(belatedly) thank you. it's a concept/emotional landscape that remains very precious to me. i think there is something so sacred and beautiful about the passion and enthusiasm that characters can inspire in someone... regardless of medium.

there are many concepts, fragments of stories, and specific dynamics that have tugged at me, over the years. the most formative of them burrowed into me long before i ever felt i had the skill or mental faculties to even articulate what i liked about them, let alone depict it.

some of them i return to frequently, such as pokemon—long after i've lost interest in the modern official franchise. when i feel like it, anyway.

but others... it can take me a while to feel like i know what i want to communicate about something, whether i first saw it 1 or 15 years ago. and when a composition does fall into place for me, to that effect, i do everything in my power to honor exactly what i was feeling, whenever such a thing first sunk its teeth into me.

my vision, crystallized. there's a bioshock piece from 2021 i'm still extremely satisfied with, as an example. and i often end up feeling like i have nothing left to say about a particular topic, afterwards, which is what happened here.

sometimes it takes multiple attempts. sometimes i end up finding more and more angles to ponder in the process.

regardless, i am always happy to share whatever i've made. someone out there may feel similarly, even if i never hear about it. and there is no higher honor to me, personally, than finding a stranger on the internet whose specific love for something harmonizes with your own.

if you're talking about diego, who pascal has nothing to do with: diego can see and go anywhere, without exception. he just doesn't really give a fuck about my futuristic setting in particular, so he barely ever touches it. there's an infinite amount of universes and timelines diego ignores due to arbitrarily finding them uninteresting... he is a very whimsical creature, after all. and while he'd have the faculties to keep tabs on absolutely everything, his attention span is another matter entirely.

he's also generally not "affected" by any setting he chooses to poke his nose into directly, but often intentionally alters his appearance/mannerisms accordingly (if he feels like it). he's extra like that.

but if he's showing up via a particular medium, such as an electronic display vs. a billboard, it would legitimately "feel" different on his end of things, even if it wouldn't directly impact his abilities.

you are asking the wrong person. i don't want my art to be "noticed." i actually wish i could completely opt out of having my art shoved in front of others via recommended feed nonsense.

i love having a niche. i love it when my work finds the people who would resonate with it. i go out of my way to decline commission inquiries that do not suit my skillset and/or interests. i have no aspirations of becoming a Public Figure in any capacity. i only care about my fellow perverts.

i am actively distressed by watching other creators perpetuate the notion that artwork of theirs has "flopped". i understand the mechanics of capitalism that have led people to this perspective, but i still abhor it. that piece wouldn't have existed if you didn't make it, and that's still worth celebrating! to this day, i still receive the occasional message from strangers who have adored my artwork for years, without me ever knowing a damn thing about it. you cannot distill how anyone on the internet might feel about your heartfelt creation down to "number go up". you also will never truly know the full extent of your true audience, or your lasting impact on the world around you.

i spent many years "posting into the void" on tumblr. it's not like it was never lonely, or isolating. but i kept making things, even if i felt like they were silly, or that no one else would ever want to see them. and it took me a very long time to even truly like what i was making consistently. and i feel like having the lived history+perspective of creating something, regardless of whether anyone actually ever interacts with it—let alone seems to like it—is crucial to developing a strong sense of artistic identity.

but, as for your other question, i have also clickwalled my nsfw art for many years before ever switching to bsky. i never had a single issue with clickwalled stuff on twitter (in fact, i only ever got bonked over non-clickwalled nsfw art), and at least so far, i have not had issues with clickwalled posts on bsky either. if you're tired of the song and dance of remaking accounts, it's worth a shot!

i mean, i've been working on a VN! i finished all the writing earlier this year, so i can at least talk about that aspect of it.

prose in visual novels isn't always identically constructed to conventional novels (in particular, there's often less ceremony around characters speaking, since you can just look at their sprite/name label)... but it was still a very interesting challenge to make a serious, concerted effort to write a narrative in prose, for once.

i've written things before, though nothing very long. some fanfics, here and there, beyond schoolwork. a lot of unfinished stuff. fair bit of poetry and lyricwriting at this point, too.

but as a storyteller, i prefer writing shorter stories. i am very accustomed to "trimming the fat" with any of my narratives, pruning and rewriting things until i'm satisfied. i found this especially important to do when making comics, largely to reduce the overall pagecount/amount of work i'd have to do visually.

i needed to slow down more than usual, pacing-wise, when writing my VN. it's not even an especially long one, regardless, but i had to deliberately linger more than usual, which took some adjustment. the pace i would have naturally settled on was far too breakneck for this project. i ended up enjoying the process, though. i learned a lot.

though, to answer your question more directly... i think my stories could still work, largely, in text format. they would just come across differently. i mean, simply put, i'm a significantly more experienced cartoonist and character designer than novelist, even as someone who likes my own prose.

i believe the various disciplines i've dabbled in, however unevenly, go down smoother when my visual art is somehow involved. but i still have a lot of work left to do! so please continue to wait warmly... for as long as it takes.

now, i'm probably just being stubborn about this, but i wouldn't personally describe any of my comics as "webcomics". they've exclusively been released in their entirety, all at once, without any semblance of ongoing updates. what you see is what you get. that kind of drip-fed release cycle sounds like hell for me, since i'm someone that gets stressed out by the prospect of not being able to go back and tweak/revise things easily.

cough anyway, i've talked about this before, but i don't mind rehashing things. it took me a while to settle on a process that consistently works for me. i tried a number of different approaches over the years—notably, hubris debris didn't have any formal planning involved at all (though i did have a pretty solid idea of the initial premise going in). i can only talk about what i prefer doing, as a person, which might be different from what works from you, or anyone else.

starting with elysium, i consistently began each project by writing a loose text outline of the entire story. some parts would be more or less specific, or even take multiple drafts, depending on the project. when that was done, i'd iron out any major remaining designwork that needed doing (mostly characters), and then draw a height chart of every major character. this is also when i would figure out the project's color palette.

a note: you really don't have to do a height chart, or stick to palettes, or whatever. it's a lot of work. i just have animator brain, which strives to maintain an internal "model" of a character to roughly adhere to over time. having too much freedom with color choice for a longer project also stresses me out, so it makes more sense for me to adhere to palettes. the height chart is pretty funny, regardless, since it'd often be my first time drawing most characters, therefore by the end of the project i usually end up drawing them fairly differently... still helpful to have as reference, though.

after the height chart, i usually go through and lay down text/dialogue for each page, arranging them in a way that helps me simultaneously figure out panel layouts + the final pagecount. thumbnailing just doesn't work for my brain, so this is the next best thing i can do.

and then i draw the pages...! for ~my first 3 original stories, i went with very tight linework over my already-tight roughs. with most projects thereafter, i chilled out a bit, since this was simultaneously very time-consuming and also just not the kind of art i actually had the most fun making. plus, i felt like i was losing a lot of nuance+energy in the process of going over my lines.

i often don't design the cover until i'm at least halfway finished with the pages, if not more. it's not a rigid rule i adhere to, i just tend to not have a good idea of what i want to be on there until then.

making comics is an extremely taxing experience. it's also not very financially sustainable, for the amount of work that goes into it. i had been releasing my comics exclusively on itchio from the years 2018-2025. 16 different comics, in that timeframe, all PWYW (though elysium was initially paywalled, along with my first art archive).

over 7 years, i earned a bit over $3k usd. in doing so, i worked my body and spirit well beyond a breaking point multiple times.

i'm not sure if i'll make more (longer-form) comics, at this point! maybe someday, but maybe not. i am currently having a nice time working on my VN, at a much slower pace than i would work on my comics, historically. in theory, i could probably float it by JAST if i wanted to monetize the completed version... but i don't. i'm tired.

i don't want to be acclaimed. i don't want to be famous. i don't even want to be perceived, generally speaking. i write with my dick, it's not an especially unique or enlightened process. my dick just coincidentally wants to see very eccentric things, which the world i was born into is currently doing everything in its power to eradicate.

that's fine. i am happiest among the roaches, scuttling quietly in the spaces between. and i would prefer to see my works proliferated amongst this joyous infestation of perverts as freely as possible, for as long as i can sustain it.

thank you for caring.

this is a funny situational conundrum to be in, but i've definitely been there. i don't mind talking about it.

depending on the character's species, the least obtrusive route would be to simply explore null stuff. failing that... the body shape itself is not the actual issue when trying to put any kind of genitalia on there. it's actually the leg positioning. thigh canyons (such as with boxman, or cuphead, or etc) are inevitably going to look strange and kind of goofy when dangly bits are haphazardly positioned between them.

this body shape, at least in the example you gave, is also inherently pretty toony and unrealistic, so you might as well lean into it. wiggle or completely change the leg positioning situationally, even outside of sexual scenarios. explore different posing and compositional options for cheeky censoring. you can even get silly about things on purpose!

sexual expression does not always need to result in drawings where you can see someone's urethra. sensuality can take so many different forms that have nothing to do with genitalia. this is especially important to keep in mind for designs where slapping a dick and/or balls on them could just end up looking undignified. for example, i think magnemite is very cute, but i have zero desire to see any kind of explicit genitalia on the thing. but there are fun features and analogues to explore with it instead—maybe it likes having its screws touched? maybe it can vibrate. maybe it feels some kind of way about magnetic attraction. electroshock. et cetera.

but at the end of the day, you're your own best judge of what you find sexy or compelling. i'm just some weirdo on the internet. good luck!

cyan's entire setting is so incomprehensibly futuristic that any of the stories i tell in it are meant to be viewed as if they have been localized. tradespeak, the actual language most characters are speaking, would be completely unrecognizable to modern humans. english, and any other language found on earth, would be just about as useful in daily conversation as latin.
also, cortez only attempts to use french and japanese with dmitri. it's otherwise using tradespeak with him. it does this because it's read way too much ancient manga and french comics.
the visual novel i'm working on (which is in the same setting) expands on this a little more. please wait warmly. thank you.