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running-with-kn1ves · 11 months ago

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🧎‍♀️more edira????? in evil old lesbian office worker we trust 🙏

how about a honeymoon-esque vacation scenario??? I am dying to see more of casual edira, the way she was in that last drabble ahgdgshababnabab

ur writing is just so good 💝

A/N: This is so kind! I was really surprised that Edira kept showing up in my inbox but I can't complain! I didn't want to jump to honeymoon just yet so here's a little vacation/beach episode :D

CW: blackmail/forced relationship, power imbalance, edira grabbing reader’s butt, overall possessive red flags --WC:2300

Synopsis: vacay with your powertrip of a girlfriend Edira! But her workaholic tendencies are hard to escape.

Taking “official” photos was always a humbling experience. You looked down at your passport ID for the hundredth time, grimacing at how dead you looked in the grainy picture.

“It’s not that bad. And see, the light hit your eyes perfectly,” Edira promised, but it didn’t fix the frown on your face as you focused on each blemish and pore that was exacerbated tenfold in the tiny image that represented who you were across country lines.

“Easy for you to say, you look the same as you did in your headshots on the branch website..”

You looked at her from the bed, watching the back of her sandy grey-blonde head shake with a sigh. The business woman rapidly typed away on her glowing laptop, seemingly irritated by the crashing waves outside the open sliding doors.

“Well, if you really want we can get it taken again, when I put my last name on there too.”

At that, you were quiet. Moving in together, and now vacations across boarders…. Her reference to marriage shouldn’t have been shocking, but it put all other thoughts in your brain to a stop. You didn’t really want to marry her, did you? Your blackmailing boss who was more like a war general than a tender lover, one who daydreamed about bending you over her desk more than what flowers she’d want at the ceremony venue. The possibility of staring into her bleak expression at an empty, cold courthouse and being forced to elope was something that made your frown droop even further.

The sad excuse of a wedding depressed you more than the thought of marrying Edira at all.

But you shook that despairing vision out of your head-- you were here to relax, to get away from the stress of your office environment (your coworkers) and neverending projects with cutthroat deadlines (running reports and files to Edira as soon as she requests them.)

“Well, I still don’t know how I convinced you to let us do this. I mean, I didn’t think you ever took vacations. When’s the last time you went on a trip that wasn’t for work?”

Edira stopped her clacking, french tips scraping along one of the computer’s keys.

“This is my first. I never had any reason to use my PTO days, until now.”

Wow, you really WERE dating a workaholic. What kind of insane person doesn’t use their personal days the second they get the chance? If you had been more than a temp, you would’ve taken all of yours the second Edira tried to indoctrinate you into her little play “date” plan.

“Well then why are you doing work!? This is one of the few times you can get away with not being available every other second of the day. You’ve been on your computer since we got on the plane-- isn’t it time we actually, you know, vacationed?”

Edira returned to her email writing. “They might need me, I’m the only one who has access to the other branches’ inf--”

“C’monn, I think they’ll be fine without you for an hour or two. Otherwise, what was the point of coming here..” You hopped to the screen doors, opening the curtains to see the glimmering ocean right outside your suite.The sand rippled with the blowing wind, completely void of footsteps or life. “I mean we LITERALLY have the ocean right here and you’d rather stare at your laptop.”

Edira hummed, not convinced.

Yikes; If you wanted to explore the island you were supposed to be vacationing on, you’d need to pull out the big guns.

“You’d rather focus on your work than… spend time with me?” Your voice cracked, looking at the ships far away from your corner of the coast. It was physically sickening to sweeten yourself up in order to get Edira’s favor. But how else could you actually use this once-in-a-lifetime chance to swim in the Indian Ocean, to experience something, anything, outside of your boring desk job and droning urban life.

At your buttered up question, Edira paused. You could see her looking at you from the corner of her eye, unreadable.

She shut her laptop. Pushing away from the desk she sighed, running a sharp hand through her hair, tight jaw clenching and unclenching.

“Put your bathing suit on.” Was all she said, unzipping the back of her form-fitting dress.

You didn’t say anything, no claps of excitement or relentless thank you’s-- lest she change her mind to ruin your fun. You hurried to change your shorts and souvenir shirt (A present from the airport gift shop; Edira saw you eyeing it) as the businesswoman walked to the master bathroom.

You prayed to be faster than her, hoping she wouldn’t catch you in a position that sparked her lust.

You were running around looking for sunscreen and towels when she came out, hands on her hips and dark sunglasses propped on her head. Even in her backless one piece, she looked like an executive on a business trip, hard glare in her eyes and a muted black covering the front of her body. From the back however, a different person was hidden. The cheeky bottoms exposed nearly the full of her, well, bottom, as ruffled locks of hair fell like messy feathers down her shoulders, exposed to the salty wind. She was the sexy women in swimsuit magazines, meant to be a fantasy of maturity and dominance way out of your league. But here she was, looking you up and down as you hopped on one foot to try and grab a towel on the other side of the bed.

“You know, i’m not really a big fan of the beach. I don’t know why I picked this place… should’ve chosen the mountains or something. Someplace we wouldn’t be bothered.”

Someplace she could have you all to herself, she meant. Somewhere you wouldn’t be distracted by things to do and would come looking to her for warmth by the fire.

“Maybe next vacation!” You hoped, praying that it turned the cogs in her machine brain to take you somewhere else, anywhere else, soon. “Meanwhile, we have our own private beach, thanks to you. We’ll only be bothered by the occasional seaweed. And maybe a fish or two.”

You gathered up the beach necessities in your arms, full of towels and a beach umbrella, along with small must-haves like water bottles and sunscreen spray cans. Edira looked at you with an incredilous stare, grabbing the towels and water from your hands to shove into her beach bag.

“Yeah, didn’t really think of that.” You said, noticing how most of the things you grabbed could be fit into her infinite ‘lifes a beach’ tote-- complementary from your Airbnb hosts.

“Let’s go.”

She walked out to the naked patio, locking her pointer finger with yours as you hiked the umbrella on your shoulder. You had come to learn Edira well; she didn’t like the sun, hated most gelatinous sugary mixtures, and was incredibly stubborn if an activity included something she found beneath her. Getting sand between her toes, included.

You found a place far away from the shore and began spinning the umbrella’s pole into the ground. Edira would surely make use of its shade, but the ocean was calling your name as she sat down on her beach towel, squinting behind her sunglasses.

“I can see the harbor from across the water; not particularly private, I’d say. The hosts’ll make sure to hear about this when we leave.”

“It’s private enough. What, did you want to go skinny dipping or something?” You laughed, clumping sand at the base of the umbrella with your foot. “The press would have a field day.”

You flumped down next to her, happy to be out of that stuffy, although beautiful, beach house that reminded you too much of Edira’s apartment. The warm sand was comforting, shells and rocks placed around you like little treasures.

“If I want to go skinny dipping with you I should be able to, not have to worry about some fisherman watching while I touch you.” She pulled at your thigh, placing her hand on the inside as she lifted up her sunglasses. “Or maybe, you’d like that, letting them watch you frolick and squirm. Maybe we should find out if they can really see us--”

She had the full intention of digging under your bottoms to make a statement, but your reaction time to her had improved.

“You’re such a worrywart, can we just swim now please? It’s better than sitting her in the hot sun, on the sticky sand..” You knew you caught her when she turned her nose at the mention of the sun, only worsening as she started to feel the sand cover her feet.

She was a priss through and through, and sometimes it worked in your favor.

“Fine… but if I’m touched by something slimy I can’t help what I do.”

You grinned with your teeth, unable to hold back a smile at finally getting to experience the beginning of your vacation.

You ran to the waves crashing against the sand, feeling them flick up at your ankles and knees as you waded in the water.

You turned around to walk backwards into the sea, watching as the woman hesitantly took out a hairtie that once had her hair in a high pony.

“Come on! Slowpoke!”

Edira reached the gap between land and water, frowning at schools of tiny fish and jagged rocks that would surely make it hard to walk in heels the next morning.

You had to drag her further, holding her outstretched hand as she let you lead her deeper into the water.

“It’s not so bad, right? Nothing slimy thus far…”

“Something’s definitely touching my leg.” She remarked, linking arms with you as if you were a safety floaty. “And it smells like fish.”

You both trudged far enough from shore, a little more than waist deep as you watched the sun near the horizon line.

You took a moment to look at it, staring as the boats pass by from far away, seeing the empty houses on the beach neighboring yours between areas of trees.

Edira turned towards you, the same moment something coming to grip your bottom.

“Something nabbed me!” You nearly shrieked, only to feel the same sensation on your other cheek, pulling you forward against Edira. She had her arms wrapped behind you, squeezing your ass like it was dough to be kneaded.

“Thought I was the scared one, hm?”

You looked away, putting your hands against Edira’s abdomen. She leered over you, ignoring your attempts to create distance as she caged you in. The waves pushed you together, water swaying as her legs brushed against your knees deep below.

“don't look away from me now, you're too adorable like this…”

She watched your eyes barely peek up, defensive fists flattening against the bare of her collarbone. She was almost spotless, save for a few sun-kissed freckles sprinkled here and there.

Edira grinned a wolfy smirk. Even despite her discomfort in the sea she knew you were wrapped around her finger, nervous lips twitching while watching her bring a hand from your bottom to your neck.

Her hands were salty and wet from the sea, pulling at the base of your head to bring you closer. The workaholic almost seemed to begin destressing as her nose pressed against yours.. Edira nuzzled with her forehead pressed to your sweaty one, fine fingers caressing downward to grab your jaw.

Without warning, her tongue perched itself against your cheek, turning your face to the side as she ran a long stripe up to your temple. It was wet and full, drawing out her time to savor the flavor and discomfort of your expression.

“What are you--”

“Salty.” She murmured. “You're so soft, getting all mushy in my arms.” Edira laughed-- a real laugh, with a small snort as she leaned into you. She was so close, the intimate entertwining of your bodies so unusual from her normal obscurity.

It was hard not to look petulant when her eyes peered down at you with a gleam, as if you were a cute drunk thing at the bar she wanted to take home safe, or a pampered puppy ready to be suffocated with attention.

“So cute.. might make me jealous letting all these boatmen see you in such a little bathing suit.” She teased, progressively in a better mood now with the clouds blocking the sun and your body so cooperative in her grasp.

“Jealous?” You rolled your eyes. “Oh noo, I could never imagine my girlfriend being jealous.”

All the times of her domineering possessive behavior ran through your head, the sarcastic comment truly not detailing how severe she had gone.

“I am your girlfriend…” she grinned, kissing your shoulder with a tight grip arpund your hips. “Now that I hear it,I want more… it sounds too, loose.”

Wait, did you really call her your “girlfriend”? Hell, maybe the sun was starting to get to you.

“We'll it’s not like we can get MARRIED, haha,” you awkwardly brush off how romantic she's being all of a sudden, soft circles created by her nails running along the dip of your back. “I mean… right? We're too uncommitted for marriage, and I mean who would want to marry someone the’re in a fake relationship with.”

You couldn’t tell if you were talking about her or you anymore. Edira’s chest pressed against yours, arms tentatively keeping you trapped against her.

“Mm… Still feels fake to you?” She questioned In your neck, surprisingly calmer than you expected her to be at that comment. “How much more do I need to convince you that this is real,” Those soft lips came to brush against your ear. “That you’re not going anywhere.”

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katy-133 · 6 months ago

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How Do Spy's Disguises Really Work? [TF2 Lore]

This is NOT a tutorial nor guide on how to use disguises in the game. This is a Team Fortress 2 essay about Spy's ability to disguise, how it works in-universe, and some implications we can deduce through it.

(This essay contains spoilers for the TF2 comics Old Wounds and The Naked and the Dead, and the Valve animation, Meet the Spy.)

Note: As of the time of writing, issue 7 of the comics has not been released.

Point 1) The Disguise Kit's Backstory

The Spytron 3000 is the personal device assistant Spy uses to disguise as the other 8 mercs. This name is listed in TF2's official website's page for Spy, while in-game, it's named as the Disguise Kit in your inventory. We also see the name Spytron 3000 printed on the model in-game.

The Disguise Kit is made to look like a cigarette case, and Spy keeps his cigarettes in it. Evidence that Spy smokes cigs kept in this case is seen in Meet the Spy, Expiration Date (seen pulling a cigarette out of it), and in-game (when you Taunt while holding the Disguise Kit, and animation can play of Spy smoking and flicking the cig away).

(Image: Meet the Spy)

(Image: Expiration Date)

The Sniper Vs Spy Update gives us this image, which is a catalogue advertising spy gadgets, with (assumedly) Spy circling the gadgets he wants to order.

(Image: Sniper Vs Spy Update)

The Dead Ringer (pocket watch) and the Cloak and Dagger (wristwatch) are items Spy can use in-game.

Another section on the same image shows Spy's catalogue order:

The Disguise kit doesn't appear here, but this image implies that the Disguise Kit came from the same manufacturer. This is significant, because it means that the Disguise Kit is something that Spy didn't make himself, and therefore has to rely on someone else for the Disguise Kit to provide what he needs from it (as he may not be able to edit or change the way the Disguise Kit works by himself). Keep this in mind going forward.

Point 2) How the Enemy Sees Disguises

In-game, enemy players see disguised Spies as whichever merc they are disguised as, from whichever team (as you can also disguise as one of your own teammates to fool the enemy). Enemy buildings (Sentry Turrets, Dispensers, and Teleporters) are fooled by this disguise.

In-game, as disguises are being activated, you can see smoke appear around an Enemy spy disguising. Remember that for later.

(Image: Weapon Demonstration: Disguise Kit, OfficialTF2Wiki, YouTube)

But what about outside of the game? In the comics, we see Classic BLU Spy (from Team Fortress 1) disguised as RED Heavy. The disguise is so flawless, it fools everyone. When he undisguises, there's a smoke effect.

(Image: Old Wounds, TF2 comics)

What about the animated shorts? Meet the Spy is the only example where we see a Spy use disguises in a Valve animation. In this example, a RED Spy is fighting a BLU Medic alone and Spy shapeshifts into Medic.

(Gif: Meet the Spy)

We see the following details in this scene:

Rows of red stripes of light appear over Spy.

Heat distortion (also called a mirage).

Smoke appear around Spy.

Spy's face changes into Medic's.

Let's break this down step by step.

I think we can infer that the stripes of light are red because it's a RED Spy disguising. This means that if a BLU Spy disguises, the stripes would be blue.

The heat distortion (the wiggly lines of air you see when you're looking past hot air) implies that there's some sort of release of heat that happens when Spy disguises. Another word for this is a mirage effect. Mirages are associated with illusions and being deceived.

The smoke implies something is burned when Spy disguises. It also adds significance to the Disguise Kit being disguised as a cigarette case (smoke = lighting a cigarette).

Then Spy's face changes to Medic's. It happens less like a morph and more like a liquid (or layer of a soft material) covering over Spy.

So the takeaway is that Spy's Disguise Kit allows Spy to look exactly like another merc, through some sort of process that involves extreme heat creating a cover over Spy. What is this heat and why does it change Spy's appearance?

In-universe, the technical mechanics behind Spy's shapeshifter effect are left vague. But we can look to another Valve game for inspiration to finding a possible explanation: Portal 2.

Poral 2 includes a technology described as hard light. They are used to create bridges in the game. Touching them is described as feeling "like standing outside with the sun shining on your face. It would also set your hair on fire," (according to GLaDOS). It is made from natural sunlight.

(Image: Hard light bridge in portal 2. Image from the Half-Life Fandom Wiki)

My theory is this: I think Spy's disguises are created using holograms that work in a similar way to hard light bridges in Portal 2. It is light bending around Spy, changing his appearance, feeling solid, and creating intense heat to form and unform.

Point 3) How Teammates See Disguises

In-game, teammates see disguised Spies wearing paper masks with an image of the merc they are disguised as.

(Images: Team Fortress 2 Official Wiki)

Why is this? How does this work? How does the Disguise Kit even produce the mask? Does it print it out? What is the smoke for?

Team Fortress 2's developer commentary includes this insight by lead designer Robin Walker:

"With nine classes of characters, and so many weapons and unique abilities, one of our biggest challenges was exposing all these combinations to players without overwhelming them. […] We tried to avoid attaching 2D elements to the HUD as much as possible, since we wanted players to be looking at the 3D world we'd built rather than some abstract representation. For example, players always see their own team's spies as a spy, but they need to know how the spy is disguised to the other team. We tried a quick hack where we put an icon representing the spy's current disguise floating above his head. The icon proved baffling to playtesters. When we tackled the problem by putting cut-out paper masks on the spy, it not only fit the humorous style of the game, but it let players get all pertinent information directly from a quick look at the spy's model, thus keeping them focused on the characters and on the action of the game." —Robin Walker, Hydro Map Developer Commentary

This is practical, because it stops teammates from trying to attack their fellow teammates whilst also being able to see what class (merc) the Spy is disguised as. Even teammate Sentries are not fooled by your disguise, and won't fire at you.

This is a play on an old trope in storytelling where a character is wearing a disguise that obvious to the audience, but fools the fictional characters. This prevents the audience from getting confused or fooled themselves. The TV Tropes dot org article for this is called Paper-Thin Disguise, making Spy's masks really on-the-nose in a funny way.

So can all teammates automatically see through disguises if the Spy is on their team? In-game, it appears so. What about outside of the game?

In the TF2 comics, we see just the smoke effect used. We never see Spy wearing a paper mask at any point in the TF2 comics. Nor in any of the Valve animations.

In The Naked and the Dead, Spy disguises himself as Tom Jones, which fools Scout. When his disguise vanishes, he emits smoke.

(Image: The Naked and the Dead, TF2 comics)

This is interesting because they are both RED teammates, but Spy was still able to fool Scout. This indicates that Spy can choose to have his disguises fool his teammates.

A Detour About Quantum Leap

Let's talk about Quantum Leap. It's a 1989 time travelling series about a man (Sam) who, through a sci-fi mishap, leaps into the life of another person each episode. Sam is always played by the same actor (Scott Bakula), but when he is seen in mirrors, we see another actor in his place. This other actor is how everyone else (the other characters) actually see him:

Scott Bakula as Sam pictured screen-left in both images, looking at his reflection.

(Images: Quantum Leap, 1989)

How does this work? The actor always being Scott Bakula is for the benefit of the audience. He is the main character in a revolving door of different settings, plotlines, and time periods. He is the anchor of the show that unifies episodes, and that's comforting for the viewer. It's non-diegetic.

Diegetic refers to an element in fiction that exists in-universe of the story and is able to be perceived by the characters. It's the soundtrack if the characters complain that it's too loud. It's the camera if they bump into it. It's meta.

So non-diegetic is something that doesn't exist in-universe and is perceived by the audience but not the characters. It's the title of the movie overlaying the screen without the characters commenting on it. It's a stage musical swapping set pieces as the characters talk and don't notice. It's for the benefit of the audience. It values encapsulating a feeling of something, over how something literally is. It's vibes.

Aside from the Quantum Leap example, there are other works of fiction that have done this type of visual style of using multiple actors for mirror reflections. Another example that springs to mind is the 2011 sci-fi film Source Code. In the film, the main character has to re-live a time loop whilst in the body of another passenger on a train in order to figure out which passenger left an explosive on it.

So in Quantum Leap, Sam still feels like himself (and is thus shown that way to the audience), but is actually projecting an "illusion of [the person's] physical aura" (Sam's words) through sci-fi tech that makes everyone around him see the person he's "leaped" into, instead of him.

Why am I talking about Quantum Leap? I think something similar happens when we see Spy disguised in-game.

The paper face masks are for the benefit of the audience. They don't exist to any of the characters.

Point 4) How Spy Sees Himself Disguised

In-game, he sees himself as himself. If you're playing Spy disguised, you see his (undisguised) hands and the weapon he's holding.

You also see a little portrait of the merc he's disguised as (at the bottom-left corner), so you (as Spy) still know how you appear as to enemies.

So Spy perceives himself as himself. He doesn't see his own body as changed.

Point 5) How Voices Work

When Spy is disguised, he also gains the voice of whoever he's disguised as.

In Meet the Spy, Spy disguised as Medic doesn't speak, so we don't get an example of this in any of the Valve animations.

In the comics (issue 5, Old Wounds), Classic Spy speaks as RED Heavy, and fools RED Spy, so we can assume Classic Spy was imitating Heavy's voice (as the webcomics, while they include scripted panel changes, don't include audio).

In-game, when you're disguised, all voice lines switch to the merc you are disguised as. If you call for Medic, you yell as the merc you are disguised as, etc.

This leads to two theories:

a) Spy can imitate voices himself and therefore can imitate voices while not disguised (example: He's on the telephone, he could imitate voices before he joined RED/BLU and can do it without the Disguise Kit)

b) Spy is only able to imitate voices using the Disguise Kit and can't imitate voices without it.

Both possibilities lead to interesting potential plot ideas.

It's worth noting that while on fire, Spy will still sound like the merc he is disguised as. This leads me to deduce that it's the Disguise Kit, as why would Spy bother to maintain the voice impression? He's already been caught and he's possibly about to die.

Point 6) How Spy Undisguises

If Spy's disguises by using technology, how how does he "turn it off"?

There appears to be two ways: Unintentionally or intentionally.

Unintentional examples would include getting hit with Sniper's Jarate in-game. It's like the liquid somehow disrupts or "short circuits" the disguise. Another example would be Spy getting shot while disguised in The Naked and the Dead comic, which seems more like an emotional/psychological/physical response (in this case, pain).

Intentional examples include trying to attack in-game, which instantly undisguises you as Spy. And Spy's disguise fading away after fooling Scout with it in Naked and the Dead. He doesn't say anything or make a motion, he appears to simply will the disguise away.

So it may be that Spy has some sort of "connection" with the Disguise Kit that lets it detect his intentions.

Point 7) Is This Body Swapping?

So when Spy is disguised, is he actually in a copy of the body of the merc he's disguised as? If so, there's multiple implications:

Does he need glasses when he's Medic?

Does he no longer have a right hand when he's Engineer?

Does he lose an eye as Demoman?

How does the clothing swapping work? Can he remove clothing, or would it cease to exist if it travels too far from his body/the Disguise Kit's influence?

There's multiple counter arguments suggesting that this is not the case and Spy is not body swapping:

Spy can switch weapon items of the other merc when he's disguised by switching to his other items (and pressing B).

If Spy was actually using Medic's real glasses, that would presumably mess with his vision. And Spy has no visible issues with his vision.

Spy can't run as fast as Scout, nor double jump, so he doesn't gain Scout's physical capabilities.

As mentioned in Point 4 earlier, Spy sees himself as himself. His body doesn't change from his own POV.

In the comics, when Spy is shot in the leg while disguised, he keeps the same injury afterwards. The person who he was disguised as was Classic Engineer. Who has metal prosthetic legs. And therefore wouldn't get injured from a shot in the leg at all.

(Image: The Naked and the Dead, TF2 comics)

In Meet the Spy, Spy's missing Medic's glasses when he shapeshifts into Medic, but that may have been done to make the scene cooler (he steals Medic's glasses after defeating him).

(Image: Meet the Spy)

Spies also can't use weapons of the merc they are disguising as. Attacking instantly undisguises the Spy. This implies that the new weapons Spy holds when he is disguised are the same weapon with an illusion cast over it, not a weapon swap.

It not being body swapping also opens the door to the potential that Spy can disguise as a person who doesn't exist, allowing him to create an entirely new persona.

Point 8) Spy-Checking In Game

In fiction, shapeshifters often have a "tell" of some sort, where they can't quite perfectly mirror the individual they've shapeshifted as. On TV Tropes org, it's called "Glamour Failure," in reference to glamour, an archaic term used in mythology for a type of beauty spell, or a spell to make the shapeshifter appear human. Common glamour failure examples in fiction include the shapeshifter's eyes being the wrong colour, or their reflection revealing their true form.

(Gif: The Little Mermaid, 1989)

Does Spy have a tell? Well, in Meet the Spy, the audience is surprised by Scout being the Spy. He looks like Scout, sounds like Scout, and acts like Scout. What makes the audience twig on that it's not Scout is when he does a trick with Spy's balisong (knife). Scout wouldn't do a knife trick with a balisong.

And I think that's illustrative to how you can detect a disguised Spy in the game. It's (in part) spotting a teammate acting oddly. Medic running around not healing anyone, that sort of thing.

Other ways to Spy check in the game (but not limited to) are:

You can't walk through enemy Spies like you can with teammates.

Teammate attacks don't hurt teammate Spies.

Sniper's Jarate instantly ruins an enemy Spy's disguise if it splashes on him.

Spy mimics the speed of the merc he's disguised as, but can't run as fast as Scout.

The speed difference between Scout and Spy is notable. Is the Disguise Kit making Spy slow down, or is the speed change just Spy trying to act more like the merc he's imitating? Could he run faster if he needed to? It's unclear.

There are also in-game support-type effects that affect disguised Spies differently:

Teammate's Sentries will always be friendly to disguised Spies. Enemy Sentries will fire at Spies unless they are disguised.

Medic's crossbow heals teammates and hurts enemies. It hurts disguised enemy Spies.

When Soldiers activate a banner, nearby teammates that do not emit a glow are disguised enemy Spies.

If Spy is disguised as an Engineer with a Beep Boy cosmetic, it will always appear with a sad expression, instead of happy with various emotions.

(Image: A Beep Boy with a sad, pained expression)

This means that some forms of technology are fooled by Spy's disguises, but others are not.

This raises the question of whether Spy's disguises can sometimes/always be seen-through by animals. Maybe the dove Archimedes isn't fooled by disguises?

Related to glamour failure, there is a trope in fiction where dogs, cats, pets, etc. are not fooled by disguises because they can sense the morality of the person in a way that humans can't, or because they know their human so well. (The TV Tropes article for it is titled, Evil-Detecting Dog.)

Point 9) Other Characters/Things Using Disguises

Can other characters who are not Spy use the disguise kit? What is stopping them?

Aristotle is a raven Spy has on his shoulder as a cosmetic (an item you can wear in the game). This raven is wearing a tiny paper mask with an image of Archimedes (Medic's dove) printed on it. This implies that other characters are perceiving Aristotle as Archimedes, which is very funny. This also means that other characters can use disguises. It's just that Spy is the one who uses the Disguise Kit, as it's part of his job.

(Images: Aristotle, left. The Counterfeit Billycock.)

The Counterfeit Billycock is an in-game hat disguised as another hat. This being an example of objects using disguises.

This also infers that inversely, Spy can use disguises to appear as an animal or an inanimate object. We just haven't seen him do that yet.

This leads us to...

Point 10) A Note on the Disguise Kit's Interface

In-game, a screen overlay appears when you select Spy's Disguise Kit. This shows the different merc disguise options, but it's for the benefit of the player. It's not what Spy sees in-universe.

What Spy sees is what's behind this overlay: His Disguise Kit being opened. As written earlier, it's made to look like a cigarette case on the outside. The inside of the case includes a screen and three buttons below it. I interpret the interface as a screen displaying portraits of different mercs, with the two yellow buttons being left/right keys, and the red button (or blue button for the BLU Spy in Meet the Spy) being the select key.

(Image: Meet the Spy)

So we can come to the deduction that what stops Spy from disguising himself as someone other than the mercs is the same reason we can't in-game: He isn't given the option in the interface. Not that he has the option, but he chooses not to. Or doesn't think to do it. Or a situation hasn't come up where doing so would be useful.

This doesn't explain how Spy was able to disguise himself as Tom Jones, but maybe the option was given to him at some point near the start of the comic series.

If only Spy were given upgrades to his Disguise Kit for plot reasons, hmm...

Point 11) Applying Canon to Fan Works

So with all this canon information, we can take this knowledge and apply it to fan works to create something new. This includes fan fiction, animations, webcomics, etc.

So let's start asking questions. In the restrictions of established canon, can Spy…

Disguise as another character, such as Saxton Hale, Miss Pauling, or the Administrator?

Can Spy disguise as an animal, such as Archimedes?

Can Spy disguise as an inanimate object? … without contravening canon?

Spy Disguising as Saxton Hale, Miss Pauling, and the Administrator

(Image: Jungle Inferno)

Saxton Hale is not one of the mercs (he's the owner of MANN CO., which RED/BLU get their weapons and hats from) and is much larger than Spy. Maybe Spy can't disguise himself as non-mercs? Again, size does not appear to stop Spy from disguising as Heavy, and Spy has canonically disguised himself as Tom Jones, who is not a merc. So in theory, Spy could disguise as Saxton Hale.

(Image: Meet the Director comic)

Miss Pauling and the Administrator bring up the question of whether or not the Disguise Kit allows the user to disguise as someone of a different gender. Spy's teammates are men, with Pyro's gender being unknown. So Spy disguising as another gender does not contradict canon, it's just unknown if he canonically has done so already.

(Image: Expiration Date)

While not a disguise, we do have official Valve art of Spy wearing the gold/blue "colour illusion" dress (the original dress being designed and manufactured by Roman Originals) in celebration of Steam's 20th Anniversary.

While wearing a dress is not the same as shapeshifting into a woman, this illustrates that Spy has not been stopped by gender expectations of the 1960s from presenting himself more femininely.

(Image: Steam's 20th Anniversary. Art by Claire Hummel)

So the thing stopping Spy from disguising as Saxton Hale, Miss Pauling, or the Administrator would not be because the Disguise Kit is incapable of ever doing so, but because the kit doesn't provide those options, out of the company's benefit. Remember back in Point 1 that the Spytron 3000 is an (unknown) company's invention that was shipped to Spy? It would not be in TF2 Industries' interest to give a merc the ability to disguise as one of their bosses or boss's assistants. It would be a infiltration liability waiting to happen.

Spy Disguising as Animals

This once again falls into the realm of size not stopping Spy from disguising as something, just in the opposite direction. Spy can disguise as Engineer and other mercs shorter than Spy.

Is there a limit to how small? Can Spy disguise as a mouse? A Spycrab? Again, it's just unknown if he can because hasn't happened in the canon.

(Image: Spycrab cosmetic)

Spy Disguising as Inanimate Objects

There's a reoccurring joke I've seen in different fan works of Spy disguising as a lamp by wearing a mask that has an image of a lamp printed on it. I saw it enough times that I had assumed it was from canon, but I couldn't find a canon example of it anywhere. I'm unsure of its original origin in fan works, but it has since been embraced by the fandom.

Another example of a fan work letting Spy disguise himself as an object is Fortress Film's (the creators of Emesis Blue) fan film, Spy's Disguise. In this 28 minute animated film, Spy figures out how to disguise himself as a sentry gun.

(Gif: Spy's Disguise by Fortress Films, YouTube)

12) Conclusion: So How Do Disguises Actually Work?

In conclusion, Spy's disguises can be interpreted as a smokey aura or hologram that surrounds Spy through a piece of tech known as the Spytron 3000.

It is a perfect visual and audio disguise to all the mercs, both for teammates and enemies. We see Spy's paper mask for the benefit of the audience and is possibly non-diegetic (metaphorical and not existing in-universe). The paper masks are not seen by any of the mercs, teammate or otherwise.

A teammate Spy can choose to allow teammates (and possibly enemies) see through this aura, whilst still knowing that the Spy is disguised, and who he is disguised as.

Nevertheless, part of the fun of fan works is that they can deviate from canon. Want Spy to body swap? Yes! Want Spy to be able to remain disguised while attacking someone in a fight? The power is yours.

Fan work is universes within universes.

#tumblr won't let me add links sorry #essay #team fortess 2 #tf2 #my text #storytelling #tropes #quantum leap #portal #emesis blue #long post #the little mermaid #my essays

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echodrops · 3 months ago

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Sometimes the events of my life are truly so comedic that I have to assume some supernatural being(s) are watching me like their favorite evening sitcom and just dying with laughter.

Peep this Shakespearean level comedy of errors:

Go out with coworkers for a celebration because our project trip to Puerto Rico was approved.

Coworker brings up travel requirements to Puerto Rico. Only a driver's license is required, but you need the "Real I.D." symbol.

Pull out my driver's license to check, only to discover that my driver's license is expiring in FIVE DAYS. Thanks for even the slightest notification, Department of Public Safety???

Try to renew online, can't. No explanation for why is provided. Go to the DPS Office. "Oh, you used your passport to renew last time, and now your passport is expired. You can get a new passport though and then renew."

"Ma'am... do you know how long getting a passport takes?"

"I think it only takes a couple months now?" ... "And what is the expiration date of my license???"

"We can use a birth certificate instead. You can get it at the court house and come right back. We should be able to finish the renewal today."

"Ma'am... I was born in LA..." Lady tells me the next available DPS appointment isn't even until October 17th, eight days after driver's license expiration. Make the appointment.

Go to the California birth certificate website. Have to pay $60 for them to print and ship the birth certificate to me. Only after paying do they reveal there is a back-order on birth certificates and it may take up to 35 days for my birthday certificate to arrive.

Cancel the October 17th DPS appointment in abject disappointment.

Driving on an expired license because what else can I do? I can't bum rides off coworkers for 35 DAYS.

ONE DAY after my license officially expires, a college kid texting and driving veers into my lane and hits my car. (Thankfully no injuries, just a lot of cosmetic damage.)

The other driver doesn't have insurance. I DON'T HAVE A VALID LICENSE so I can't even go through MY insurance.

We agree to get estimates from body shops and for her to pay for the damage out of pocket. I get one official estimate--$1000 in dent hammering and repainting.

She texts me later that her mom "knows someone who repairs cars." Is this guy licensed? "Oh yeah definitely."

"Okay, give me the address and I'll take the car to their shop for an estimate."

"Ummm, maybe you could just bring the car to my mom's house and she can take it to the mechanic?"

"With all due respect dear, are you out of your mind?"

She finally gives me the address of the mechanic. It's one block from Mexico. It's a house. There are six dogs running loose in the front yard. There's something that might have ONCE UPON A TIME been a body shop next door to the house but now is a pile of barely standing timbers.

"Mechanic" comes out. I ask to see his license. He shows me a piece of paper that looks two steps above "I printed this direct from a Google images search."

I have a moment of despair, and then I realize: My car is 11 years old and has 100,000 miles on it.

If my car ends up chopped up for parts or sold across the border to Mexico, I can report it as stolen.

THIS IS HOW ECHO GETS A NEW CAR.

I am zen. All is well. I hope the worst case scenario comes true. I agree to bring the car to the "mechanic" on Monday.

Get back in the car, head home for the day.

Get a call from boss.

Puerto Rico project trip cancelled.

You can't make this shit up.

#BUT FOR ME #IT WAS THURSDAY #IRL stuff #honestly at this point #my life is so ridiculous #that the funny story that came from this whole event #is worth more than the repair to the car #my struggle bus crashed a year ago and now I'm just on the struggle walk

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wutheringheightsfilm · 2 days ago

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from @/theindigenousanarchist on instagram. Image description under the cut.

[Image ID]: 14 instagram slides with a pink and yellow gradient background, with white text boxes. All text is in black unless otherwise stated.

Slide 1: (in red text) "La Migra: On How to Take Radical Action to Disrupt Immigration Raids"

Slide 2, titled "Why Radical Action?": "When I log in to social media all the tips I am seeing to protect vulnerable migrant communities are primarily focused within the 'know your rights' realm. However, that is highly problematic, right? Because the authorities who are conducting immigration raids have general immunity from wrongdoing. They do not always, or often, care if they violate someone's legal rights. And...even beyond that we have a President who is seeking to eliminate those legal rights entirely, making such advice somewhat moot. In short, telling migrant/immigrant communities to 'know their rights' isn't really that protective. And it definitely isn't activism."

Slide 3, titled "Show Up, Show Up, Show Up": "Of course the best way to know how to help targeted communities is to...be in-community with affected people. When folks invite you into their spaces or host cultural events: show up. Let people from those communities see your face and know you are a safe person. And when someone in your community says ICE vehicles have been spotted: show up. Go see what they look like. Teach yourself how to spot these folks so you can be someone who reports sightings with integrity. You cannot only support anti-racism in theory. Show up as often as possible."

Slide 4, titled "Report Sightings and Be Loud": "Find out if your local area has a phone line to report sightings of ICE officials. Many larger metro areas do. There are also websites, like juntosseguros.com where you can make reports that go beyond your own social media reach. If you spot ICE vehicles or personnel your responsibility is to LOUDLY shout "La Migra," on repeat, if it's safe-ish for you to do so. You should also take pictures of what their vehicles and uniforms look like. Then, your responsibility is to report your sighting with as many details as possible. However, what you do *not* want to do is report sightings without first verifying they are true. Or, if you are reasonably sure it is true, then be clear in your report that it is second-hand information."

Slide 5, titled "Start a Phone Tree and Communicate": "It doesn't have to be a phone tree. It can be an e-mail list on Protonmail for added security or a Signal group. But be careful not to start a list of people that La Migra can come after. Your "phone tree" should be a mix of people so that Undocumented folks, should they choose to be included, can't be immediately targeted as such should an authority get access to your phone. The goal of your "phone tree" is exponential. It can be used to report sightings, to gather folks to disrupt immigration raids, or to offer rides and other forms of support to targeted people. It would not be going too far to establish codes within the group that have secret subtext only y'all know."

Slide 6, titled "Distract and Deflect": When ICE agents come to your neighborhood shouting "La Migra" is useful. But! If targeted communities do not have a chance to leave the area or get inside their homes...then its usefulness is limited. Targeted people need a chance to get out of sight of those agents. So...Distract. Use your phone tree to Flash Mob. Pull a fire alarm. Fall and pretend to hurt yourself. Turn on your emergency flashers and stall your car, maybe a spider was trying to get at you. Or, if you have privilege approach the officers and ask questions until they demand you leave. Do whatever you can to give folks time to flee. This is a time where your protest tactics might be useful."

Slide 7, titled "Hide and Keep Secrets": "One thing we do not want to do is advertise what we are doing to help targeted communities. Nobody needs to know. Share only general information relevant to the issue and keep the details of what you are doing strictly secret. Police will harass you for helping and you become unsafe if they know what you are doing. And...if you are able to be a safe person you can then offer direct support to targeted populations. For example, if La Migra is in your area then neighbors might need rides to work so they don't have to use public transport, they might need you to go grocery shopping for them or watch their children instead of send them to school. Also, this allows a greater chance for you (or someone) to be present if they are stopped by Immigration authorities. In any case, be sure to ask if they have someone they want you to contact should that happen."

Slide 8, titled "Locate and Stay in Contact": "Unfortunately we will not be able to protect all people from being detained, not until we do better as a society. A critical skill to learn is how to locate people who have been detained. Figure out what websites you can use, what agencies you can call, what authority you can enact to maintain tabs on those who are detained. ESPECIALLY if it is someone from your neighborhood or friendship circle. Then, find out if you can make contact with them or visit them. Find out how they are being treated, if you can share their information, and if they need anything you can provide. Knowing that someone with more privilege than you is watching out for you, is keeping tabs on you, provides hope."

Slide 9, titled "Raise Funds and Pressure Legal Aid": "Another way we can provide assistance is to raise funds for targeted folks to have legal representation. The extent to which legal representation can help them is always in flux but it is FAR better to have it than not. And if we can take it a step further...even better. We can contact local immigrant attorneys and ask, even pressure, them to take cases for free or at reduced cost. Many people have been successful at this because ultimately that is why these people get into this field in the first place...to help people in need.

Slide 10, titled "Attend City Council and Demand Sanctuary": While immigration raids are generally started by the federal government, and as such are not limited by city laws, we can still demand that our towns and cities be places of sanctuary. In fact, many places that were previously established as 'sanctuary cities' are the ones doing their most not to cooperate with immigration authorities. It may not be enough to stop the raids but it sure does help to have your city officials defending you. How do you make a Sanctuary City? With your city council. And, if they haven't gone this course already, they are going to need some pressure. And that is something we can work on."

Slide 11, titled "Find and Object": "Immigration authorities have names and addresses. So do store managers, CEOs, school superintendents and all people who allow ICE raids to happen in their facilities without a plan to keep folks safe. What we can do is learn those names and find out how to locate these people and object to what they are doing, then disrupt their lives until they are as miserable as we are. We already know, historically speaking, what happens when good people do nothing when authority figures state they are 'just following orders.' And we no longer accept that as an excuse for enacting tyranny. If we make it too uncomfortable for people to hold these positions then we have less people working against our interests."

Slide 12, titled "Get Risky and Stay Safe": There are some actions that cannot be recommended online. So, some things I cannot recommend you do are:

Markup ICE vehicles so that they are clearly visible to passerbys

Learn De-Arrest techniques from Youtube vids and practice them with your friends

Form community defense teams that train together in the same way homegrown militias do

Use concrete mixer freely, perhaps in front of detention facilities

Block roadways with heavy farming equipment

Things like this may not be legal in the United States but they do live on in our imaginations...even though we would NEVER choose to practice them in current times."

Slide 13, titled "Take Feedback and Change Accordingly": "One of the critical components about helping vulnerable communities that we do not belong to ourselves is...they don't always like the way we help. If you start to engage in action to aid someone and they ask you to stop, or tell you that you are endangering them in any way, you MUST be willing to change the way you are doing things. This doesn't mean you have to listen to ALL criticism. There are a whole lot of people who do not want radical action to be centered and have these wild imaginations where law will suddenly work for justice. The people we DO want to listen to are targeted people who are immediately affected by our actions."

Slide 14: (in red text) "¡Viva La Raza!" [/ End Image ID]

#vero.txt #t #resources #i'd appreciate if you guys reblogged this one because it's actually a good actionable list

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silver-velvet-860 · 10 months ago

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More pixel coaches (and how I make them!)

From left to right: Niki (Soy Yo), Moxie (Hollaback Girl), Maps, Fun, and Talk Extreme

I wasn’t going to stop after 100! People have been big fans of these little things and wanted to know how I make them. So I took pictures of the process of creating them. (The full process is under this cut.)

I use Perler beads to make these coaches. They can be found in just about any craft store, or on the official website. I use a large square 29x29 pegboard, although occasionally I connect smaller 17x17 pegboards if the design needs more space, like what I did here with Moxie.

Every design starts out with this simple base right here:

Then I figure out who I want to make and look up references. I choose the color palette from the images and pull out some colors that I might use. Sometimes these can change.

Next, I change the outline of the base, adding and removing beads to shape it into a new figure. Once that’s done, I begin to add color, beginning with the outfit. I outline certain parts that will be filled in with color. Sometimes I look back at previous coaches for help— for example, I looked at Troublemaker for help for the beanie.

Once the colors are all set, I do one last look-through and change aspects that I feel need changing. For example, I decided to change Talk Extreme’s hair color, since I believed that there was another color that looked more like the original. The way my storage system works lets me take color samples directly off the storage drawers (they’re held there with the power of Velcro) and compare them to the design in front of me. I recommend making a color key for your perler beads, it’s very useful!

(A brief note: it's important to be aware of what your hands and/or sleeves are doing around the board. Accidents can happen, such as when I dropped my phone onto the pegboard and messed up a 90% done Maps…)

Once the design is finalized, it's time to fuse the beads. I use parchment paper and a basic clothes iron on a normal, non-steam heat setting. It's important to iron in slow circles so that every bead gets melted properly. Certain colors also melt more quickly than others. Once the design starts to show through the paper and the beads' holes become small, it's time to peel the design off the paper and flip it over in order to iron the other side. The back side doesn't need as much time as the front, since the beads are already hot. Depending on the size and complexity of the design, ironing can take 2-5 minutes.

When that side is done, I peel it off, and congratulations, it's done! It's pretty hot, though, so I set it down to cool. Once the plastic has cooled down to a reasonable temperature, it's ready to display.

And that's how it's done! The full process can take from 20 mins to almost an hour. I might make digital versions of some of the coaches to use as references for people to make them at home. Who would you want the pattern for the most? I'll be saving these all under the tag #pixel coaches, so if you want to see who I've already made, check that tag out!

#just dance #just dance fanart #perler beads #perler bead creations #tutorial #pixel coaches #very happy with how this turned out

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vikenticomeshome · 4 months ago

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Cyberchase Meal Toys (1/?)

My quest to dig up remnants of old Cyberchase merch brought me to a weird place. I've already made posts about the largest Cyberchase merch producer, Flying Minds. Unfortunately, most of their site was poorly archived, so very few products could be identified. However, there was a smaller venture in the form of kids' meal toys. These weren't McDonalds toys, Burger King toys, or Wendy's toys. No, the Cyberchase toys were available through Carl's Jr. and Hardees around 2003. The cool thing about these two groups is that their websites had archives showing their past promotions. They started with a "Cow and Chicken" promotion back in February of 2000...

...and they finished with a "Scribblenauts Unlimited" promotion in December of 2012.

They had plenty of stuff in between. There were even some things I had never heard of, such as "Phantom Investigators", which only lasted 13 episodes. These may well be the only toys ever released for that show.

Yeah, I found the site really interesting, even though I don't think I have ever eaten at a Carl Jr's or a Hardee's.

https://web.archive.org/web/20170923092943/http://www.hardeescoolkids.com/promotions.asp#

But anyway, you came here for Cyberchase stuff. If you scroll through that whole list of promotions, you won't find Cyberchase mentioned. However, they did have a page discussing the Cyberchase toys. Here is the image from that page.

So, this is a bit bizarre. Apparently, these were backup toys for when the proper promotional toys were out of stock. They never got a proper promotion of their own. Maybe that's why they are basically impossible to find these days.

I don't own any of them myself. But let's talk about them based on what we know.

The least mysterious one is "Movin Matt". We get to see him make an official appearance in Cyberchase For Real episode "Bianca's Dogged Pursuit". This was attached to Season 5 Episode 5 "The Fairy Borg Father". The little guy was attached to some sort of spinning crank on the top of a Cyberchase-themed clock.

We even get a close-up of him when Bianca ties a string to him.

He is missing his stand in these shots. When he had his stand, you would put him on a flat surface, pull him back to wind him up, and let him zoom off. Just like a real Matt.

Here he is in a bag with his stand and a bonus activity sheet.

Next up, we have some close-up pictures of the "Delete with a Twist" figure from Worthpoint, which is a catalog of old eBay listings. The different parts of his torso can be twisted around to make different pictures.

Here are a few pictures of the double-sided puzzle.

And here's the best shot I could find for the Digit tape measure.

We know that at least one other Cyberchase toy was released by Flying Minds. We have the Digit plush.

However, the little Matt figurine may be the only figurine every released for the series, unless something truly spectacular is buried in Flying Mind's archives. I wish the meal toy producers would have carried over the "Movin" concept to other characters to give us an entire Movin Cybersquad.

I also would have settled for anything Hacker.

#cyberchase #2000s #nostalgia #cartoon #pbs kids #2000s childhood #matt #meal toys #cyberchase merch

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rainbowchewynuggets · 1 year ago

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youtube

IT'S DONE IT'S DONE IT'S DONE IT'S DONE

I've been grinding away at this for months. I can't wait for people to see it. This project turned out to have a lot of gears behind it, so check out the artist statement below!

vvvvvvvvvvvvvvvvvv

I love this song. The first time I heard it, I already began picturing a story where a woman stumbled upon a gathering of birds in the forest and became so enthralled by their song that she partied with them until she became a bird, herself. It turns out that isn’t too far off from the singer, Yma Sumac’s, first experiences learning to sing. She would imitate the animals near her home in the hills of the Andes mountains as a very young kid, developing a vocal range that would make her famous later on.

From there, I fell into a montage of research on her life and the Peruvian festival music that defined her early career, as well as the complicated story of the exotica music she became most known for in the United States. I followed that up with a month-long dive into northwest Peruvian culture, mythology, ornithology, flora, and topographical studies. Then, I blacked out somewhere during the drawing phase, and now I’m here.

While I really value what I’ve learned while doing this project, I think it’s important to note that I did it all as an amateur researcher and a foreigner to the subject. I decided it would be a little conceited to try to make a totally accurate depiction of a traditional Peruvian festival, so I instead focused on referencing the regional variation of these traditions. Costumes and music have their own specific designs and textures depending on the area, and dances and festivities reflect local history. Yet, it all shares the same themes of celebrating prosperity and surviving hardship. Common motifs and characters reflect a shared heritage and cultural identity that coexists with individuality. It’s all just very cool to me.

So I asked myself, what if these birds had their own version of these traditions? What would a bird sing a folk song about? What would be new and cool to Yma, but still familiar enough that she could join in? (I got lucky, since Peruvian festival culture is already very reverent of birds and feather patterns.)

What I ended up with pulled a lot from the Carnaval de Cajamarca, which originated in the next town over from Yma’s childhood home of Ichocán. It also references these dances, among others:

Huaylarsh - Los Emplumados - Marinera - Tondero - White Dance / Los Chunchos

It’s also important to know that I took a lot of creative liberties with my research to pull the story together. I hope I haven’t used any elements in a harmful or insensitive way–and if I have, I’d like to know so that I can apologize. (I also missed out on some cool stuff, like the White Dance always having shaker beads on the legs.) I highly encourage you to have a look at some of the sources I did, and to look further if you’re interested. I found it all very enlightening, and I hope you will too.

Yma’s wikipedia, which seems like a mostly accurate overview based on other sources

Her official website, curated by a fan and friend

A segment on NPR about her musical career

The interview I got the opening from

The ornithology archive that saved my ass

I’d like to work on uploading all the frames as an image reel somewhere so they can be looked at individually. Might take a while, though.

Thanks for watching!

(To those using a screen reader, the video description follows this message. I'd like to apologize for putting the description as the last thing on the post. Not only is it extremely long, but this seemed to be the rare instance where the description would benefit from the context of the post's commentary before being read itself. I wrote and formatted this description in a way that I hoped would apply to aid various disabilities that impede enjoying music videos, and I am very interested in getting feedback.)

DESCRIPTION

[The following is presented as an animatic (a series of still images edited into a video) set to music. The art is drawn with condensed yet fuzzy pastel-like linework and full color. The song used is “Chuncho” by Yma Sumac. The song was composed to imitate the various sounds of tropical birds and animals. It has no lyrics, at least in a traditional sense. I, the describer, have tried my best to translate the especially abstract nature of this song into language that can be interpreted through text. Please use the best of your imagination to fill in the rest. An audio description will always refer to the visual description that follows it.

Audio: A male interviewer asks, “Since you are referred to the bird who became a woman in your native Peru, Ms. Sumac, may we hear your exotic voice?”

Visuals: A title card appears with gold lettering on a black background. It reads one word: Chuncho. The word is depicted as if it were carved into a flat surface with loose individual strokes.

Audio: A woman answers, “I will try to imitate the birds, as I did in my earliest years in the mountains of Peru.”

Visuals: Credits appear, also in gold text: Sung by Yma Sumac (Zoila Augusta Emperatriz Chàvarri del Castillo. Drawn by Carlie Hughes (rainbowchewynuggets).

Audio: The music begins with the steady four-note strumming of a guitar, which will continue throughout the song. Then, it is accompanied by low ragged notes from a heavy woodwind instrument.

Visuals: A green cicada flicks its wings as it rests on a plant with jagged leaves and a little white flower growing from the middle. Beetles of green, red, and yellow crawl around on trees and ferns among puffy yellow blooms. Yellow humpback beetles huddle together on a cold stone surface as mothlike butterflies cling to hanging purple-grey moss in the background. A cluster of butterflies of black, green, blue, orange, purple, and red flare their wings along stems and vines. A line of spiny cocoons hang from a vine leading up the center of the group.

Audio: A vocalist, the same woman as before, begins to sing in vocables. Her first notes are short, round, and bubbly, like the chirping of a small bird. The lilt of a flute follows.

(“B-bm, bui-bui-buiii…”)

Visuals: A small village sits on the side of a forested and scrub-covered mountain at night. Buildings twinkle with yellow and blue window light through the darkness. At the edge of the forest, a tall lean woman appears with warm orange skin, long black hair, a simple green dress cinched at the waist with blue trim on the neck, hem, wrist, and waist, and a powder blue shawl tied at the chest. She sneaks away from the village into the temperate tropical forest, glancing back to make sure hasn’t been followed. She grows more at ease as she leaves the buildings behind and strides between bushes, deeper into the trees. She passes a flowering plant with orange petals. Its bulbs are held aloft on long, long stems.

Audio: The vocalist sings in elongated threads of notes, wavering in a minor key in a mischievous way.

(“Whu, hu-uuuu…”)

Visuals: The woman grazes her fingers along a bush with little black berries and white spiky flowers. Her hand passes up and down with the shape of the bush, like the rise and fall of an ocean wave. She walks uphill, past pink clover and increasingly frequent stones.

Audio: The vocalist clicks and rolls her tongue with her notes, like drops of water splashing across stones.

(“Dlu, dlu-dlu-dlu-dlu-buiii…”)

Visuals: A voice suddenly gets her attention. The voice passes by as a green line with wide wave forms. The woman follows it. She passes through a stone forest–dense moss-covered rock formations that reach up toward the sky. The ground below is streaked with snake trails. The line of song is now yellow. It leads her forward along a trail through the rocks. She climbs a more precarious formation of boulders, through dense shrubbery and a dramatic rocky landscape. As the voice shifts redder, her colors shift pinker. Even the environment’s colors are shifting to pinks and blues. She climbs a hill, past tall spindly trees and a nearly vertical mountainside. The pink line of song leads her still upward.

Audio: The vocalist belts out the deep throaty call of a tropical bird trying to be heard far and wide. The notes increase in frequency, then widen into a whoop that softens to a murmur. The flute follows her with a few short forceful notes.

(“Ah, bya bya bya-bya-bya-bya-bya-byaaa, whoa-whoa-whoa-whoa-wi, wa-wa-wa wiii…”)

Visuals: When the woman reaches the top of the hill, a light shines up at her from the other side, returning her original colors. Below, she sees a gathering of human-sized bird people celebrating on a leafy platform. They’re dancing in different sized circles around a tree at the center. Rainbow colored ribbons of different lengths have been tied to the branches of the tree and hang down to form the silhouette of a condor. More ribbons and colorful bulbs hang from the leaves above. The line of song (now light blue) travels in a circle around the tree trunk. The camera zooms in, revealing details of the birds and their costumes. The birds are pigeons, hawks, cuckoos, seedbirds, and corvids. They’re all dressed in colorful hats, vests, slacks, and dresses with patterns that reflect those of their feathers. A circle of spotted woodpeckers closest to the trunk wear purple gowns and party hats. The party’s singing expands the blue circle of light. A wider circle of yellow, green, and white birds sit and watch the celebration from the edges of the platform. As a line of bright manakin birds zip by with their hands clasped together, the woman approaches from a nearby branch. She’s enticed by the party and joins the dance, clasping hands with a green parrot and leading the line with a broad smile on her face.

Audio: The vocalist makes a quick sudden series of escalating notes, then makes a hard sound with her teeth and returns to a low whoop. The flute echoes her.

(Ba-bana-baba-cht!, waw waw waw waw waw waw waw wiii…”)

Visuals: The birds switch to individual dances. A short red woodpecker and a tan long-necked bird with ribbons in her hair dance and sing together, their lines of song intertwining. The woman and three pigeons in red and black dresses stomp their heels in a quartet dance. She follows their steps flawlessly, familiar with the type of dance. When they begin to sing and whistle, she joins them–though her voice isn’t as strong as theirs and her line of song is thin and brittle.

Audio: The vocalist makes a low growl, at first imperceptible, that grows to a steady rumble. The flute follows.

(“Rhhh…, rhh, rhh rhhh…”)

Visuals: Then, the lights darken and redden. The woman stops to notice all the other birds heading to the back of the platform. They climb and flutter up to sit in fruit-bearing branches that grow just beyond. The woman finds herself a spot and picks a piece of fruit to eat. She takes a bite as a show begins. A band of various birds wearing ponchos and cloth hats sit down by the show platform. They play their instruments (flute, guitars and a drum) and count in the performance.

Audio: The vocalist makes more short bubbly chirps. They grow higher in small strings of notes until the phrase ends with a low long note.

(“Bom-bom, t-bom-bom-bom, mbom-bom wiii…”)

Visuals: Five owls appear, bathed in magenta spotlight before the center tree trunk. All of them have their yellow-spotted wings wrapped to mostly cover their black and gold-trimmed dresses. The four owls on the sides are short and red, while the one in the center is tall and bright purple. As all five begin to sing a golden song, they operatically open their wings and extend their feathers. As the light darkens to violet, the black and gold patterns in the folds of their wings leap out as if exposed to blacklight. They extend their arms upward and then double over to kneel on the stage, fully splaying their wings in a dramatic display. The woman watching is transfixed.

Audio: The vocalist rolls a noise from the back of her throat. Once, twice, three times–before hitching the roll up and down and letting it trail off. The flute makes a low hollow arc of a note.

(“Ghhh, ghhh, ghh gh-gh-gheee…”)

Visuals: Cut to the next performance. Two teams of blackbirds with long waving feathers compete, standing on each other’s shoulders to form two pyramids. The one at the top of each team lunges forward to try to strike the other with a long stick, propelled by their team. Their feathers glow with yellow light from above. The team on the left—with orange vests and red sashes—strikes first, only nearly missing. They gloat as the lime vest and green sash team on the right recoils and protests. Then, it’s the green team’s turn to take a confident lunge, forcing the red to frantically pull back in time to dodge. On the next strike, the red team buries the stick in the top of the enemy pyramid (actually tucked under the green leader’s arm). The victim feigns a mortal wound, and the entire team flies away. The red team poses, victorious. The red leader gets down to the floor to greet the widow of the green team, wearing a green dress. She peers at him from behind a silky black wing. As soon as he lands, she whacks him over the head with her own concealed stick. He is surprised. She is unamused.

Audio: The vocalist lets out a ghostly wail that wavers wildly like an eerie wind, higher and higher. A shaker instrument rumbles beneath her voice.

(“Woaaa… woaaa… woaa–”)

Visuals: Next, it’s dark. Three colorful birds in masks and costumes tread the air at an angle on the left side of the screen against a blue and green background. There’s a yellow spiky one, representing lightning. A blue round-feathered one, representing rain. And a spade-feathered green one, representing trees. Long beaded threads tied to their wings and tails wave and tangle across the screen as a group of five hummingbirds in shades of red struggle to survive the “storm” raging around them. The colored ribbons of the central tree are muted and flutter with the power of the wind. Two other birds hug the trunk, nearly out of sight. There’s a prop on the floor to the right made to look like a stone alcove, where more hummingbirds are hiding. The storm bringer birds beat their wings hard, casting the strings of lightning, water, and leaf shaped beads in huge chaotic waves. The five hummingbirds in vests and dresses wince and tumble against the wind, flying together in a tight circle. The threads crisscross behind them, an overwhelming force on the tiny birds’ scale. A red line of song floats up to reach them, guiding them down to the nest.

Audio: When her wail is at its highest, the vocalist pushes it further into the voice of a shrill songbird. The note hangs high in the air, then takes a few steps down and up. The segment ends with the sudden interjection of the low round voice–as if in surprise–and a trailing mumble.

(“Haaa, aa-aa aa-aa aa-aa, hoa? Ah, bw-huh…”)

Visuals: Those in the stone nest finish singing and reunite with the others, pulling them down to safety. A blackbird hiding behind the trunk spreads its wings, sitting on the shoulders of a brown woodpecker. The blackbird’s vest and wingspan are covered in yellow, signaling the coming of daylight. The storm birds retreat and sit still on a nearby branch. The wind is suddenly gone.

Audio: The guitar plays alone.

Visuals: After the stage performances, the audience members move back to the platform. They’re gathered off to the far left side of the central tree trunk, standing in a circle around a single figure. The light of the gathering area is deep plum-purple in far off areas and warm dull pink over the crowd. The empty space around the single dancer is salmon red, and the figure herself is blue.

Audio: The vocalist perfectly mimics the sound of a flutter, of delicate waving in the wind.

(“W-w-w-w-w-w-w”)

Visuals: The camera zooms in on her hand as it flits a pink handkerchief in the air.

Audio: The vocalist belts a pair of bold staunch vocables. The second note is held for several seconds before fading out.

(“Kyen, kyen…”)

Visuals: The camera pulls back to reveal the rest of her. She’s a blue eagle with wings that grade from red at the arms to pink to blue at the wingtips in a wavy pattern. Her smiling beak is bright pink. Her dress is royal blue with reddish-pink trimmed ruffles on the hem of the skirt, waist frill, neck frill, and the flower decoration on the side of her head. She stands with the hem of her dress in one hand and the handkerchief extended in the other in an open invitation to dance. A pale pink spotlight frames her head and shoulders against the darkness, and a dark pink line of song passes behind her. Her partner, an eagle of the same coloration with a blue vest and pants, pink shirt, pale orange sash, a blue hat in one hand, and a pink hanky of his own raised in the other, is calling to her. He puts his hands behind his back and takes high steps toward her. When the two are close, they turn and walk parallel to each other in a slow circle. The male’s back is to his partner. He looks at her over his shoulder with a smile and abruptly splays his feathers to be cute. There’s a layer of pink under his outer coat. She grins, entertained.

Audio: The vocalist repeats the two vocables, twisting the end of the second up into a high wavering trill that eventually soothes and disappears.

(“Kyen, kye–eee, ee, eee, ee…”)

Visuals: The two turn to face each other, circling tighter and tighter in unified song until they’re face to face, looking deep into each other’s eyes. With another turn, they’ve passed by each other and out of sight.

Audio: The vocalist makes a whisper, a ghost of the two vocables. Then, a few quick whistles, barely loud enough to hear.

(“Hyo, hyo”)

Visuals: The woman, who has been captivated by the dance, suddenly notices that the crowd has dispersed around her. Partners are walking off in all directions, leaving her alone. The dance is over.

Audio: The guitar picks up, getting faster and louder for a bit.

Visuals: The woman walks alone in the blue night air along a tangle of tree branches that form a pathway. She walks with her hands behind her back, her face looking preoccupied and a little disappointed. Bushels of soft leaves pass by in the background.

Audio: A high, light pleasant note from the vocalist overtakes the guitar. It grows until it fills the soundscape.

(“Aaa…”)

Visuals: An orange song reaches her from the direction she came, and she stops. When she turns, she sees a blue swift standing on the branch path, far behind her in an opening in the trees. The underside of his feathers is dingy orange, and he’s wearing a black vest, white pants, a rusty red sash around his waist, a bright green kerchief around his neck, and an orange rectangular accessory tied around his neck like a necklace. His face is obscured by a white hat with an orange band. He bows low with a hand on the hat. The hat comes off, revealing inviting eyes and a smiling orange beak. The woman grins and accepts the invitation with determination.

Audio: The vocalist draws long high vocables that resemble a wail. They trail off with a low note.

(“Whoa whoaaa…”)

Visuals: She and the swift untie the fabric around their necks and step toward each other as the line of song forms a ring above them. The woman holds the ends of the shawl in her hands and her hands at her hips with the body of the shawl hanging behind her waist. The bird holds his kerchief out in one hand with the hat in the other, held behind his back. He takes measured winding steps along the branches. The woman mirrors his steps, then pushes off of the main path and lands on an outcropping branch.

Audio: The vocalist’s song wavers back up and demurely bobs up and down, intertwined with tweeting from the flute.

(“Hoa… ohee…”)

Visuals: Her voice, seafoam green and a little stronger than before, trails behind her. She darts back onto the main branch and ducks behind the bird, then circles around to face him, the two only a few feet apart. They exchange steps pushing the other forward and back and flicking their garments in time with their movements. The woman’s voice grows stronger, nearly matching his. The bird quickly catches up as she moves backward, dancing beside her. The two dancers then leap from the main branch and fall down into the rocky forest below, passing by grassy plateaus and vines creeping through stone. Their song follows all the way down. They leap across boulders in the moonlight, side by side. The swift suddenly stops and folds his kerchief around the center of the shawl, hitching the two together.

Audio: The vocalist belts a complex series of syllables that mimic the heavy majestic cawing of a large bird or hawk. The flute makes itself known a little as the voice fades out.

(“Hlau-lau-lau hau-au-wau-wa-wiii…”)

Visuals: The woman, at the receiving end of the momentum, is swung wide and lets out a vibrant complex line of song that could match any bird’s. The two pull closer to each other and end their song on a low steady note. Then, they bow to each other as the camera pulls back. They’re standing on a rock that rises above a basin of water among huge formations of rock. Pairs of birds dance all around them in the shallows.

Audio: The guitar takes over for a bit.

Visuals: The camera cuts to an upward view of a varied group of birds sitting in branches, staring downward with interest. The light from the moon coming down through a break in the trees above is now cool green. The light coming up from where the birds are looking is orange-red.

Audio: The vocalist lets out the aggressive growling of a cat.

(“U-wau, wau-wau-wau-wau”)

Visuals: Below, the woman is dancing in a line with three reddish woodpeckers in a greenish clearing in the trees. They wear intricately detailed dresses in different combinations of bright green, yellow, red, and black with geometric and floral embroidery. The dresses are cinched at the waist with a piece of fabric covered in colored bands. Their heads are covered in scarves with the same colors and patterns. They sing and step aggressively toward the left of the screen. At the other side of the clearing, a line of four red and white faced woodpeckers with green beaks and wings face right. They wear bright green hats, kerchiefs, and sashes, yellow and black striped vests, and dark red pants with yellow tassels at the ankles. Their black shoes tap against the ground as they make quick little dance steps and flutter yellow handkerchiefs. They hold onto the brims of their hats and then lean down with a flourish of their arms, exposing the red crests of their heads sticking up underneath. The dance then changes formation. The girls dance in a line to the left as the boys step in a line to the right.

Audio: The growl hushes down to a wavering whisper, like wings beating in the dark.

(“Tchwahh-cwah-cwah-cwah-cwah-cwah-cwah-cwah…”)

Visuals: Out on a cliff by a waterfall, the scene is bathed in cyan. The line of dancers–alternating male, female, male, female–do a hopping dance from partners on the left to those on the right and back again as they move along the cliff, passing behind the waterfall as it disappears into the greenery in the foreground.

Audio: The guitar asserts itself again.

Visuals: Everything is suddenly red. A guitarist in a blue poncho and a red neck sash frets the neck of a guitar with a brown feathered hand. Rainbow ribbons are tied to the headstock. A deep orange song emanates from the strings.

Audio: The vocalist quickly accompanies the guitar with a harmonized version of the growl that revs up climatically, taking steps up the scale until it’s at its absolute height.

(“U-wa-wa ee-ee eh-oh! Oh-oh-oh-ohh!”)

Visuals: A congress of the partygoing birds stand in lines facing each other, all wearing blue outfits with red kerchiefs with rainbow tassels on them. The group jumps up and down in unison as part of a dance. The party breaks into smaller dances, and the woman dances by herself. She’s wearing a green skirt and flowy purple top with red underskirt, waist cinch, and scarf. Rainbow tassels are attached to the overskirt, and they swish with her movements. Beside her are a hawk woman and a pair of long billed bird men dancing in a circle with their ankles locked. A pair of red birds with white streaks on their wings suddenly hoist the woman into the air, as other birds are hoisted in the distance. As she’s held aloft, she sings and spreads her arms, revealing more tassels on her top, resembling wings. Her song is immense and beautiful. The camera focuses on one of the hoisted birds in the background, who has executed a handstand with the person who threw them. The blackbird’s feathers are all sorts of bright colors. The song passes by behind him. The excitement of the party disguises the presence of a looming pair of yellow slitted eyes peering out from a dark spot between the leaves nearby. A trio of purple pigeons dancing in a line with twigs and colored strings in their hands dip and weave together. The one in front balks, noticing the threat at last.

Audio: The high energy of the music suddenly cuts out. The shrill call of a small bird climbs up out of the silence.

(“Eee…”)

Visuals: A striped short legged pampas cat pounces into the center of the dance field. It misses the birds, but the illusion is shattered. The bird people are just birds again. They fly in a frenzy up through the trees to the safety of the early morning sky. The hilltop erupts with silhouettes of wings.

Audio: When the small bird’s call is at its highest, it tumbles back down and transforms into a low disquieting wail. The guitar re-enters.

(“Ee-ee-ee-ah-ahh ahh oohhh…”)

Visuals: The pampas cat has retreated into the dim tawny forest. It stands on a bent tree branch among bushes and hanging moss and stares into the camera with glowing yellow pupils. A tiny rodent scurries by and into a bush. The cat notices and darts after it. Nearby, dozens of bats hang from the underside of a rock formation that extends over a field of berry bushes. Their sleepy heads are tucked into their folded wings. A straggler flaps up to join the rest as the sun continues to rise. Elsewhere, a hive with wasp-like insects resting on the outside hangs over a rock. Sunlight gleams over the scene from a break in the trees in the background. A large brown mouse climbs up on the rock, backlit by the sun. It grabs a wasp in its teeth and leaves before the rest of the hive can wake up.

Audio: The vocalist makes a low steady murmur. A couple shakes from the shaker instrument follow.

(“Hoo…”)

Visuals: A colony of green and brown frogs with purple eye ridges, yellow faces, and orange bellies are asleep on dewy ridges of rock. A green cicada hangs out on a leaf off to the top left corner. The mouse jumps down through their resting spot, waking them all up. The frogs croak a green song as the cicada hangs on for dear life on the swinging leaf. The wind moans through the crevices of another stone forest. The little flowering shrubs that grow on the rocks bristle in the breeze. A variety of green, yellow, and blue lizards poke their heads out of the rocks, into the morning light.

Audio: The vocalist repeats the murmur. The flute follows this time.

(“Hoo…”)

Visuals: The camera pulls back to view the entire rock formation. The still rising sun shines only on the top half of right-facing stones. Long spindly tree trunks grow from the top left, out of sight. Long grass waves on the ground below. An alpaca-like vicuña raises its head from the long grass, facing the light. In the branches of the trees above, various birds perch facing left.

Audio: The vocalist makes a mysterious sound that begins as a harsh sound between her teeth and ends as a whisper. It echoes in the background.

(“Chwah-ah…”)

Visuals: The camera turns back to the village. Golden light casts diagonally across the brown roofs and tan buildings. The silhouette of a small bird flies toward the center of town.

Audio: The vocalist makes the sound again, then pulls the whisper up into a harsh repeated rasp from the back of her throat.

(“Chwah-ah qwah-qw-qw-qw-qw-qwah-qwah-qwah”)

Visuals: Down in between the one-story houses, the bird flutters down. Long shadows lay across a passage leading toward a door on the side of a building. We see the shadow of the woman land in the soft dirt path where the bird’s would have. She heads toward the door at a walking pace.

Audio: The call returns to a whisper. The vocalist clicks her throat in a short series of hollow sounds, nearly like the creaking of wood.

(“Qwk-qwk-qwk-qwk-qwk, qwk qwk qwk qwk”)

Visuals: As she opens the door to enter the purple interior light of the house, we see that she’s back in her green dress, but now her shawl is red. The sun glints in her hair. Before she goes inside, she looks back and winks at the camera with a smile. Then, she slowly pulls the door behind her until it’s shut.

Audio: The vocalist lets out her breath entirely as the accompanying music trickles into silence.

(“Haaa…”)

Visuals: The screen is black for a few seconds.

Audio: The high whistling call of a green manakin can be heard over the rustling of forest trees. The call’s tone is raised at the end, like it’s asking a question.

(“Twee?… Twee?… Twee?… Twee?”)

Visuals: The end card appears. Yellow and green lettering and a border lay on a black background. The text reads: Yma Sumac. Peruvian soprano and composer. October 13th 1922 until November 1st 2008. Biographical and reference info in description. Chuncho, 1953. Written by Moises Vivanco. Capitol Records, Universal Music Publishing Group. Carlie Hughes. Tumblr @rainbowchewynuggets. www.carliehughes.com. End ID]

INDEX

#chuncho song #animatic #chuncho animatic #night festival animatic #the night festival #yma sumac #the birds #the forest creatures #this was supposed to go up on her birthday but i got sick aaa #Youtube

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sachisei · 1 year ago

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High Card ㆍ Short Story Illustrations 2 (1, 3)

#⧉ images i pull out from official websites #high card #PNGs #transparent #finn oldman #chris redgrave #wendy sato #vijay kumar singh #leo constantine pinochle #owen alldays

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shimmerloid-ai · 5 months ago

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Preliminary Considerations - Which Vocal Synthesizer Software is Right for You - Paid Synthesizers

Hello everyone, Shimmer/Ripple/whatever you want to call me here. Sorry for not posting for a while, I've had a lot of stuff going on in my life (I turned 20 last week!), and have been busy with using vocal synthesizers than to make a blog post about them. I hope this article was worth the wait.

Last time, I comapred various free vocal synthesizers, and this time, I will be showing off the most popular paid ones. Quick disclaimer; I do not own all of these softwares, and will not buy the ones I have just to test them out as they are not cheap. I got feedback and advice from my friends who do own these synthesizers, along with Reddit posts and other forums. The piano roll images for the softwares I do not own are from various websites and vsynth users who I will be crediting in the captions. VOCALOID4

(Song: Devil's Manner by Konnichiwa Tanita-san; UST by Moru, Tuning by me)

When people think of the VOCALOID user interface, this edition of the software is probably what first comes to mind. It is very popular for a good reason; it’s got a simple UI and release of some of the best VOCALOID voicebanks; including Hatsune Miku V4x, Megurine Luka V4x, Kagamine Rin and Kagamine Len V4x, Fukase, Otomachi Una Sweet and Spicy, Megpoid Gumi V4, and Yuzuki Yukari V4. V4 also introduced the “GROWL” and “CROSS-SYNTHESIS” parameters! Despite being the sister software to UTAU, it is a lot easier to install voicebanks and plugins into VOCALOID4, and you do not need to worry about phonemizers or resamplers.

Pros:

Can use every V2, V3, and V4 VOCALOID voicebank

Growl and Cross-Synthesis (also known as XSY; allows you to combine any two V4 voicebanks of the same character; such as Fukase’s Normal Japanese voicebank with his Soft Japanese voicebank or Gumi’s V4 Sweet voicebank with her V4 Adult voicebank) parameters

Can use job plugins to simplify the overall tuning process like in UTAU, Open Utau, and SynthesizerV Studio Pro

Pitch Rendering function allows users to see the pitch of notes

Really beginner-friendly (this vocal synthesizer was the one that taught me how to tune)!

Cons:

Is no longer available for purchase on the official YAMAHA website; you can only obtain it through Mercari (that was how I was able to get it), eBay, or through piracy

No piano roll tuning; users are restricted to the parameter box

Can not use V1 or V5 and higher voicebanks

The breathiness parameter gives a metallic effect instead of the desired whisper-like outcome

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VOCALOID5

(Song: ID Smile by Toa; UST by K3RA; Cover by Shara Delvia)

The next edition of VOCALOID that was meant to change the playing field for vocal synth users. With an entirely new UI and never-seen-before features, VOCALOID5 was designed to simplify and enhance the overall vocal production and tuning process.

Pros:

Dark mode at last!

Unlike the previous editions where you had to purchase a voicebank to use VOCALOID, VOCALOID5 comes with four free voicebanks

Preset phrases that beginners can play with to learn how different vocal properties can result in different sounds

Preset “attack” and “release” pitch bend effects

Easy pitchbend and vibrato adjustment using the “style” and “emotion” tools

Automatic breaths

Can be used as a VST plugin in almost any DAW or as a standalone editor

Over a hundred style and voice colour presets (Rich, Husky, Hard; Melodic, Diced Up, Bent; Lead Vocal, Chopped, Pitched)

Tons of audio and mixing effects

Fixed breathiness parameter

Cons

Appears to be no longer up for purchase through normal means, YAMAHA has pulled it from the VOCALOID website to promote their newest engine, VOCALOID6

Does not support V2 or V1 VOCALOIDS

Does not support job plug-ins

Does not have the Cross-Synthesis parameter

Not worth the price

No piano roll tuning

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VOCALOID6

(Song: Unknown Mother Goose by wowaka; VSQx and Tuning by me)

This is the most recent edition of VOCALOID that is up for purchase from the official website. With this installation of the VOCALOID software, the highly anticipated AI VOCALOID voicebanks have come into existence so that we can enjoy GUMI AI, ZOLA PROJECT AI, and Otomachi Una AI at last! It also comes with many other fresh features that were not present in VOCALOID5.

Pros:

Multilingual(Japanese, English, and Chinese) AI voicebanks!

A total of ten VOCALOID AI voicebanks

VOCALO CHANGER: works similarly to plugging an RVC model on top of an audio file, but legal

The doubling feature allows instant harmony creation

Fixed breathiness parameter

It can be used as a VST plug-in in most DAWs. or as a standalone editor

Included with the CUBASE AI DAW

Can be purchased at a cheaper price by upgrading from previous VOCALOID editions

Every feature that was present in VOCALOID5 is included in VOCALOID6!

Cons:

The AI voicebanks are of poorer quality compared to SynthesizerV; they are not easy to tune in the slightest, and you can only edit three parameters (pitch, pitch bend sensitivity, dynamics) unlike the normal VOCALOID voicebanks; not including the style presets

For the desired results in VOCALO CHANGER, the audio recordings must be clean without any flaws, otherwise the audio will sound distorted

Does not support V2 or V1 VOCALOIDs

Does not support job plug-ins

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Piapro Studio V4x

(Song: Enjou Alice by Maiki-P; UST by KIRI; Tuning by Me)

Following its departure from YAMAHA, Crypton Future Media created a new vocal synthesizer to promote its new V4x Cryptonloid voicebanks. With its VSTi compatibility and E.V.E.C. feature, this software gave a new feel to tuning VOCALOIDs all while maintaining the features from the vocal synthesizers that were developed by YAMAHA.

Pros:

Bundles with Cryptonloids include Piapro Studio V4x and Studio One 6 for free; an incredible DAW

VOCALOID4 with a different, cleaner UI

Compatible with V2 (some of them), V3, and V4 voicebanks

Enhanced Cross-Synthesis parameter; now you can cross-synthesize two completely different VOCALOIDs (such as Hatsune Miku V4x Original with Megurine Luka V4x Hard)

E.V.E.C. with a press of a button; in VOCALOID4 you have to edit phonemes manually

Improved breathiness parameter

Ability to change the wallpaper of the piano roll and icons of voicebanks!

Can be used as a VSTi plug-in in most DAWs

Cons:

Does not support job plugins

Not all VOCALOID2 voicebanks are supported; such as Utatane Piko

Does not support NT voicebanks

Playback is not always on time with piano roll; you have to scroll as the vocals play unlike other softwares (this could be a glitch for me however)

No piano roll tuning

Can not run it through Studio One 6 (despite being included with the bundles), it can only function in Studio 5

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Piapro Studio NT

(Song: vivid by Utsu-P x Yuyoyuppe; UST by pifuyuu; Cover by AfiqTV)

Yes, Piapro Studio NT (an acronym for “new type”) is completely different from Piapro Studio V4x. This successor to the latter vocal synthesizer is entirely separate from YAMAHA, and was created for Crypton’s NT voicebanks. It no longer requires the use of a DAW, and was carefully designed with resynthesis technology for efficient vocal creation through the research that was conducted by the National Institute of Advanced Industrial Science and Technology (AIST).

Note: As of August 2024; Crypton has shifted their intention to release the other NT singers to getting back with YAMAHA to develop Miku V6 AI. We will be getting a Piapro Super Pack in a week (it is currently available for preorder). The package contains remastered versions of Miku V4x Original, Rin V4x Power, Len V4x Power, and Luka V4x Natural; along with V4 versions of KAITO and MEIKO. The former V3 voicebanks will come with growl features, and although there will be no appends, you can cross-synthesize any of the new Cryptonloids to produce unique sounds. In addition, Miku NT will be receiving a massive new update in the future.

Pros:

Piano roll tuning at last!

New accent feature and E.V.E.C

Comes with Vocal Drive Plugin for growl and scream effects

Cons:

Not compatible with VOCALOID voicebanks; Miku NT is the only usable voicebank to date

Harder to tune in

Missing parameters such as pitchbend sensitivity

Plugins are not compatible

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SynthesizerV Pro

(Song: Underworld by niki (reverse); SVP and Tuning by PixPrucer)

This is the complete version of SynthesizerV Basic. It has suppressed VOCALOID in every way possible; from having insanely good AI voicebanks, to a multitude of features, this is probably the best paid vocal synthesizer available for purchase as of now. Honestly, I could only find a few downsides to this software because it’s that good, and one of them is more of a personal preference than a major issue. YAMAHA seriously needs to take notes from Dreamtonics.

Pros:

The synthesizer and voicebanks are much cheaper than any of the VOCALOID engines

Comes with Mai; an amazing female vocalist

Piano roll tuning

Auto-pitch tuning makes the pitchbending process much easier

Paid voicebanks come with THREE activation codes so they can be used on multiple devices

Allows scripts (basically plug-ins but for SynthesizerV)!

Cross-Lingual Synthesis; allows Japanese voicebanks to sing in English, English voicebanks to sing in Japanese, etc

Really complex phoneme customization

Vocal modes for full A.I. voicebanks

The audio to midi tool we’ve always wanted for VOCALOID; it turns wav. files into an amazing SVP (I know V3 has the Vocalshifter plugin… but it’s kind of trash in my opinion as it only works with Japanese lyrics and goes crazy with trying to copy the vocalist’s tone rather than just the pitchbends)

Frequent updates!

Cons:

As the voicebanks are ultra realistic, it’s not the best for those who enjoy more robotic voices, as seen in UTAU and VOCALOID

Crashes every now and then

Still no glottal effects

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ACE Studio

(Image Source: https://support.acestudio.ai/article/62-3-2-the-main-ace-studio-screen)

ACE Studio is a newer AI vocal synthesizer. Like DeepVocal, it features characters that originated from other softwares such as Namine Ritsu, Luo Tianyi, Kurobousuku, Yuezheng Longya, and many others. It also has a heavy emphasis on Chinese vocals. Most importantly, Ace Studio had a mobile version called Pocket Singer!

Pros:

Piano roll tuning

Can cross-synthesize voicebanks to your liking to make your own vocal synth (Pocket Singer has a simple yet cute OC maker)

Simpler pitch editing

Cons:

Subscription based model on both platforms

Some of the voicebanks sound too similar to each other

Pitch editing on a phone is not fun

The phone number sign-in thing is a pain… why don’t these guys have my regional phone code as an option?!

One of the developers was exposed as a pedophile and proshipper; and some of the voicebanks used A.I. artwork; I personally don’t feel comfortable using a software made by people like this… ew

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I’m just going to say it; SynthesizerV Pro is probably your best pick here, in terms of both price and versatility. You get so much out of this editor at a good cost, and it’s super easy to use! However, if you prefer robotic voices and can get your hands on it, then go with VOCALOID4 as it's pretty beginner friendly. If V4 is not an option, then you may have to deal with V6.

Now, even though the latter software is not as easy to use as the former, a new lightweight singing editor designed for V6 and V5 called TuneLab has been recently released! It allows for piano roll tuning, along with better cross-synthesis usage. I will cover this software in a later post as I am still trying to learn the ropes of it.

Finally, as I have stated in my other post, take my statements with a grain of salt. Pick whatever synthesizer you want based on your interest; whether it is a fun feature or a specific singer you like.

Hope this helps! In my upcoming post, I will recommend some VOCALOID voicebanks that are easy to use for beginners.

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