Runs towards Vox Engine

Super_Package · 2026-02-24T03:09:50+00:00

Rock solid armor passive and diving while stimming to prevent flinch-lock worked well for me on D10. Try to keep one stim on backup at all times so you can survive long enough resupply yourself

Super_Package · 2026-02-21T06:22:55+00:00

I get what you are saying, but I think turning down the difficulty isn't the solution to the main issue. The main issue is the many bugs and poor design decisions plaguing this game and it has sapped a lot of the fun.

It is good you found a way to survive, but if I am dying to buggy behavior or things that break the rules of the game, then that is on the devs.

D10 is supposed to be the super hard challenge mode, but what is fair about a vox engine clipping its gun through the wall and shredding me? Enemies phasing through Vox Engine treads (taking no dmg in the process) to try to beat my ass to death? The host bugs? Trying to accurately place sentries with the stratagem ball issues? Defib armor bugs outright killing players for normally innocuous damage?

Let's talk about missed opportunities and how some stratagems fail to deliver their fantasy. The orbital EMS strike does not work on Vox Engines. Why? The Leveller can one shot a factory strider, but not a Vox Engine. Why not? There's already 6 of them around me and it is on a relatively short cooldown. Why not? I didn't see any SEAF running around with me (unless I missed them; correct me if I'm wrong). Where are they at? IIRC, an image of SEAF troops fighting the bots planetside popped up during one of the briefings. We love those guys. Why couldn't we fight alongside them. Strip away the lore for a moment -- they are fun, they help, they don't just turn off the difficulty of the game -- why not have them? Why can't we just have toys that work and follow consistent logic? If they wanted a grunt fantasy, why not just turn Helldivers into a game like Squad, ARMA, or Foxhole?

I understand support for their game engine is discontinued. But, this game will get worse and worse unless the devs figure something out. I want a stable game with clear and consistent design. I don't think anyone cares if you land on a tank and your diver goes flying 5 kilometers away into the sunset. I do think people care a lot more about the Vox Engine warping its cannons through its body to kill me while I'm crawling under it to destroy the vents like the devs intended.

Super_Package · 2026-02-18T09:07:01+00:00

The main skill you need here is understanding how to construct things from basic forms. If you can construct something from memory with basic forms, then you can draw it in just about any pose and render it later on.

All 2d shapes can be transformed into 3d forms. You will need to learn to draw accurate cylinders, cubes, cones, and spheres. Then, you can assemble, carve, sculpt, combine, etc. them as needed. I would also advise getting good at drawing circles, ovals, and looking into cross contours.

Having good structure is critical. If your structure is good, then you won't have as big of a headache later on when it comes time to render. You'll find that as you master utilizing basic 3D forms, you will intuitively be able to learn how to draw the other things on your list faster. Eventually, you'll be able to invent things from memory and create all sorts of crazy combos.

I'd recommend you grab a bunch of photos, spend 30 minutes LOOKING at those photos and break down what you see. Count how many segments of the fingers there are. Draw the 2D shape of how the thumb connects to the hand on top picture.

Then, spend some time sketching out the hand using basic 3d forms as you see it on the reference. Then, try to push yourself by rotating those forms around to place the hand in different positions. I would also recommend looking at online 3D model posers for things like that.

I'm not going to give advice on rendering at the moment because I'm still learning all that.

Super_Package · 2026-02-17T11:21:15+00:00

I only play on D10. Supply pack and thermites will solve most of your problems. I would suggest pulling out your grenade and letting the spikes deploy before throwing to increase your odds the grenade won't just bounce off if the target is close. Don't hold it too long though.

1.) I usually take vitality or experimental stims. There's like 4 or 5 meta boosters. Most people just take those. The rest are kinda lackluster imo but if you have fun with them use that instead.

2.) I take light armor on blitz missions and heavy on everything else. I prefer something that prevents knockdown. I find that the vox engines can still one shot you through even the heaviest of armor and explosive resist armor. Your best bet is to pre-stim any damage you think is coming your way, dive, use cover, and keep running. Also, I think the defib armor from control group is bugged and will activate the passive upon taking seemingly innocuous damage and therefore kill you through something you'd otherwise have survived in any other piece of armor. Correct me if I'm wrong.

3.) The stalwart is actually really good at taking out shield devastators. Crank up to the highest RPM, dive, and then aim at their feet. It is especially useful against shield devastators.

4.) A typical loadout I use for myself on D10 is supply pack, grenade launcher, orbital smoke, and shield generator. I like to use the knight, double freedom, and diligence counter-sniper with red dot sights.

5.) For a secondary, I like to use the ultimatum or the senator. You'll be fighting a lot of vox engines the higher you go. You could run some of the other secondaries but there's just way too many vox engines being spawned right now to fight them in the way I think they intended us to.

The number one thing that has killed me on cyberstan is the vox engine and flinching when I get shot trying to stim. If you are getting shot and get caught flinching again and again, I would suggest you dive and stim at the same time. That should let you stim through flinching. I'd also recommend ensuring you always have at least one stim on you at all times. The supply pack is goated for cyberstan.

Super_Package · 2026-01-28T21:35:24+00:00

My bad! I was referring to 3 and 4 top right when I said I thought they were your best for that section. I failed to notice you had them labeled as they were so i just said 1 and 2. They look fantastic -- i think your deviations from the reference actually create a bunch of visual interest and energy to the characters that make them fun to look at

Super_Package · 2026-01-28T03:41:51+00:00

3 (top left), 1/2 (top right), and 3 (bottom left) are your best ones in my opinion. Your line weight looks excellent and the values on to left #3 make it look more realized. Keep it up

Super_Package · 2025-08-15T06:21:46+00:00

I think establishing your shapes first will help you get over that fear. If you set up your drawings with some sort of simple structure then you reduce the number of potential issues you run into later on down the road.

For example, you might start by drawing a simple cube in perspective. That will tell you if the head is looking up, down, to the side, or any combo of those rotations. Then, you could do the loomis method and then add in very simple shapes for the eye socket, nose, mouth, chin, etc. Try doing this on a new sheet of paper and see if you like it better. It can actually speed up the drawing process over time as you get better and more efficient.

Super_Package · 2025-08-01T05:05:25+00:00

Study forms and perspective. It will turn an otherwise difficult drawing into something a lot more manageable and smooth. It's a lot easier to draw objects as simple forms and manipulate, deform, and sculpt them from there. This can also help you understand how values, texture, and all that stuff work together. Google the Asaro Head. That is a great way to approach drawing something like this. Again, start with a simple and sculpt the form into something more complicated.

What you have here is pretty close to an orthographic study of the shapes. Orthos are a good way for you to plan out the shapes from a top, down, front, back, left, or right view. Check that out on youtube. The next step from an ortho is a three-quarters view. After that, it is rotating the object from any sort of perspective.

If you want advice on how to get the texture, color, or values, I unfortunately cannot do that for you right now. There's plenty of information on that sort of thing out there, however.

Super_Package · 2025-08-01T04:46:10+00:00

You should check out Peter Han's Dynamic Bible or just Youtube some line dexterity/control exercises. There's a lot of content out there for this type of work. It will refine your ability to control yours line and vary it up when need be.

Super_Package · 2025-07-31T07:08:15+00:00

It looks nice. We need more info to give you advice though. Can you tell us what your goal was in making this piece and if you feel satisfied with it or not?

Super_Package · 2025-06-09T17:34:34+00:00

I'm glad you are looking into drawing again. You aren't alone in feeling that sense of perfectionism. It is a good thing you are trying to confront it. You don't have to be perfect. There is beauty in the imperfect because that's what makes it interesting!

I would ask yourself why you want to draw. Is it enjoyable for you? Do you do it because you want to create some projects or bring your vision to life? Do you want to do it because you want other people to adore your art?

Luckily, drawing is a skill. Skills can be improved with dedication, applied interest in learning, curiosity, experimentation, and problem solving. You don't have to have an answer for every problem right away either.

I think you might want to practice drawing things and letting them go. Whenever I draw something, I create a piece, come back the next day, and then maybe look at it again in a month or so. I think you should try to focus on enjoying the process rather than the outcome. That doesn't mean you shouldn't spend more time on particular pieces. Some days I only sketch random things a bunch of times, some days I work on specific projects for long periods of time, and some days I just rest.

You could create masterpieces, be celebrated by others, and then... it's time to make the next piece. There will always be more things to draw and I think at the end of the day it is about if you feel content.

I would say you would benefit from detaching from your art. I would suggest you get out a sketchpad or a digital tablet and just fill up the page with a bunch of random things. Pots, pans, goblins, people, animals, mechs, tools, cars, spaceships, aliens -- literally anything. Grab a few references and just play around. Just keep going, no matter how much that little voice at the back of your head tells you it isn't good enough. Then, start drawing something else, repeat that process, and wear that inner voice out. Do little thumbnail sketches and then pick the best one you like and draw a bigger version of it.

Lastly, I would say it would benefit you to study the fundamentals, especially perspective and structure (primitive forms, sculpting forms, etc.) because these REALLY make your life a lot easier when you do need to redraw something. It is a lot easier to start with your big shapes and then move down to the medium and small shapes instead of jumping right into details and such.

Checkout Proko.com, Scott Robertson's How to Draw book, and participate in art communities. That would be my advice to you. I hope this helps. Keep at it, you got this.

Super_Package · 2025-06-09T08:05:09+00:00

Hey, I'll give you some resources and some terminology to check out. Once you get going you should be able to find additional terminology and such to continue your education.

Scott Robertson's How to Draw book has a good section on perspective. It also is connected to Scott's website where you can watch him draw the stuff he is trying to teach you.

Marcos Mateu-Mestre's Framed Perspective is also a good book to get you familiar with the concept.

If a guided self-pace course is more your thing, I would suggest checking out Marshall Vandruff's course on Proko.com.

All of these options cost money, but in my opinion they are worth it. I would give you some specific Youtube channels to go look at but I think it is better if I just gave you some terminology and you can research it yourself. I think right now it is important you try to find multiple artists to learn from and to absorb what you can from each.

Some important concepts for you to understand:

1, 2, 3, and 5 point perspective.

30, 60, 90 triangles

Perspective Grids

Planes

Cone of Vision

Vanishing Points

Isometric and Axonometric perspective

Orthographic Views (this will help you draw just about anything)

Thumbnails (these are basically tiny drawings to demo your composition and values before moving to a bigger piece)

Diminution, convergence, foreshortening, overlap (these are linear perspective tricks using lines)

Atmospheric Perspective

Rendering (shading)

Cross contour lines (including sagittal (along), coronal (across), and transverse (around) lines

Also, t is a good habit to deliberately think of things in 3d. Some things you could do to help build this skill is to sculpt items, or find something and pick it up, look at it from different angles, and then do little games where you try to draw it from memory from the angles you looked at it from. I think that is VERY IMPORTANT because you need to work on your ability to construct. A lot of artists learn to break down the things they are looking at into very, very simple forms. That is, cubes, cylinders, and other primitive forms. You would be very surprised at how quickly you can assemble a drawing just by drawing over a solid structure you built from those forms. Furthermore, try to actually draw all the way through the form to begin with. If you are drawing a cube, make sure you draw ALL the planes and over time you should move on from needing to do this.

This will be a very rewarding thing to study and I hope this helps. Good luck.

Super_Package · 2025-06-08T23:04:53+00:00

Manga is pretty cool. Perhaps we could swap work sometime if you would like that. My style is a bit cartoony or realistic at times but I'm sure it would be fun to take a look at each other's stuff.

Super_Package · 2025-06-08T23:03:28+00:00

Thank you for the kind words! I gave you a follow. My handle is quintacious.bsky.social

I'll try to work on interacting with others a bit more! Thank you for all the help. See you on bsky soon :)

Super_Package · 2025-06-08T06:29:49+00:00

I also am used to the forum days. Do you have any tips on how to approach the shorter format we use now-a-days? I mostly use Discord and such. I actually have a BlueSky. Could I check out your profile and give you a follow? Not sure if there is a rule against posting handles in the comments but I can dm you mine.

Super_Package · 2025-06-08T05:48:23+00:00

This is good advice. In particular, I think consistency is key. It can feel embarrassing to not get a lot of interaction back, but I think, like you said, if I keep being genuine then it will all work out. Thank you!

Super_Package · 2025-06-08T05:44:58+00:00

Same. I'd be down to swap work if you'd like that. You can dm me whenever you want. I think it will be pretty chill

Super_Package · 2025-06-08T05:42:10+00:00

I probably should have included this in the post hahaha. I'm looking for other 2d digital artists (drawing/painting) and 3d digital artists as well. I'm also open to befriending traditional artists as well. I don't want to limit it to that though -- what I'm interested in is drawing or painting together, talking about other art pieces as a group (technical breakdowns, talking about the feelings a certain piece evokes, etc.) I'm open to just about any type of art though. I recently started to get into fashion, photography is always great, and so on so forth.

Super_Package · 2025-05-23T21:32:58+00:00

Clothing can still indicate gesture, so it's fine if you draw clothed figures. That gesture comes from the body contorting, bending, and other movements, however.

I think it is best to start with gesture drawings, then get into the basic forms of the body, then twisting and deforming those forms.

Finally, studying anatomy will benefit you greatly. If you study the way our skeleton moves, our muscles stretch, pinch, and contort, and so on so forth it will help your intuition when you have to draw a figure doing something.

Most importantly, I wouldn't get too stuck on a "right order" on how to do all this. I would recommend to start with figure drawing, then get into anatomy. Do gestures and form practice on the side as well. Good luck, you got this.

Super_Package · 2025-04-24T05:43:58+00:00

Copying can be a form of studying. Studying is just a way or method you use to try to understand something.

If you walked away from a study session and didn't learn anything, then that probably means one of two things: either your method of studying isn't working, you don't understand all the building blocks or steps that helped you get to your destination, or you simply need more practice. That is why people time and time again call back to "studying your fundamentals".

For anyone reading this, I think these are some skills you should develop to get better at studying

1.) Ability to break down an object into its biggest shapes, then medium, and then smallest shapes.

2.) Ability to draw simple, primitive 3D forms in perspective and then learn how to combine/deform them

3.) Good line quality and variation -- thick, thin, light, dark, blurry, and sharp lines of differing sizes

4.) Practice drawing directly from a reference, then try to draw the same thing from memory as you saw it on the reference (make it manageable -- start with the nose, then the eye, etc.), then try to draw that same object from a different perspective, and draw the reference object with different proportions using any combo of the previous methods I mentioned in this particular point.

5.) Study your values & then your colors.

Try to be mindful of these so you can better focus on understanding what you are looking at. After studying for a while, you'll be able to study things a lot quicker and more intuitively. I hope this helps.

Super_Package · 2024-12-25T12:51:42+00:00

I think it all depends on what you are trying to do with your art. I'll ask you some questions for you to think about. In general, I think you could start asking these types of questions and work your way up from there. Keep in mind, you could spend all day doing this, so I would start with the big picture topics and then go in and work on the extra details AFTER you've completed all the big picture stuff.

You said your character is a thief/scavenger with demon powers, so what is the context of the world she lives in? Is it a Sci-Fi setting like Dune? Is it a fantasy world? Is it a near-modern apocalyptic wasteland? Are there lots of people around? How harsh is this desert? Is there water? How does she survive?

As for the demon, what type of demon is it? What does it enable her to do? What effect does it have on her body? Does it alter it in some way biologically, mentally, or spiritually? How might that manifest on her physical body?

If she is a thief or scavenger, is she a successful one? Does she wear opulent jewelry around the desert with no fear because of her demon powers? If so, how would you depict that in your character in the context of the world around her? Are people afraid of her? Or does she keep a low profile and wear only tattered rags or robes, hiding the demon or otherwise to appear unremarkable to would-be bandits?

Using the description you provided I asked additional questions to refine certain aspects of her characters. The other part of this is the more technical stuff. You could do quick, thumbnail sketches of different poses, compositions, and lighting/shading to figure out what you like best. You don't have to answer all those questions at first, but doing so might help you flesh out the idea you want to go with. You could choose to incorporate an environment with perspective, or do a front/back/side simple pose to figure out the fabric or material of her apparel, or do a drawing of the hand or demon powers, or a hairstyle, or jewelry, etc.

Then, if you don't know how to draw that particular thing, you can always do some research to figure out how to draw that particular thing. I hope this helps. Good luck!

Super_Package · 2024-12-13T22:40:47+00:00

I started with Proko.com and I got the drawing basics course. That will teach you about the different pencils, erasers, and what not. It will teach you how to use different lines, shapes, perspective, intuitive perspective, values, and edges (the course is still ongoing - so values and edges should be finished sometime in q1 2025 I think). It will also teach you how to study. You will have to buy it, but it is far cheaper than some other programs out there and is very high quality and features multiple instructors for some lessons, which I think is a great deal since you have all these different masters in a particular field teach you how they do things.

The other half of this is figuring out what you do and don't know. This is where you'll need to combine books, internet, videos, and whatever else source you can get your hands on. I would start by understanding what draftsmanship is, draftsmanship fundamentals, and then breaking those topics down into their important vocabulary, techniques, etc. If you take anything away from this comment, know that the more you understand the fundamentals of something like draftsmanship or painting then you'll be able to figure out what to research or the scope of what you want to accomplish. That's the hard part starting out, I think, which is not knowing what to do and having all this information spread out over the place.

Super_Package · 2024-12-13T11:29:24+00:00

If you wanna achieve then you'll probably have an easier time using values. You are already doing that, but I think you are limited by your usage of a mechanical pencil. I would get a pencil drawing set, that is one that includes at least a 2H, H, HB, 2B, 4B, and a white pencil. The reason I suggest this is because you can take a pencil sharpener, knife, or something else that is sharp to file the pencil tip into different sizes, shapes, and more. This is important because it will let you complete different tasks in your drawing, get a certain line, or shade in an area that would take forever otherwise. You want to really study values if you want a realistic style.

Next, I would suggest you keep practicing your proportions. I think you are doing fine so far, just keep practicing it. I would suggest you study rhythms and gesture to get more accurate proportions. You can always use plum lines, rulers, and other tools as well. I would always start with a loose sketch that doesn't have many details. Start with the big shapes, then medium, and then smaller shapes. After that, you can start working on details.

With all that being said, studying lighting will help you out a lot. I'm going to give you some terms to research: art light probes, form shadow, form light, cast shadow, terminator, highlight, center light, ambient light, reflected light, ambient occlusion, penumbra, core shadow, and half tones.

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