you like!

14. whats your favorite thing about drawing?

15. least favorite thing about drawing?

16. how do you motivate yourself to draw?

17. what is something youre confident about in your art?

18. something you feel like you need to work on?

19. where do you find inspiration?

20. is your workspace, digital or not, organized (not neat, organized)?

21. what do you think your artstyle would taste like?

22. do you have a favorite color palette to work with?

23. how many artstyles can you work in confidently?

24. whats a compliment about your art that has always stuck with you?

25. what size canvas/paper do you use?

26. what do you physically draw with (pencil and paper, tablet, etc)?

27. do you ever have multiple wips going at once?

28. whats a piece you would like to redraw at some point?

29. do you use a lot of references while drawing?

30. whats something youre proud of about your artstyle?

31. which fandom have you drawn the most for?

32. have you done a lot of collabs?

33. have you taken a lot of classes for art?

34. whats something you still like from your old art?

35. if you had one piece of advice to give your younger artist self, what would it be?

(remember to give the person you reblog from an ask!!)