The Megahood City project is looking for help on making makeovers of most lots before publishing put first version.

We currently have a discord we use to keep track, talk and also with the rules for the makeovers.

Our intention is the Megahood city map is finally gonna be filled with the lots it was always intended to have :D

Some rules we abide by are:

- Lots have a strict budget, these have been listed in our participant Google sheet that's only available for participants through our Discord server (as it is also our credit list)

- Lots may not be so highly decorated that they can cause lag for casual players

- Apartment buildings are buggy when they get a regular makeover. So they have to be built from the ground up.

- A how to clean lots guide is in our guide on discord.

- We don't have a strict theme or building style, so everyone's skills are welcome

So if any soul wants to help, then they are more than welcome to. We won't use any lot without permission or credit!

After downloading the megahood city map, have I begun the big project of actually making it the map everyone wants (With houses). I won't transfer sims into the hood, but I will try to get as many lots as possible moved and renovated for everyone's megahood projects!

I am open for collab for renovation of houses, apartment buildings (They do have to be build from ground up as apartment buildings are usually bugged when renovated otherwise). I also plan to turn the dorms into apartments and so on.

Lots have to be easy to load, and starter houses under 20K only have a budget of 20K. Else budgets have be kept as intended for houses and only extra is starter furnishing.

But I am open for collab and help on making this megahood city actually become a reality that people can play!

While I haven't made the map itself, I've changed it to make all lots more or less placeable where they need to go! Only one lot refused!

And if anyone has clean lots that haven't been played but are without sims from the sims stories hoods (Four Corners and Bitville) are those also very welcome.

When I went to university I would usually spend 4 days doing these big pieces. If I remember correctly they are about 116 by 116? I may be slightly wrong in my memory.

Nowadays i don't have the money nor time to make these and I found out even sticking these on a canvas doesn't make anyone buy them... So now I just have big perler art laying in the bottom of my closet :/

I'm still proud of these though so I wanted to share (also recently found out somebody reposted my Alhaitham on Pinterest without credit Q_Q)

Hi all!

I'll be doing Traditional art trades (your art doesn't need to be traditional). For both types of Chibis will it be fullbody and for regular style it'll be headshots and halfbodies!

I have a quick turn around on traditional art, but you don't need to be as fast :D

I prefer comments as reddit DMs don't always show, but I understand if you prefer to show your art in DMs instead.

Lost all my sims 2 game files yesterday. So I wasn't in the mood to play as much as makeover some houses from Downtown.

All lots have been cleaned and is made easy loading, gameplay friendly and beginner style.

Download:

36 Greaves Avenue (Yellow house, under 20K)

38 Greaves Avenue (White brick with neutral woodwork, under 20K, no logic based activity on lot)

201 Custer Boulevard (White brick with white woodwork and garage, under 20K)

205 Custer Boulevard (Neutral stone and garage, under 30K)

Recommended Mods:

Diagonal Easel Mod

Watch TV from all chairs

I originally wanted to do one more digital attack but after spending 10 hours on a piece and being blocked I've decided to just do my 20-30 min Chibis again. It's not a guarantee I will draw one of your characters. I'm purely drawing things of my own interest now since I burned a little out on my vacation

Please be aware that I'm following the pictures uploaded when doing Chibis and don't spend time reading the characters story of personality which may result in the character having funny expressions and poses.

Looking to trade so I can get some art of Mizuki (would love couple art for the yumeship with Reiji Kotobuki but Mizuki alone is also fine)

I am mostly looking to do Chibis (traditional) like the attached example for my part of the trade.

Couple art for couple art is welcome.

Some of ya'll may remember I posted last week that I had done 36 attacks in 12 days - and now we are at 60 attacks in 18 days.

I included the first 3 collages by default now after the newest 2 collages.

I can be found as Nanominyo on Artfight.

As per usual I suggest people who haven't been attacked much to comment their profiles! I can do all types of characters as visible by this!

I've done exactly 36 attacks as of today (With 6 more hours back of today).

Most people are people who have been attacked 4 times or less in total throughout all years before I attacked them, with a few exceptions of some friends I had on my own personal hitlist.

All chibis are fullbody and fully colored (And look, even I got a bad picture among my attacks)

Want me to look at your profile and see if you got anything interesting to attack? Link your profile below.

Edit: This is meant as a beginners guide. The rules here are good to follow if you're not good at photographing art yet. A person who is good at photographing art can break nearly all the rules and still display something presentable. This is just made to address the big dislike towards traditional art and the major causes that cause people to dislike it.

Hello all!

I'm Nanominyo, and I'm doing 100% traditional art this year. During my first Art Fight last year, I completed 18 attacks, and only 2 of them were digital. Most of these got TYs beyond a few attacks posted on the last day of art fight Ouff, but reality is a lot of people don't check art fight after the last day.

One thing I've noticed is that many people say they don't want traditional art. In my experience, that's often not actually the case. I've had almost everyone I've attacked enjoy receiving traditional artwork because I put just as much effort into presenting the finished piece as I do into drawing it.

A clean photo can make traditional art look almost like it was scanned, and you don't need an expensive camera or a scanner to achieve that. Here are a few things that make a huge difference - and make more people not hate recieving traditional artwork.

No one likes recieving a bad picture of a drawing.

With years of experience of photographing traditional art, here is 4 major points of traditonal art photographing that beginners might not think much about:

Rule 1: Don't let there be distractions in the image

Nothing but the character should appear in the picture. People want to focus on the illustration, not on visible paper edges, messy desks, or random objects in the background.

How to fix it

Crop the image on your phone or in your preferred editing software so only the artwork is visible. Try to minimize everything outside the illustration. You want the image to have one clear focal point.

Rule 2: Don't use weird filters

Filters should improve the colors of your artwork, not change them. Heavy filters or unusual lighting can make the character look strange. Only use stylized filters if they're an intentional part of your presentation. Otherwise, aim for colors that look as close as possible to the original artwork.

How to fix it

Some phones automatically add processing when you increase the brightness, so try to take the photo in neutral lighting first. Then make any necessary color adjustments using your phone's editor or your preferred editing software.

Rule 3: Don't let the picture be blurry

If the picture is blurry, take another one. A bad camera isn't an excuse.

I photograph all of my artwork with a OnePlus Nord 2 - a phone that's often criticized for having a mediocre camera. Despite that, it still produces clear photos because presentation matters more than expensive hardware. Most modern smartphones are capable of taking good photos of traditional artwork.

How to fix it

Hold your phone with both hands and let the camera focus before taking the picture. If your hands shake, rest your elbows on a table or prop your phone against something stable. Take several photos and choose the sharpest one afterward. If the image is still blurry, move to a brighter area so your camera can use a faster shutter speed.

I had to work hard to get a blurry picture

Rule 4: Don't take pictures at an angle

It might look artistic to you, but the recipient wants to see their character clearly. Art Fight might be leaning into being a social platform, but it's not Instagram. A straight-on photo is almost always the better choice.

How to fix it

Hold your phone directly above the artwork so the camera is parallel to the paper. If possible, place the drawing on a table or the floor and stand directly over it. Turn on your phone's grid lines if you need help keeping everything square. If the photo is still slightly crooked, straighten it in your phone's editing tools before posting.

Breaking the rules

Of course, these rules can be broken for artistic reasons or because your editing options are limited. Every phone has different built-in editing features, so use whatever tools you have available.

Your background doesn't have to be perfectly white - it just needs to be a single, even color that doesn't distract from the artwork.

I also highly recommend drawing your lineart with an ink pen. If that's not an option, a ballpoint pen can work, but it may smudge while you're erasing your pencil sketch and generally takes a little longer to dry than most fineliners or drawing pens. It's easier to photoedit something dark on paper to pop and look clean over a light pencil sketch. You don't always need to add colours either to your drawing - it just needs to look clean.

Traditional art deserves just as much love as digital art. A few extra minutes spent taking and editing a photo can make a huge difference in how your work is received.

---

This isn't meant as criticism - it's an attempt to help more people enjoy receiving traditional art. Most of the dislike I've seen toward traditional attacks seems to come from poorly photographed artwork rather than the artwork itself.

If you have any other tips for photographing traditional art, I'd love to add them to this list!

And, of course, there will always be people who are simply ungrateful or have very specific preferences. We can't change that. This post is for everyone else - for the artists who want to present their traditional work in the best way possible.

(Also working with a limited collage maker so excuse the horrible collages - they just needed to get a point across)

Sorry for the clickbait title - this is unfortunately how social media works

I am probably the biggest shipper of Vidcund x Cassandra - and as such I was debating, who would confess first. Never got to a conclusion, but ended up doing Vidcund and a little heart.

I will completely render it... someday. But yeah.

What do you all imagine Vidcund's life as?

Bahalla

Overview:

It is generally described as a council-bound monarchy, though accounts differ depending on whether one speaks to coastal officials or inland authorities. A central ruler exists, but regional councils appear to hold equal - if not greater - practical power.

The capital is named Ishara
Other major towns include Velun, Kareth, Ombashi, and Thulane

The country is known for its dense forests, river trade, vibrant textiles, and unusual contrast in physical features - most notably dark skin paired with naturally light hair.

Stereotypes include being loud, overly expressive, superstitious, and resistant to outside control.

Bahalla is often described as a “living land,” where settlements adapt to the environment rather than reshape it.

Geography

Overview:

Area: ~412,000 sq mi / ~1,067,000 sq km

The country consists largely of dense Jungle forests, wide river systems, and open savanna plains toward the south. Elevated highlands exist in the northeast, though they are less inhabited.

The climate is warm and humid throughout most of the year, with heavy rainfall seasons that significantly impact travel and trade routes. Flooding is not uncommon along major rivers.

The sunlight daytime remains around 12 hours year-round, with only slight variation.

It is frequently noted - both in local accounts and among traveling merchants - that the land hosts a greater number of predators than is typical elsewhere.

These range from smaller hazards such as snakes, insects, and other ground-dwelling creatures, to significantly larger predators. Several reports describe animals resembling enlarged forms of the so-called shadow feline, though such classifications vary depending on the source.

Beyond this, Bahalla appears to support a wider variety of wildlife than most recorded regions. Creatures considered rare - or entirely absent - in other countries are, if not common, at least less unusual here.

Whether this is a result of climate, terrain, or some other influence is not consistently agreed upon.

People:

Overview:

~9,800,000 citizens (ratio appears relatively even, though exact figures vary by region)

82% human, 6% Travellers, 9% Rexen, 3% beastmen

Life expectancy is estimated at 69 years for males & 74 years for females.

The general family has 4–5 children on average.

Approximately 88% of the population is native to the region. 7% are mixed-background immigrants (primarily traders), 6% Travellers, and the remaining percentage consists largely of river-based or semi-nomadic communities that are difficult to formally record.

Roughly 58% of the population follows the religion Iche-ee, though local interpretations differ significantly from those found in mountain regions such as AnLechous or Azra.

Citizens of Bahalla are widely recognized for their dark skin and naturally light hair, ranging from pale blonde to near-white. This contrast is often tied to spiritual interpretations, particularly in regions where sunlight is considered a divine force.

Clothing tends to be lightweight and layered, often dyed in bright patterns. Jewelry is common, particularly in the hair, where decoration is seen as both aesthetic and symbolic.

Expression - both emotional and verbal - is far more outward than in many northern countries. This has contributed to the stereotype of Bahallans being “loud,” though locals appear to view such expressions as normal communication.

Language:

Overview:

61% of the population can read & write at least one language.
14% are multilingual in written form.
48% speak more than one language.

There are 3 recognized official languages, with at least 8 additional regional languages spoken across river and inland communities.

Merchants and river traders typically speak 3–4 languages, while rural populations often remain monolingual.

Language appears to shift significantly along river routes, suggesting trade influence rather than centralized education.

Religion:

The primary religion is Iche-ee, though it differs notably from other regions.

In Bahalla, the Sun is not only a watcher, but a giver of form. It is commonly believed that physical traits - particularly hair color - are influenced by the Sun’s favor or attention.

There is also widespread belief in river spirits and forest-bound entities, which are not always considered separate from Iche-ee, but rather local expressions of it.

Religious practice is less centralized; temples exist, but many rituals are performed outdoors or near water.

Military power:

Approximately 90,000 citizens are considered active in defense roles, though this includes regional militias rather than a fully centralized army.

Forces rely heavily on environmental familiarity; ambush tactics, river navigation, and forest warfare.

Large-scale invasion of Bahalla is generally considered difficult due to terrain rather than military strength.

The Ruler

The central ruler - often referred to as the Sun-Bound Speaker - is said to act as an intermediary between the people and divine interpretation.

However, the extent of their authority is unclear.

In many regions, local councils appear to override central decisions, suggesting the title may hold more symbolic or religious significance than political control.

History

Bahalla’s early history is difficult to reconstruct with certainty, as much of it is preserved through oral tradition, fragmented records, and later interpretations from outside scholars. Even the name “Bahalla” is believed by some to be an external designation rather than a self-applied term, though this remains unconfirmed.

It is generally accepted that the earliest stable settlements formed along the major river systems shortly after what is commonly referred to as the Outcoming. These waterways are thought to have served not only as sources of food and irrigation, but also as primary routes of communication between otherwise isolated communities. Early accounts frequently describe “river-bound peoples” rather than fixed territorial states, suggesting mobility along seasonal flooding patterns may have been central to early social organization.

Unlike several neighboring regions, Bahalla does not appear to have undergone a singular unification event. Instead, its development is more often described as gradual convergence: a shifting network of river cities, agricultural basins, and inland trading settlements that maintained intermittent alliances. These alliances were often temporary, forming in response to drought cycles, predator migrations, or external pressure from expanding states.

Some of the earliest semi-verifiable records come from merchant logs and border inscriptions dating to roughly one to one and a half millennia after the Outcoming. These references describe a region of “water cities and green lowlands” where goods were exchanged along river corridors rather than overland routes. However, these accounts are inconsistent in detail, and may reflect differing regional perspectives rather than a unified political reality.

There are repeated references throughout external sources to attempted influence or partial control by coastal trading powers and inland empires. These efforts appear to have been primarily economic in nature - focused on river access, taxation of trade routes, and resource extraction rather than full territorial occupation. While some settlements may have entered periods of tributary obligation, there is little evidence to suggest long-term centralized control was maintained across the region.

Internal Bahallan traditions, by contrast, often emphasize continuity rather than conquest. Many rural communities trace their lineage through river systems rather than political borders, maintaining cultural identities tied to specific waterways, floodplains, or seasonal migration routes. In several regions, oral histories are still recited in forms believed to predate standardized written language.

More recent historical layers suggest periods of increased external contact, particularly as neighboring states expanded trade networks and sought access to Bahalla’s agricultural output and river navigation routes. These interactions are sometimes described as cooperative and mutually beneficial, though other accounts indicate periodic conflict, particularly in border-adjacent valleys.

Despite these pressures, cultural continuity within Bahalla remains notably strong. Religious practices, river-based agricultural cycles, and localized governance structures have persisted with comparatively limited standardization from outside authorities. This has led some scholars to describe Bahalla not as a single historical state, but as a “continuous river civilization” composed of many overlapping, semi-independent communities.