crab2

when i was younger i never really participated in fandom spaces beyond posting a couple ao3 fics. when i made art i didn’t share it. i never found anyone who shared the same interests as me. i kind of regret that. so i’m trying now.

issue is i didn’t know how to talk to people and i still don’t.

i’m extremely socially anxious and thus will rarely, if ever, initiate a conversation.

that said i am always happy to talk to people if you want to talk to me!*** not sure why you would lol, but i do like talking to people. i just Can’t start the conversation.

***while i am willing to discuss most things, i do not want to talk about or see anything regarding *those* ships. at all. thanks.

Octoling Needles:

-Mains Dynamo Roller, vanilla. He has Tacticooler special like Marty tehhee

-Headgear is Boss Floss

-Clothing is Black Inky Rider

-Shoes are Spiked Duck Boots

-Turf war rival of Marty! The two wanna be bands often go head to head (they are both perfect 4v4!)

-They met when Needles was another weird Octoling that moved over ground. Basically cue their IDW backstory

Missing items:

it's very jumbled because i was trying to see if i could put in songs related to events in pre-canon, the films, etc. in a fun order and i mean im still figuring that out and I think it works anyway considering the unpredictable nature picked up from needles

The John "Jellybean" Benitez Remixes of The Power of Love and Back in Time are replaced by the original versions. This very much dampers the playlist for me due to it being an intentional choice to use the short versions of those remixes.

やラララ (YARARARA) ft. 重音テト (Kasane Teto) by AnythingBecomeMoe is region-limited on Spotify. It appears to have also been region-limited on Youtube Music since being added, so it's replaced by the music video.

WILD FANG by Janne Da Arc is region-limited on Spotify.

There is one upgrade even if minor: Doubleback has been upgraded to the 2019 remaster from the 2003 version.

and here's a few really stupid things that happened in the transfer: apparently spotify understands radio edit but not reprise. ok. and apparently doesn't know the difference between mysterious destiny and tommorrow is mine. ok.

To summarise (the fic is 12k words so bear with me):

It is set after bttf3, where Doc, after leaving Marty and Jennifer at the tracks, goes straight to 2015 again to check on where Marty ends up. Make sure everything is okay.

This creates a timeline where Doc leaves and, as far as this iteration of Marty is concerned, does not return.

Believing Doc abandoned him and chose his new family over him, Marty gets a bit miserable. Jennifer, who is at this point extremely frightened by the life she saw in 2015 and not getting much in the way of reassurance from Marty, tells him Doc will probably be back and that he needs to knock it off or she’s going to leave. Marty continues to mope. Jennifer warns him a couple more times and then ultimately leaves him, probably shortly after they graduate.

This leaves Marty with no one to talk to about the fact that his family isn’t his family anymore, because he can’t exactly talk about that without getting shipped off to the nearest asylum.

Marty believes, well and truly, that he killed his old family. And the new ones? Well, they aren’t his.

He moves to LA with the Pinheads because if they think if they’re ever going to get anywhere with their music, it’ll be in the second largest city in the US.

They struggle for two years. Though the McFlys are decently well off in the Lone Pine timeline, Marty never reaches out to his parents for financial help. Partly out of shame, but mostly because they are not his parents and that feeling has only grown as he’s been away from them.

Money is very, very tight. The band plays much less than they used to because the time is better spent trying to keep the fridge stocked and the lights on.

The result of all this, Doc leaving, Jennifer leaving, the constant money and job struggle, is that Marty feels like his entire life has spiralled out of control. That loss of control is the integral characteristic that makes what happens next possible.

In 1987, Marty dies. To mimic the respawn mechanics of HLM, when Marty dies, he can reset time (up to an hour). The reason I give for this is flimsy, but something something he became the cause of his own existence so dying loops him or something. The mechanics of it don’t matter.

The fact that he can’t die, and a scene where one thing finally goes right, makes him feel in control of something for the first time in almost two years.

He becomes a hitman. How he gets the job isn’t important (though it is described in the fic). The first time he kills someone his reasoning is: he can’t die, money is tight and this pays well and they’d actually be able to eat, and he already killed his family, so this isn’t any different.

It is vastly different. He regrets it immediately.

But he keeps taking hits because he’s actually killed someone before, now, and with just the money from his first job, they’re no longer imminently going to be evicted and they can eat and the control feels good.

That reset ability becomes micromanagement. If something goes wrong, he kills himself to redo it. This started as something he did to make sure his hits went exactly right and make sure he never got caught. It turns into shaping reality around him as he pleases.

Time goes on. It’s all about control. The Pinheads start making it more, start doing better, now that they can actually practice and take gigs again.

And to fund this, a couple times a month, Marty commits a massacre.

Eventually, things happen, and during a hostage situation he just so happens to take Jennifer. It’s a small world. He kidnaps her after.

He tells her about his reset ability, but also makes the mistake of slipping that it only works for up to an hour. After being held captive for a few months, and her first attempt to leave ending in Lee’s death, she works around this hour limit to ensure her freedom.

Marty flees. A national manhunt for him begins. But he can’t be caught.

Doc, in 2015, sees that his beloved mentee/ son figure is wanted for murder and kidnapping and has been for nearly 30 years and is like HUH???

He plans to confront him, but sets up a contingency (a bit convoluted but does work kind of. details not really important), because he has the forethought to think if he brings the time train to this version of Marty, he might steal it. Which he does. Steal it, I mean.

Jacket!Marty (1989), in the time train with the intention of stopping himself from taking Jennifer a few months prior, gets sent to 1985 instead, where a Doc of 1985 is waiting because a future version of himself told him to?

There is a confrontation. 1985 Marty shows up, sees his future self shoot Doc, and decides then and there that he is never becoming that. This coupled with Doc deciding he needs to stick around means Jacket!Marty gets erased.

Aaaand that’s it. I tried to cut out as much as I could but there is just. so much.

Does he like hurting people? Depends on the definition of hurt. He likes inflicting damage on others, likes the feeling of the human body destroyed by his hands. But he doesn’t like when they cry or scream or otherwise get emotional because people’s emotions are so volatile and he gets very frustrated when trying to control them. They just never seem to do what he wants them to.

ok ok so.

FIRSTLY: i want to thank @mjf-af for not only putting this whole thing together but for the reblogs and comments on every single entry. every entry from every person participating!! i mean the amount of care and effort and love that takes… like it wasn’t just ‘this is great’ (which is still a wonderful thing to say), you clearly went through and got invested and involved in each creation and it means so much and goes so far you have no idea. i know i personally loved seeing your comments on all of my pieces, so. thank you. you’re crazy with it.

(i also just want to say it has been an honor to be able to do this?? i don’t know. i had so so much fun drawing for this and the last time i did something like this it was inktober 2019 i think? so it’s been a while. and i also gave up on that on day 13. just checked.

i have had so much fun this past month with getting to experiment with perspective and shading and just ink in general. i tend towards digital art because it’s just less setup time for me (i mean, my phone and my fingers are always on me, whereas i have to get the paper and the pen and the whatever else), so being able to do traditional art for this. i don’t know. it was nice. (also just in general the practice at drawing HUMANS i mean i’ve been at it for two months i feeel like i’ve gotten at least a little bit of the hang of it but man. sometimes i think you can look at my art and see that i drew nothing but cats and dragons for years and years and years lol.))

SECONDLY: it has been so so so cool seeing everyone else’s creations. there has been so much art in so many different forms: outfits, bracelets, moodboards, voicework, writing, drawings, etc. i don’t know… it’s just been so awesome.

i got into bttf after watching all three of them in august of last year. then i found this community here back in may while sitting through the driest lecture ever and thought ‘ohh my god they have bttf on tumblr i’ve been missing out’…. but i was a bit frightened by it all.

and i thought, hey, i can maybe just dip my toes in a little. make one thing and then leave, it’s one post, if everyone hates me then that’s okay i don’t have to come back. no consequence. and so when i first posted here i was genuinely planning on dropping that post and never coming back to tumblr-i’m glad i stuck around! and it was the nice comments in the reblogs on that post that made me go okay… maybe i can stay. i think someone literally said ‘no come back’ lol and i just… i don’t know! but i’m here. and this community is just so nice and awesome and i don’t know how to put it to words.

i think i have drawn more in the last two months than i have in the last 5 years. like i have been just so completely and utterly inspired by all the goings on around here and …

3. Your pieces often feature a unique pov: for day 28 ‘binoculars’ we’re looking through the binoculars, for day 26 ‘echoes in the ravine’ we’re looking down at the ravine. How do you decide where you're going to place us, the viewers, in your work?

I sort of would just rattle the prompt around in my head for a bit. Sometimes, if I remembered, I’d look at the prompt for the day and plan it a little in the hours before I’d actually draw it. Others, I’d sit down, look at the prompt for the first time, and think ‘wtf am I doing with this’. Either way, I’d kind of get these different scenes and images in my head and on occasion they worked at different angles. There were days I purposely tried to get those different perspectives, but there were also days they just kind of came to me. A significant part of it was emotional setup; for example, day 8 “the new blacksmith” was set that way to feel lonely and kind of empty, the bleak sort of future Marty would have if he were suddenly in 1885 to stay. Day 25 “doc’s revolver” was meant to capture that momentary face off as Doc desperately tried to save himself and Marty’s lives, like a spotlight had suddenly been put on him. For day 28 I wanted it to feel involved and immersed, like you were George looking through the binoculars (wasn’t always going to be a bird, but I didn’t really want to draw Lorraine changing). Day 26 was also meant to capture that kind of somber loneliness, looking down on the burning remains of a train which seem small when compared to the fact that Clint Eastwood, a whirlwind of strangeness and bravery and reckless youth, was gone (100 years into the future or dead, didn’t and couldn’t matter to those of the time). Many others (though not all) were set with the same emotion-focused idea in mind.

4. What felt like the biggest risk this month?

Participating. For a few reasons. I’ve mentioned it a couple times, but the last time I did a challenge like this was inktober 2019 and I stopped at day 13, so part of me was afraid I wouldn’t be able to take this all the way either (which isn’t even an issue! All and any entries are loved and cherished as part of the event). I guess it’s also this big community event and I was a bit afraid I wouldn’t be able to like, live up to it? I don’t know if that makes any sense.

5. What is your favorite piece you made this month?

Hard question! I think it’s gotta be day 6 “swiping from the old lady’s liquor cabinet”. I don’t know, even though I can see all the technical issues with it, I think that one is emotionally one of my better ones? I feel like you can feel the late-night quiet and the house holding its breath, like you too are a kid sneaking around past bedtime again. But more than that, like you can also feel the cold tension and deep-rooted sadness of the house as a whole. And I feel like I did well with slapping you in the face with it. Little Marty not necessarily being sad about his mother’s alcoholism but confused why she does it I think hits harder, because a kid wouldn’t really know or understand all the implications of it yet. She drinks this stuff all the time that makes her act all weird and then go to sleep, but it doesn’t taste good? What’s even the point? The phrase “I don’t get it” is four single-syllable words and with it you get the weight of the whole piece coming to a head. And as the person on the outside looking in at the scene, you yourself know. You understand why she does it. And it hurts more that he doesn’t understand yet, knowing he one day will, and that this is his life and his childhood.

6. Do you ever have dreams about your drawings?

Maybe! I don’t tend to remember my dreams.

7. Your compositions are unique and very well-designed! Do you work in any other areas of visual art or design?

Awh, thanks! The ‘uniqueness’ comes from purposely trying to create something interesting and new. I’ve unfortunately always been rather hard on myself about my art- remember, kids, comparison is the death of joy- so I value being able to make something that gets you thinking over something that is considered ‘good’ because I know if I make something normal then I’ll just look at other art and think I’m no good. I work a lot digitally because it’s most accessible to me; my phone and fingers are always on me, I can do it anytime! But I do love experimenting with different medias (sometimes new ones frighten me, though). I’ve never used oil paints but I love acrylic paints, even if I don’t use them very often. I like making little figures out of clay as well, though again I do not do that often (I don’t own any clay, nor would I have a way to fire/glaze; last time I made anything out of clay I was still in high school). Also making 3d structures out of cardboard and hot glue! Again, don’t do that often. Wire is fun to work with, too!! One of my favorite pieces I’ve ever made was made of iron and aluminium wire as well as strings and beads; it was a weird little cat with Mimikyu-like arms stretching out and yeah. Still, even with these other medias I often strive to make something unique or new so that I can’t compare it to anything else for the reasons stated above.

8. Would you ever sell prints of your work because I’d pay money for the sorry about your barn one. Or the hip to be square one. Or the ice cream truck one.

I’ve never sold any of my work or done commissions for a number of reasons (mainly, I would be stressed about not being able to follow through with an order or the work itself not living up to what the customer wanted it to be, but also I just don’t think anyone would buy it either). If I were, I would have to work out shipping, material costs of printing, and actually figure out how to make prints. But I appreciate you saying that :3

9. Have any comics/graphic novels influenced your drawings?

No? Not that I know of. I don’t really read comics or graphic novels. In terms of influence, I will say that I don’t do like standard studies the way I see people do them sometimes or anything like that where you sit down and really try to take in a technique or study structure or light from life, because I just don’t have the patience; I get very bored very quickly, cannot listen past the 30 second mark of any art tutorial, can’t draw from life for very long either, not without some gimmick I’m more focused on. Instead I take in a lot of technique development through just observing the world around me and consuming other art. It’s easier because the focus isn’t “how can I draw this”, it’s “oh wow, this element and this design choice and this feature are really cool”. So, answering the question I think you’re trying to ask me: I’ve seen a lot of inkwork over my time as an artist and any number of those drawings have been assimilated into how I draw and how I handled making my entries.

10. Do you think BTTF would translate well into an animated movie? You worked exclusively in black and white this month--what about an animated noir movie?

Hahaha! I think yeah, it could! I don’t think it would fit the hyper-detailed 3D thing a lot of animated movies have going on these days. But I could see an Into the Spider-Verse style working really really well for it, with the vibrancy and color symbolism and comic book mix of 2D-3D look those movies have. An animated noir movie could also be cool! But I think that might work best not as a full BttF adaptation but just the portion of the movie where he’s in 1955. I also think that idea works best if we don’t see initially he’s a time traveller and we just see this boy bumbling around the 50s all confused-like. Following his adventures where it’s clear through action and conversation that he’s out of his own time, while the whole movie around him fulfils every 50s stereotype ever- noir included. Noir movies tend to be really serious and intense, mysterious and dark… and maybe the clash there isn’t just Marty out of his own time but the way he acts in comparison to an over-exaggeratedly serious 1955. Alternatively: the BttF game’s 1931 setting with the mafia plot might work well for a noir movie if set up right.

11. What detail do you find most visually striking about Back to the Future?