sumybumy
sumybumy
joined on
Apr 14, 2025
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about
born as sumy, will die sumying
Making bespoke, farm-to-table art since 2008. Wants to be more challenging to socio-normative standards. Believes deeply that art should be unsettling, not for conventional shock, but for growth. Likes to try out new ingredients while cooking fried rice.
born as sumy, will die sumying
Making bespoke, farm-to-table art since 2008. Wants to be more challenging to socio-normative standards. Believes deeply that art should be unsettling, not for conventional shock, but for growth. Likes to try out new ingredients while cooking fried rice.
Been enjoying Slay the Spire 2 a LOT recently, and I was thinking a lot about custom cards that I would add to the game.
I heard a top player say recently that the main issue with how people interface with the game at least as beginners was to classify badly drawn hands as 'bad luck', but that in truth it's the randomness/variance that makes optimizing each decision in this card game so fun and where the charm comes from.
I kind of agree with this, so I came up with a card that makes the casual player think about draw and discard concepts (chiefly reshuffling) within the fight— I think I'll call it rollback and make it a silent card, which makes sense thematically (she's a nimble assassin), but also mechanically (you're trying to get the cards you want from the discard pile, a literal rollback).
Anyways, if you haven't already, try this game out— it's literally worth a thousand copies of your generic AAA, shooter, RPG, gacha, etc.
my friend told me that I was using too many words, so I'm going to try to limit myself. Also no more no-face mannequins.
So my core hurts real bad right now— every time I try to sit up after lying down, it's like someone sets a red hot poker on my belly. Something else that's changing is that it's a bit harder to twist my neck/shoulders without feeling sore, as if I'm bumping up against something
shot inspired by the final scene of Challengers (2024), where you can see the tennis players from below a floor of glass. Was also thinking about some slay the spire art
many times when I image the figure, I do not think ahead, abut the shapes and sizes of accessories, appendages, clothing, hair, and misc. It makes it very hard to add things on, so to speak, and keep the dynamism of the original pose...
trying to emulate the movement of yoh yoshinari's lines as well as some David finch figure drawings
I think the figure to the right was too chunky at first— I like how quickly I was able to do it, but I much prefer the frenetic lines of the figure on the left— there's a reoccurring motif of a lightning shape in Yoshinari's body of work that I'm slowly understanding
some key moments between jimmy and Kim in my favourite show
at no point is it preachy or pedantic— it simply shows you something ugly and something beautiful again and again
better call Saul is my favourite show for myriad reasons. At face value, I have rewatched it probably 10 times now, and it still makes me cry. I know politically you can critique its existence among the broader cultural pool of 'middle aged white men and their struggles with finding a place in the world', but I think it offers more than shows like The Sopranos, and even Succession because of how human it can be in these character moments.
Process photos
slight gore trigger warning
when looking for resources for animation, I've always been pretty daunted by how little people who do really cool stuff (particularly on YouTube) show their bts, so I'm going to try not to gatekeep because I think everyone should be dipping their toes into this medium
B, C, and D are all part of the first pass where I block the figures in
the concept of C is that in the next part of the song we zoom in on the character's face as they raise the weapon and it pans upwards to the sword, and you see the opponent's head being cut off in the reflection before it actually happens. I like this idea because it's really abstract and clever— it's inspired by ninjago, actually, where in one of the seasons (I forget which), there's a sword that can show you the future in the reflection before it plays out, giving for some really cool action sequences.
A group is second pass frames— they're trying to turn shape ideas into proportions, but the figures are still naked
B is just a really nice idea— I like this frame, even if it will only appear for a millisecond in the final animation.
D is a partially scrapped idea for that zoomed out segment of our main character raising their sword. Let's just say that if you animate, you will scrap a lot. The product, even these roughs, are the sum of many hours of work and reflection (there are even rougher images that I literally will not show because they will look like nothing to anyone who isn't me). If I had any advice for someone who wants to do some animating, be ready to burn ideas, be ready to not be precious with anything, throw all your initial plans to the wind after you've tested them, because even if they are good, they are not worthy of the time commitment later on. I needed to be sure, (and I still am not), that I wanted to work off of these images.
Remember to watch Dong Chang on yt— he is really helpful.
Here are some flaws in my current process that should be avoided as well: Currently, I am relying on random bullshit go for timing/spacing, meaning, I add in in betweens until things look good. This is considered bad practice, as it wastes time. It's better to give a good think as to how long an action will take (like unsheathing a sword), and to record yourself doing it before you jump in. I'm a fucking idiot.
Also, I do not have a character sheet. A character sheet will help you keep proportions accurate even in roughs, but I am very lazy and decided to do it afterwards.
this is such good recommendation and advice sumy!! Yolk will def take this into thought when one begins the world of animation O^O <3
thank you kindly
hope u feel better soon (´ ε ` )♡