reduviidaegirl

Latest Posts by reduviidaegirl

comic done for a project assignment a few years back!

“Something Hurts Something Aches Something bends until it breaks.”

Guess who got their hands on Call of the Netherdeep.

(Song referenced: “Time will Change You” by the Crane Wives”)

(Pose by @adorkastock )

I didn't realize so many of you longed for the humble wheelbug

A bit of a strange question, but if there were any of your videos you were to "remake" today for any reason (ex: you feel like you misrepresented the original text or spread misinformation), which would it be and why? None of them is a perfectly valid answer

Again: bit of a strange question, but I've been thinking about my own creations and how I could have done so much better with some of them, but I also know that is a sign of my growth and constantly chasing "what if I did this instead" isn't always healthy for nurturing a creative mindset, and I was wondering what your opinion might be as a Creator of Things with a bit more experience than I

There's been a few trope talks where I've thought later of other angles I could've explored that might warrant sequels or part 2s, but I don't dislike any of the summaries enough to justify a rework.

I always find "I could've done this better if I made it now" to be a bit of a fallacy. I'm only better at making things now because I made all those earlier things. If I knew everything I'd learn from making a project before I started the project, it wouldn't come out the same.

I think when it comes to the "rework remake perfect" instinct, it helps to zero in on what the impulse is really grounded in. In my experience, more often than not, it's not actually about making the art better, except incidentally. It's usually about showing that you are better. It's demonstrating your competence and your higher standards and your skills, and more importantly it's overwriting the proof that you were once less than perfect. If people look at your old work and think that's all you're capable of, they'll be judging you poorly!

If that's the motivator, it's a very unhelpful one. You can't control for being harshly or incorrectly judged. It's a fruitless effort to stave off potentially upsetting outdated criticism, and it's not even going to work. Fear of critique is an unreliable and untrustworthy motivator.

If it really is about making the art itself better, perfecting your magnum opus with your newly leveled-up skills, that's a little more solid. But from where I'm standing, it's always better to use those skills to make something new instead of polishing something old. The older, unpolished work has already acquired its audience that finds it appealing for reasons that might never occur to you. Trying to bury or overwrite it just deprives that audience of the thing they like, and maybe makes them feel bad for having liked it in the first place. Also, usually when you look back on the older work, you'll conclude that the problem is everything and it'll need to be torn down and started from scratch. I know when I revisited the first three chapters of the comic, when I let my critic brain spin up, it wasn't shading or lineart I wanted to fix - it was panel composition, overall pacing, the entire structure of the chapters as a whole. I would've had to make them all over again to be happy with them, and they wouldn't be the same story by the end.

I've been thinking a lot about the Discworld through this lens lately. It ended up over 40 books long, but everyone agrees that the first two are not what you should start with, because they're the worst ones. They're entirely parodic, purely referential of at-the-time major fantasy series, and borderline mean-spirited in places. If you haven't read Fafhrd and the Gray Mouser and Dragonriders of Pern, you're not gonna understand like a full 50% of The Colour Of Magic.

It's clear that when he started in on them, Pratchett was entirely focused on taking the piss out of a genre he found mostly shallow and unimpressive. But the Discworld wouldn't leave his head, and everything he made fun of he clearly eventually found himself overthinking. He'd make little one-off jokes in the early books about Dwarves having no women and a hundred words for gold, and then twenty books later he'd have a Dwarf gender revolution make waves across the Disc, and then he'd write Thud!, a book that delves deeper into the nuances of Dwarf societal structure than Tolkien ever did.

If you look for them, there are continuity errors everywhere in Discworld. In his introductory book, Carrot defused a dwarf bar full of rowdy brawlers by guilting them all into writing to their poor lonely mothers back home. Shortly thereafter, Carrot will be outraged at the mere concept of an openly female dwarf. Pratchett even eventually wrote Thief of Time, a book that loosely explains that the Disc makes no sense because history has been broken and put back together incorrectly twice, and therefore any continuity errors are because of that.

He's the writer. He could've gone back and fixed it, edited the reprints to be less disruptively discontinuous with the later books. Instead he continuously moved forward and allowed the world he made to grow without cutting it off from its roots. And because he didn't bury his older, far worse work, we have the privilege of following the Disc's evolution from the very start, and seeing how this shallow, stock fantasy world parody became something incredibly rich and complex without ever pretending like its early installments never happened.

Anyway, that's why I think it's better to move forward. You make more good stuff that way.

Random idea flew into my brain and obviously i had to draw it. What do you think they did.

the idea of protists is really funny. Ah yes, the kingdoms of life: Animals, Plants, Fungi, and Don't worry about it:)

Some of you may have heard about Monarch butterflies being added to the Threatened species list in the US and be planning to immediately rush out in spring and buy all the milkweed you can manage to do your part and help the species.

And that's fantastic!! Starting a pollinator garden and/or encouraging people and businesses around you to do the same is an excellent way to help not just Monarchs but many other threatened and at-risk pollinator species!

However.

Please please PLEASE do not obtain Tropical Milkweed for this purpose!

Tropical milkweed (Asclepias curassavica)--also commonly known as bloodflower, Mexican butterflyweed, and scarlet milkweed--will likely be the first species of milkweed you find for sale at most nurseries. It'll be fairly cheap, too, and it grows and propagates so easily you'll just want to grab it! But do not do that!

Tropical milkweed can cause a host of issues that can ultimately harm the butterflies you're trying to help, such as--

Harboring a protozoan parasite called OE (which has been linked to lower migration success, reductions in body mass, lifespan, mating success, and flight ability) for long periods of time

Remaining alive for longer periods, encouraging breeding during migration time/overwintering time as well as keeping monarchs in an area until a hard freeze wherein which they die

Actually becoming toxic to monarch caterpillars when exposed to warmer temperatures associated with climate change

However--do not be discouraged!! There are over 100 species of milkweed native to the United States, and plenty of resources on which are native to your state specifically! From there, you can find the nurseries dedicated to selling native milkweeds, or buy/trade for/collect seeds to grow them yourself!!

The world of native milkweeds is vast and enchanting, and I'm sure you'll soon find a favorite species native to your area that suits your growing space! There's tons of amazing options--whether you choose the beautiful pink vanilla-smelling swamp milkweed, the sophisticated redring milkweed, the elusive purple milkweed, the alluring green antelopehorn milkweed, or the charming heartleaf milkweed, or even something I didn't list!

And there's tons of resources and lots of people willing to help you on your native milkweed journey! Like me! Feel free to shoot me an ask if you have any questions!

Just. PLEASE. Leave the tropical milkweed alone. Stay away.

TLDR: Start a pollinator garden to help the monarchs! Just don't plant tropical milkweed. There's hundreds of other milkweeds to grow instead!

The Princess Bride is such a funny book to read after ONLY seeing the movie. Like Goldman made up a fake author from a fake country and proceeded to write the book as an abridged version of what the fake author wrote... and then he proceeds to add in notes to the "abridged version" mentioning all the boring world building stuff he skipped because it was boring.

Like shout out to William Goldman, man really did make an entire book that is just "the cool scenes you thought of in your head" and then made up a fake author to abridge so he doesn't have to connect them.

And it slaps

there's an angel (insect) and a devil('s coach horse beetle) on each shoulder

thinking of opening a small shop next year... these would be a set of 2 stickers :>

There’s a bunch of right-wing people posting memes about “”DOGE”” making the government more efficient by removing funding from “”dumb bug researchers”” and I am now realizing how little the average person knows about entomology and its importance

Excuse me while I get sad .

Carabidae / ground and tiger beetles

Agonum viduum - 2023

Violet Ground Beetle (Carabus violaceus) - 2024

Carabus - 2024

Carabus coriaceus - 2024

The thing about Ashton saying "WHAT DO YOU WANT" is that I really do understand that they are coming from a place of great pain and a genuinely awful life (and the Arch Heart doesn't really give a good answer either, which is similarly frustrating) but we keep getting this answer throughout the campaign, if not for the Arch Heart at least for other deities, and it's that most simple and also frustrating of answers: consistent effort.

Why did FCG catch the eye of the Changebringer? consistent, repeated prayer, even if it wasn't perfect and could get kind of silly or even annoying to others. Orym is not a worshiper of the Wildmother, but he still repeatedly has reached out and tried to talk to her in good faith (pun unintended). And looking back at others from past campaigns, we learn of their ongoing service - in the cases of those who are introduced as already faithful, often from a young age (Pike, Caduceus, Jester though her deity is not one of the Prime/Betrayer pantheons). Both Vax and Fjord made considerable sacrifices of their own without promises from the gods first, in addition to smaller, regular moments of worship in the course of their stories.

I've never loved the line about there being no atheists in foxholes, because frankly I think it's unfair to atheists and paints them as selfish, fickle, and spineless when many atheists are none of those things. But I do think that a lot of the anti-god arguments fit into that sort of philosophy, that the gods are only to be paid attention to in the moment of great and desperate need and neglected otherwise, and we've seen the attendants of temples repeatedly say that isn't how it works; it takes time. The gods don't necessarily answer a single yell off the cliffs of Zephrah or a single visit, but they do see the repetition and respond to that.

I think everyone in the fandom, regardless of how they feel about the gods, understands there's not going to be a quick easy painless fix to this mess once Ludinus set it in motion, but I do think a lot of people expect there to be a lot of quick fixes to other things (in the story, in fandom, and in real life). And yeah, it does suck that Ashton, having a terrible time, might have had more luck had they prayed or gone to the same temple regularly for a while without necessarily seeing results...but it's also very real. You do have to take your stupid mental health walks regularly for a while (let alone your meds) before there's a payoff. you do still need to do the dishes while you're depressed or sick lest they pile up and make things worse. consistent effort that doesn't always have immediate satisfying results is extremely unglamorous and also it's how you have to do basically everything in life. Even in a time of crisis you need to avert the crisis and then get back to the slow and consistent work of fixing it and improving things in the aftermath.

So here’s my thought, because I don’t think the Archheart is wholly wrong about the gods needing to leave, but I think, as in all things, there’s nuance to that solution. Specifically, I don’t think all of them leaving at once is the best option.

I think the Archheart and whoever the second god is that wants to leave need to take the plunge and go off on their own. Because their argument hinges on this notion that mortaldom cannot grow with them still there, but by refusing to leave without the whole of their family beside them, they too are refusing to grow. To go off on their own and explore the cosmos for themselves. They are waffling on the choice of sticking with their family as they always have or leaving the home they found and made together, just as many of their siblings have waffled on their children VS their siblings. But the thing is, they (the Archheart plus one) know they want the latter choice—leaving—more than they want to stay (and as such stick w the family), so they want to force their family’s hand so they come with and they (Archheart plus one) can get their cake and eat it too.

Which is understandable! With all they’ve been through, all the family they’ve already lost, it makes sense that they don’t want to leave anyone else behind! But in order for them to grow, they need to. And I think, with time, if the Archheart and their fellow did leave, others would follow. Would see that the choice wasn’t as calamitous (heh) as they once feared it might be. Some would stay, because the world needs its constants—the sun, death, hope, nature—and because they care for their children too deeply to stray too far and that would be okay.

Staying close may well be as suffocating as the Archheart believes it to be, but then surely the inverse—severing that tie completely by all abandoning Exandria at once—must be just as harmful. There has to be balance; some stay, some go. Perhaps one day some even come back to visit. But the gods—the Archheart, their fellow, the rest—need to realize they can survive without each other too, just as they want to show mortals they can survive without them. They’re the same, after all.

I feel like this fandom shouldn’t be this mean and divisive about having different takes/ predictions about A STORY THAT IS STILL BEING TOLD

At the end of the day we’re all just responding to improv. Yes, Matt has likely put together some key plot events but his work will only take us so far without the choices the players make.

People can bring up lore/canon/past texts but at some point we do gotta recognize that the path forward is ultimately being decided by Matt and the players.

Use lore/canon/past eps as a guidepost but don’t get superior in thinking your prediction of how things will go is going to be the Correct Version and everyone else “lacks media literacy” (whatever the fuck that overused phrase even means anymore)

Critters have given a million different reasons as to why we should or shouldn't kill the gods (myself included lol), but for me, it ultimately comes down to the fact that they're my blorbos and I love them. My fucked up little guys.

"It took me TWO years to finish this sketch book!" Well that's cuz you're not fuckin sketching. Those are fully painted pieces dawg that's a renderedbook. I've gone through four sketchbooks in my off time this year alone I just draw stupid faces and shit for fun. pussy up like the rest of us and start drawing stick figures with guns

As a hardcore Corellon Larethian fan from the moment I read the deity’s canon 5e lore, I admit to have always been disappointed by how underrated they are.

Corellon is prideful, egotistic, cocky, simultaneously the deity with domains of Magic, Music, Arts, Crafts, Warfare, Poetry, Trickery and Knowledge. Their battles with Grumsh and his ex-wife Lolth are legendary. They have an organization called “Fellowship of the Forgotten Flower” which just realm hops to recover elven relics.

Seeing their representation in CR Downfall brings me so much joy! I understand that the Exandrian version of Corellon has differences with the canon 5e version of the Elven Prime Deity, but honestly just seeing them on my screen fills me with joy.

Abubakar does such an incredible job! I hope my elven prime deity daddy (genderfluid) starts getting more recognition now!

who’s sexier than the Arch Heart NO ONE

“Ages ago the divine touched the real and your living form is the real reaching back, hand in hand, two dancers twirling in the stars forever.”

My personal theory is that his especial intrigue with death is born from the fact that there’s probably not a lot of beauty right now. There’s been a lot of talk of how Asha is withering and not in a good place right now because her domain is withered, but I can’t imagine ANY of the gods have a healthy domain right now. The Sun is choked with smoke, the “last bastion of civilization” is festering with hatred, nature is withering, redemption just had all her followers wiped out.

And people are trying to survive. Not make art not find beauty in the world. Survive. The arch heart carved out a beautiful space, one. But can he really be happy if the last beautiful place in the world is nestled like a parasite in the heart of a place that despises him? If it has to be secret and guarded because it can and will be destroyed if found by the wrong person? If he knows the moment he creates it that it will not fade gracefully like a flower or a painting or a glorious sunset, but it will be destroyed abruptly and painfully?

If the Arch Heart is still around, I think the reason is likely that every god has done a lot of healing, and is doing a lot of healing from the Calamity. But it’s important to remember in the moment we find them, none of them have flourishing domains and all of them are coping in different ways.

It's interesting to bear witness to Emhira/The Matron's offer to kill S.I.L.A.H.A/Corellon because they were tired and intrigued by the notion of permanent nothing. Mostly because it raises a very interesting (and important) question for both Downfall and C3's narrative:

What, if anything, changed?

It's been hundreds of years since the Calamity, and The Arch Heart is still a prominent and heavily worshipped deity across a wide range of groups. Corellon, and any others sharing their sentiment, still have not made the choice to die, despite the means and motive being presented to them a long time ago. Even now, when threatened with the return of Predathos - they're moving in tandem with all of their other siblings, marshalling their forces and gathering strength

Did the Arch Heart have an epiphany between the start of Downfall and the end of Calamity? A moment where they realised that they genuinely do not want to die? Or perhaps they're still intrigued by the notion of nothingness, yet only stay alive to continue fulfilling their purpose to their siblings, worshippers, and Exandria?

It may very well be a question that gets answered in Downfall Part III, but for now it'll keep rotating in my head like a lazy cat on a lazy susan

I gotta ask...

Reblog for sample size and all that.

Good Evening Mr. Phelps.

30 years ago, the city of Aeor created the Latimus Princeps, a device that prevents divine entry and scrying within the city of Aeor. Since then, our covert agents within the city have learned that Aeor has neared completion of a god-killing weapon known as the Factorum Malleus. In addition, they have created a failsafe protocol spread throughout the city, wherein should they feel there is a threat to the Factorum Malleus, they will disseminate knowledge of how to build it across the globe, ensuring its recreation. Your mission, should you choose to accept it, is to infiltrate the city of Aeor in the guise of a mortal, sabotage the failsafe mechanism and Latimus Princeps, and destroy the Factorum Malleus. As always, should any of you or your IMF team be caught or killed, the secretary will disavow any knowledge of your actions.

This message will self destruct in five seconds.

I'm not a writer whatsoever and am currently listening to the OSPod Publishing special, and was really intruiged by your description of your character-driven stories as being similar to a DnD campaign. Could you please elaborate a bit on what you mean by "it's good when the characters surprise you"? It's likely an obvious writer thing, but I would've thought that an author wouldn't be surprised by where their story or characters go since, well, they're the one writing it. Regardless the comic is amazing so however confusing your process may be to me personally it's clearly effective

It's a little bit difficult to explain!

A lot of the writing process is just sitting down and writing it - laying out the setpieces, describing what the characters do, writing and tweaking the dialogue for impact. But in my experience, the vast majority of the REAL writing process happens internally, and large chunks of it are out of conscious reach of the writer. This unreachable space is where new ideas form, and why no writer has ever been able to answer the question "where do you get your ideas from?"

This is why a writer can beat their head against writers block for weeks at a time, then wake up one day with a solution and the entire next chunk of storyline fully formed. My dad calls this phenomenon "the better writer in the back of your head." A lot of the creative process doesn't happen in the front of your mind, where your ego and your inner voice live. Most of it is deeper down. This is how your mind is capable of surprising you in any context, including dreams or unexpected emotional reactions - your mind is a lot larger than just the parts you can consciously feel.

When I put a character in a situation, I can make a conscious decision for what they'll do and then execute it, but I can also listen for ideas bubbling out of that inaccessible region of my mind. Most character ideas start out as a small set of conscious decisions on the part of the writer - "I'll make him a classical hero with a strong sense of justice" or "she'll be a strong but weary leader putting on a brave face" or "I'm playing an edgy rogue with a dark past" etc etc, quick and basic elevator pitches. But the characters come alive when they're allowed to grow down into the inaccessible parts of the mind, where consciousness gives way to emotions bubbling up from even deeper processes. Once the characters are allowed to start feeling things about their story - like "maybe that classical hero doesn't actually feel great about the lord they serve" or "the weary leader has an endless wellspring of vengeful rage to keep her going when she falters," more creative ideas for their next move start bubbling up. Things that don't flow logically from their elevator pitch, but make sense for the character that grows out of that pitch as they're allowed to engage with the world and story around them.

The way I build characters puts a focus on how they're feeling in any given situation, which is completely separate from what I, the writer of the plot, need them to do to move the plot in the direction I was planning. So sometimes I'll be writing something, and a little bubble of inspiration will pop up and let me know that, unexpectedly, this situation is really getting to one of the characters. And I can choose to keep them on track, or I can let their internal compass take over and see what makes the most sense to them at that moment of the story.

Characters are not real people, and they aren't as large or complex as a human mind, but in my experience, if you build a character solidly enough and give yourself room to play, they will grow down into your subconscious wellspring of creativity, and your mind will volunteer ideas to you using their voice. You don't need to use them, but it's very useful to cultivate them, because sometimes those ideas are better than anything you could consciously stick together in the public-spacing front of your mind.

comics as an art form make me insane. they’re so difficult to do well. there’s so many different ways to make sequential art work and most of them are deeply unintuitive. onomatopoeia that feels completely ridiculous to put down often reads seamlessly. panels on a page become a fractally nested image composition challenge that’s only possible to lose because if you do a good job no one will notice. you have to direct the readers’ eyes on a specific path across the page but also account for the fact that they won’t follow it. comic time isn’t linear. if the order of events isn’t crystal clear the story becomes incomprehensible. sometimes you need to do this on purpose. all this for a medium almost universally considered less effective than animation and less respectable than plain text. even its own name doesn’t take it seriously

look at me. listen to me. this is directed at americans for the record. the reason you think North American animals are boring is because you live here. there are so many cool and beautiful animals here. we have beavers. we have wolves. we have moose. we have sea lions. we have armadillos. we have mountain lions. we have alligators. we have foxes. we have bighorn sheep. we have manatees. we have bears. we have ocelots. we have BISON. and that’s not even touching on the birds! or the turtles! or the snakes! we have amazing beautiful and diverse wildlife right here and it deserves to be appreciated and protected

Fate spins along as it should.