#2020 digital gate

[koushirouizumi]

{D I G I M O N} Adventure 2020 ~ Ep. 67 + Final Scene {2020!Koushiro + Living the Dream} + C.E.O!2020!Mimi of "Mimi-chan Kingdom & Co."

+ "DIGITAL GATE" Trial

{DO NOT Copy} {DO NOT re-post} (Please ASK to Use)

[down4acount]

Everyone’s just blood in an ice tray, a vampire picking flowers out in the sun.

[easternmind]

The weird and wonderful history of Kowloon as a digital interactive space - Part II

This article is the continuation of a previous post.

Any comprehensive history of 20th century Hong Kong is not complete without a chapter entirely dedicated to the architectural and urban planning puzzle that was Kowloon Walled City. Quite unlike any other slum in Asia or elsewhere in the world, the extreme conditions under which its inhabitants lived captured the attention of various international journalists and photographers whose reports of this accidental labyrinth, in turn, inspired some of the most remarkable artistic explorations of our time. In this regard, video games did not remain impervious to the powerfully stimulative imagery, as much a reference today as it was when its hardened concrete walls still stood tall.

Kowloon's Gate Suzaku VR - Jetman - 2017

Kowloon's Gate made a most unexpected comeback twenty years after the original episode via the crowdfunded VR project Suzaku developed by Jetman, a studio founded by and composed almost exclusively of ex-SME/Zeque staff. While it is not the remaster many had hoped for, essentially consisting of a walking simulation through some redesigned locations from the original, it does a commendable job in faithfully replicating its instantly recognizable, light-starved alleyways in competent high-definition. It is also the only VR-compatible entry from this list, granting it a degree of uniqueness over its counterparts.

Stranglehold - Midway/Tiger Hill Productions - 2007

Stranglehold is the result of a collaboration with Hong Kong movie director John Woo, developed as a direct sequel to his heroic bloodshed classic Hard Boiled, featuring Chow Yun-fat in the role of detective 'Tequilla' Yuen in his unending confrontations with organized crime. One of the game's most unforgettable levels, Slums of Kowloon, takes place during a particularly rainy day, seemingly in those last days when the zone had been emptied of residents and demolition work was well underway. The visual representation of the quarter is suitably evocative, its buildings in complete state of disrepair, the remnants of local businesses or places of prayer still discernible from under the piles of steel and cement rubble.

Resident Evil 6 - Capcom - 2012

For all its shortcomings, Resident Evil 6 partly succeeds in taking the first two episodes' concept of parallel storylines and realizing it to a much fuller extent. Its choice of different characters translates into entirely different campaigns, locations and playing styles. The very first scene in Chris/Piers' campaign occurs in the fictional Chinese city of Lanshiang, modelled after real-life Hong Kong. The mayhem in the main streets forces the player to take a detour into a location named Poisawan, which bears a striking resemblance to the Kowloon district. Though an unofficial representation, it is among the most skilled replications of the scenery we find in the vast photographic repository of the area. The degree of minutiae with which the district's haphazard electric installation is replicated, alone, suffices to demonstrate a true commitment to authenticity.

Paranormal HK - Ghostpie Studio - 2020

Few would dispute that Kowloon is, itself, naturally conducive to sentiments of dread and anxiety. Paranormal HK is a 2020 made in China production reviving the defunct neighbourhood in a gripping, blood-curdling contemporary ghost story. The player is the cameraman of a paranormal-themed TV show exploring the zone during the evening of the Zhongyuan festival, a scheme suspiciously akin to that of Akira Ueda's 2004 game, Michigan: Report From Hell. As a result of the thorough research work performed by its creators, as well as the impeccable usage of contemporary 3D graphics techniques to achieve accurate lighting conditions, players may momentarily experience the feeling of walking into a photo of the actual city as it existed in the mid eighties.

Sifu - Sloclap - 2022

Notwithstanding of its renaissance during the 128-Bit era, the beat 'em up genre is commonly associated with the arcade games of the late 80s and 90s, the period of time when it flourished and, arguably, reached its zenith. The simplicity of controls and ease of access sufficed to attract players to the arcade cabinet, while the frequently extreme levels of difficulty of advanced levels ensured a steady flow of cash for arcade room owners and game development companies alike. Nevertheless, the genre has but perished and, in many aspects, recent years have indeed elevated it to unforeseeable degrees of complexity. Sifu, by Sloclap, synthesizes the elation of digital hand to hand combat simulation with the real-life complexity of mastering a martial art.

As is the case of previous entries in this list, Sifu makes no admitted reference to Kowloon or Hong Kong. However, the designers left little to the imagination in what pertains to their inspirations when taking on the task of constructing the game's environments. Another notable coincidence stems from the fact that this production was made possibly with the support from a celebrated independent game funding group going by the name Kowloon Nights.

Stray - BlueTwelve Studio - 2022

Stray is one of the most revered independent video games in recent memory, and justifiably so. The long development process yielded many benefits, judging from the consistency and attention to detail that engrossed many an avid player. That the main character is singularly charming feline may have played an equally crucial role. The creators have made no effort to conceal the fact that the notorious Hong Kong district was a pivotal influence to the design of its nameless city. The first indication can be spotted in the game's earliest footage, in which a black cat traverses a street where a particularly conspicuous sign boasted the initials HK. Stray is less concerned with presenting a precise replica of Kowloon than it is about summoning the very essence of its atmosphere. Moreover, in an exquisitely poignant way, its ending lends an entirely new meaning to the term walled city. In the future, robots may well take the place of humans. Invariably, the Walled City is no more. Slitterhead - Bokeh Game Studio - Work in Progress

An sequence of unconscionable mistakes from the part of Sony Computer Entertainment's management galvanized Keiichiro Toyama to part ways with Japan Studio, as it once was, and establish his own game production label. Their debut title, Slitterhead, is described as a grotesque survival horror experience, a genre within which the author moves with matchless ease. Among the few certainties regarding this project is the fact that it will take place prominently - if not exclusively - within the Kowloon City province. A wide variety of aspects included in the preview footage leave the viewer optimistic as to this being one of the most accomplished portrayals of the district ever seen in a video game. Subtle yet telling signs already demonstrate the creator's in-depth knowledge of the quarter's architecture and history. Take, for instance, the suggestive image of the airplane flying mere meters above the top of the buildings. Although the growth of Kowloon was for the most part ungoverned, buildings did not rise above a certain height, even as inhabitants claimed for increased availability of space. This is due to the fact that airplanes landing at the nearby airport would be required to make their descent at relatively low altitude, performing a tight curve as they soared just above the enclave, thus preventing construction from expanding upwards. Another scene shows a child playing on the rooftops of the buildings, which once again is consistent with the documented habits of residents who, starved for sunlight and open space elsewhere within the city limits, had little alternative than to take the stairs all the way to the top.

Warehouse Kawasaki Arcade

I would be remiss not to make some form of allusion to Warehouse Kawasaki, an arcade built to replicate the Walled City with unthinkable detail. Though its ultimate purpose was for visitors to engage in digital entertainment, the venue was scrupulously put together. Point in fact, many of the objects used in the construction of the five floor amusement centre were imported directly from Hong Kong. Like so many other Japanese arcades, it closed its doors in 2019.

In recent years, a rather similar initiative was taken by the Chinese in their attempts to build unique mall spaces. The 文和友 malls in mainland China, found in Changsha, Guangzhou and Shenzhen, attempt to reproduce the walled city aesthetic. Local residents inform me that these are increasingly lacking in foot traffic, for which reason the majority of their stores are closed. Other digital replicas of Kowloon

A number of other videogames set in or deriving inspiration from Kowloon could not be featured in this article. A frequently cited reference in this context is the action/adventure game Fear Effect, one which I emphatically dispute. No doubt remains as to it being located in a futuristic version of Hong Kong, yet I could discern no parallels with the walled city, save for those scattered second-hand visual motifs that were no doubt imported from sci-fi classics such as Blade Runner or Ghost in the Shell.

The Utelek Complex stage of Deus Ex: Makind Divided presents a similar situation, where the overall atmosphere of the futuristic favela bears some resemblance to Kowloon, without meeting the specificity quota that would warrant a more comprehensive exploration.

The 2004 Shout! original Kowloon High-School Chronicle for the PS2 is a unique case, in that it borrows the city's name despite taking place in a massive, Tokyo underground dungeon that is later revealed to be a maze-like Egyptian pyramid. The odd choice of title remains unclear. Shadowrun: Hong Kong game (screenshot above) contains a very direct mention of Kowloon as the place in which an entire episode comes to pass. Another project still in development, Kowloon's Curse (screenshot below), is following the lead of many popular independent horror games in recent memory by using a visual design and structure that elicits memories of the late Playstation/early Dreamcast era. A short prequel episode was made available earlier this year, for free.

Additionally, I refrained from mentioning the Kowloon maps in Call of Duty: Black Ops or Counter-Strike: Global Offensive, as I perceive both games to be insufficiently relevant to merit study or contemplation.

A space that refuses to be forgotten

(China rooftop stage from The King of Fighters 2003)

It would be a gross overstatement to claim that Kowloon is a recurring location or level design motif in videogames. The relationship between digital games and the real life ghetto has been one of sporadic references. What makes the subject so engrossing pertains to the quality of the relationship, particularly that of a small cadre from among the titles featured in this article. Kowloon's Gate was one of the most relevant game creations of the 32-Bit era, a game deserving of reverence and cult following inside and outside Japan. Likewise, Shenmue II is the second instalment of a truly ground-breaking and highly advertised series whose production costs alone were unmatched until quite recently.

Moreover, this is an affair that is far from concluded. The unexpectedly high number of allusions to Kowloon in videogames released or revealed just last yet demonstrates that its aesthetic is still very much present in the minds and hearts of artists and designers working in the field. The walled city lives on as a digital demarcation that is certain to resurface time and again in years to come.

[lesfir]

Astarion past of corrupt Magistrate

A bud that didn't bear fruit, not one that was cut off.

There was no time to realised in the game that Astarion was a very, very bad, corrupt elf in power. The beginning of the story hasn't been rewritten, the key idea remains - for April 2024.

I have a couple words and sources for it. The latter I found recently, and it has a story of its own. Sources from Larian's internal kitchen is extracted by hacker methods.

Let's start with just that In the fall of 2023, the Larian Discord leaks happened. Leaks of Welch chat, Larian's narrative designer (in the past), and co-writer of some scenes with Astarion. As of April 2024, the narrative designer of the romances. You can read about their unprofessional acts here. For me, it also plays a role that it's not even their character, it was worked on long before them, another author and creator. So that kind of statement who understood what about the character is so... ridiculous.

And the question arises why we should trust the word of a very unprofessional person? That's right. Because: 1. These are not their personal words, interpretations and "I feel like". It says what Larian was planned for Astarion's story, but didn't have time to show. 2. Welch came to work at Larian well after Early Access. This backstory of Astarion was already told before Larian hired Welch.

The other few sources that tell of Astarion's backstory. Their sequence and nuances are also important.

1 - Info from the publication VICE The year is 2020, February 28. First presentation of the Baldur's Gate game by the hands of Swen Vincke. Astarion already Astarion as he is, white hair, fangs, a vampire spawn. (no horns and no tail) I watched it all and dont find that Swen is no information about Astarion's past. I don't think the publication is running a fake. So I'm assuming this is a site exclusive-lure about the key points plot of the game.

„A disgraced nobleman who used his position as a local magistrate to serve a vampire clan by feeding them prisoners, he was eventually too corrupt even for them and was effectively sent to serve as the personal slave of a powerful vampire”

I haven't seen it abandoned. After a while, the artbook confirms corrupt-taste for power-past.

So, a person who has been following the story closely notices that some of the information is incomplete. However, " feeding them prisoners" could very well be a plot twist for new playrs, and it should be left out in the exclusive. All the more reason: • Corrupted elite - used his position of magistrate • Taste for power. Desires, eternal life - for luxury, influence, eternal beauty, more power, vampires. • How vampires came to be? Why do vampires need a magistrate? - prisoners, it's easy to take outcasts for food. They also didn't forget to mention decadence. There is no reason for a person to think that a key moment in history has gone away.

2 - Artbook I found the first mention in winter 2022 (edit if I find it earlier) Baldurs Gate 3 Collectors Edition Pre-order for the physical collection, including artbook $269.99 Next February 2023. It mentioned that BG3 Digital Deluxe Edition will be available to Early Access buyers. With this artbook. That is, the information passed from edition to edition. Weird, giving irrelevant information that will confuse you for free! Yet you have to pay for the physical irrelevant information, 270 bucks. Did Larian give any warning about this? 270 for non-canon. Enjoy the game.

Astarion. Decadent and Dangerous Two hundred years ago, Astarion was a corrupt elite of Baldur’s Gate with a taste for power and a hunger for eternal life.

3 - unprofessional employee revealed the internal workings of the kitchen and what Larian, as an entire company - that's Astarion's author, Stephen Rooney, actors, animators - didn't have time for previously mentioned Astarion backstory. Confirmation of what was already known.

escuisi: I've been thinking about how in act 1 there seems to be a setup for more info on the gur incident/cazador conveniently being there to turn him but then theres no reference to it later on? Like, Astarion's all mysterious about it in a way that clearly implies he did something shitty we would find out later ("they had taken issue with a ruling i had made") but its never expanded.

Baudelaire Welch (larian): lol I did want to more fully explore the 'ACAB * definitely * applies to Astarion' angle but there wasn't really time for it.

The concept of "learning not to be racist" I am a building is shot down, probably by other writers. Not copstarion, that predates Welch. Of course. It would have taken two more acts - just an understanding. Overall it would still look... cheap and strained. The only evil male companion in this game. Astarion is about the darker sides of humanity, balance of fun and darkness. He must be asshole about something. The recent "I'm sure" posts are already more of a personal piece. Doesn't invalidate the information gained, which is verified by past sources.

Headcanon is a fan fiction that never hasn't been mentioned in any way in the media. Which there is no basis for, fiction. Like the dark-haired Astarion, mortal eye colour, for example.

The entire 1st act is precisely done and presented in 2020 with Astarion's backstory - all his approvals, reactions, all the lines. 2022 winter - pre-order of the physical edition with this artbook is open. The artbook that is promised as a gift to players by EA in February 2023 half-year before the release in August 2023 also confirms and includes information about the corrupt past. Approvals, most reactions, some of which are remade in PAD format, but not cut remain in the August 2023 release. The game gives hints and later coquettishly silent. Nothing logically erases this backstory of Astarion in the game And then in autumn 2023 there is a leak where it turns out that there was not enough time for Astarion's backstory.

The artbook is the grail. It always has been in my case in any fandom. In an artbook, every word is very precious. These are the key ideas author for the reasoning of the story. Maybe it's not the fans, but the way Larian treats the information he's given for thought. I find their pitching a clumsy. -- wasn't enough time to do -- abandoned the idea and cut it out are different things. If the wording was: we didn't have time, so we cut off, so this story is no longer relevant - then yes. Now it's: we didn't have really time to fully explore (emphasized the other part, this part was left unrevealed). For me, this story of Astarion levitates in the air, not gone, but not realized either.

There's nothing in the game plot that contradicts that Astarion's past was exactly that. Astarion would never say he was a corrupt arsehole when he wants Tav to help him, though with his barbarians, "raising the dead is easier than catching slaves, don't care slaves or building material", luxury, wealth and power that Astarion remembers in the his original, "mercy, please", vagabonds... Vice versa. It's all coming together.

That's the puzzle. Judge for yourself. Because the main thing that's missing: definiteness. For me, zero reasons to rate that this backstory is burned at the time of the release of the Bladur's Gate 3 game and for April 2024. It's would be hidden as a secret inside the story. A bud that didn't bear fruit, not one that was cut off.

Now Larian is doing a new artbook I really hope the situation is at least clarified. Stephen Rooney has left Larian, he said that in the spring of 2024, so it was always going to be an issue now. Unless of course they do CTRL+C CTRL+V.

Here.

[betterbooktitles]

I was standing in Terminal 4 at JFK far away from the impatient scrum of people waiting near my gate for a Delta agent to announce it was their turn to board. As I watched passengers who’d arrived on other flights step around this pool of people buried in their phones, so desperate to be sitting on the plane instead of standing inside the airport, I thought about a review of William Gibson’s 2012 book of essays called Distrust That Particular Flavor, a book I’ve never read.

In “Distrust That Particular Flavor,” Gibson pulls off a dazzling trick. Instead of predicting the future, he finds the future all around him, mashed up with the past, and reveals our own domain to us as a science-fictional marvel… I glanced up from the pages of this book and surveyed the street-side around me, I felt as if I were wearing Gibson-glasses. Cars lumbered past like ponderous elephants of rusty steel, not so different from the cars of 30 years ago, and seemed not to belong in the same world as the tattooed kid punching code into his laptop nearby. Under the spell of this book, I suddenly understood my surroundings not as a discrete contemporary tableau but as a hodgepodge of 1910, 1980, 2011 and 2020. -Pagan Kennedy, NY Times

I am several steps removed: I was remembering reading a review of a book published 12 years ago that was filled with writing previously published in magazines decades earlier. I could have easily downloaded a digital copy of the book on my phone and started reading the source material, but instead, I searched Google for the most pared-down version of what I wanted to remember from Gibson’s writing, that single quote that encapsulated what I was thinking at that moment: 

“The future is already here – it's just not evenly distributed.”

The night before my trip, my phone buzzed and the Delta app offered a tantalizing deal: a few thousand miles to move from the 22nd row of the Main Cabin to Delta Comfort+, one row behind First Class, where I knew there was enough room to cross my legs like I’m on a park bench or extend them as if at home sitting in a recliner. I looked at my phone from my bed and moved my left leg. I felt my knee pop. I hit the button and ordered the nicer seat. “The future is now!” I thought as I rolled over, then checked my 2-3 more times that the alarm on my phone was set correctly before finally falling asleep.

I was flying to visit my family in North Carolina, where I would ride from the Charlotte airport to my parents’ house in a fully-electric SUV, stuck the whole way behind gas-powered lowrider motorcycles and one massive Ford that billowed black smoke from silver exhaust pipes sticking up like goalposts on the back of the truck’s cab. All the while, I’d see how developed the suburbs of Charlotte were becoming, whole blocks of houses and high-rises popping up like dandelions, covering what used to be open fields. I’d watch the Uber app on my phone continually update me on the status of the route, reestimating our ETA every few minutes as we sat in traffic. I would spend the ride glancing from my phone to the map on his dashboard, and wonder how we ever survived before GPS. Between the airport and our destination, we made all but 3 turns.

Before any of that happened, though, before any of the thoughts about watching the future blossom all around me while the past angrily revved its fossil-fueled engines up and down I-77, I had to survive the flight from NYC to Charlotte.

As I scanned the bright open space at JFK, I saw a freckled woman my age sitting alone covered in a yellow blanket. She appeared to be on the verge of tears. Since I was about to take my own emotionally taxing trip, one to see my sick father while his pain was still somewhat manageable, I considered asking simply if she was OK. Then I saw her take out her phone to text someone, and suddenly I couldn’t gauge if she was sad or severely hungover. I remembered that airports (outside the Midwest) aren’t for chatting up strangers. She was in her own little world and didn’t need a man’s halfhearted prying. Everyone in the airport was in sweatpants and pretending they were in their living rooms, pretending to be alone on the couch instead of sitting in a wide room with a hundred other miserable tired people. My attention turned to the black toddler in a green shirt stomping on the bright white linoleum and laughing. He was in a better mood than any adult I could see from my vantage point. His mom called him and said it was time to get on the plane.

We idled at the gate for twenty extra minutes after everyone was in their seats. I read a book on my phone and smiled to myself when I realized the plane door was closed, meaning no one else would be joining me in my row, hence the desperate offer from Delta the night before asking if I wanted a seat for much less than the price when I had originally bought the ticket. This was going to be the most comfortable flight I ever took. The only issue was that several people had left their window covers open, and the Sun was starting to heat up the cabin. A child directly behind me complained to her grandma about her discomfort, a baby cried from the back of the plane, and the toddler I had seen earlier, sitting on his mother’s lap three rows back, was wailing. The mother of the toddler was also traveling with her ailing mother who I’d seen pleasantly thanking the Delta staff earlier for bringing her to the plane in a wheelchair. They were both Southern black women wearing beige sweats from head to toe, and until this moment had spent the holding period at the gate pleading with the kid to “come on and be quiet now” and insisting to passengers around her that he usually doesn’t act this way on planes. I heard people around her say “It’s just fine” and “how old?”

A flight attendant, who I’d recently watched serve booze to everyone in First Class (why not, It’s 10:30 AM somewhere), warned over the loudspeaker that the routine demonstration on plane safety was about to begin. I always feel rude for continuing whatever I’m doing while another human being stands in the aisle showing me how not to die. Remembering to keep my seatbelt fastened during turbulence or to put my oxygen mask on before assisting others could save my life, and yet I sit there, fully ignoring the speech even as a member of the flight crew uses the plastic cover directly above my head to demonstrate how the yellow mask will flop down as we’re all screaming and crying and can’t remember our training. The flight attendant held the mask with both hands inches from my face and I kept reading. This dismissive attitude toward the safety speech is all the stranger when I remember that my biggest fear is dying in a plane crash. 

I was once on a JetBlue flight that hit some rough air. I distracted myself by watching Marvel’s Iron Man 3 on the back of the seat in front of me (this was before I became a professional flyer and brought my own screens with me). There’s a scene in the movie where Tony Stark’s house is destroyed by a helicopter. Right before Stark successfully shoots down the flying assailant, the movie jumped abruptly to the next scene. JetBlue doesn’t edit anything sexy from in-flight entertainment, but they will cut anything that reminds you of your potential fiery death in a plane crash. When I noticed what had happened, I laughed to myself. How silly to think people would be scared by a Marvel movie. Then I thought, “maybe they cut those scenes because crashing is so common and they want you to forget. Why would they cut the scene if it weren’t an actual event that happens all the time?” I worked myself up over not seeing a plane crash in a movie while I was on a plane. I panicked over the absence of a frightening image. That’s how nervous I get on airplanes.Scary stuff.

We were at the step where the flight attendants walked the entire aisle with one hand sliding against the white plastic covers of the overhead compartments to make sure they were secure when the woman holding her crying toddler walked up to my 75%-empty aisle.

“I think if he had a little more room, he’d be fine,” she said to the flight attendant who already had her hands up defensively. “Can we take these empty seats if no one else is coming?”

“It wouldn’t be fair to the people who paid to upgrade.” The flight attendant shook her head as she spoke.

“Well, can I upgrade?” The woman asked.

Sternly, the flight attendant said: “It’s too late for that.”

The woman turned to go back to her seat, and in a huff said “I’m never fucking flying Delta again. Fuck this shit.” As she sat down in her seat, she claimed loudly “if I were a white woman, they’d give me that seat.” 

Her mother sitting in the seat next to her backed her up: “I know that’s right.”

“Excuse me,” I said to the flight attendant, she leaned down, all teeth and painted eyebrows. 

“Yes, sir?” she said.

“I’m happy to switch with her if it makes things easier.”

Before she could answer, the white grandma behind me objected “Yeah, nuh uh! - no, thank you!” Without looking in her direction, I put my hand up to block her face from my peripheral vision and thought “Adults are talking.”

I continued: “I understand not giving her a seat, but if I’m fine with it, it’s OK to swap, right?” 

The flight attendant, with a smugness that reminded me of my Third Grade teacher, said “We don’t reward bad behavior.”

Read the rest here.

[skydigiblogs]

honestly thought i would have a lot more to say about adventure 02 but like

i just finished episode 50 and the jist of my thoughts really are "yeah this is better than i remembered it being"

overall, an extremely ambitious follow up to digimon adventure, balancing a lot of plot points and an attempt at having a more cohesive storyline than "bad guy of the arc but suddenly it's apocalymon." in 02, most of the bad guys lead from one to another, in a way that seems much more intentionally thought-out than everything up until the dark master's arc in 01. even the one-off antagonists (dark ocean and demon's crew) played into the larger narrative, and weren't necessarily treated as one-offs so much as chances to expand the scope of the lore and use it to the narrative's benefit.

(although i do think it's a bit sad we never saw follow up on demon going "oh, you all are going to regret sending me to dagomon's ocean SOOOOO much")

also a lot of lore. so much lore. 01 introduced the fact that homeostasis has a bunch of agents that look like gennai, but a2 kept suggesting they're all copies (put a pin in that for my tri rewatch, much as i am loathe to rewatch that one). there wasn't any elaboration, but it is an interesting idea, and unfortunately i understand why it was kind of hastily noted and dismissed (the world tour arc had a lot to get to).

also the dimensional makeup of the digimon franchise got a lot more fascinating in 02. in 01 gennai mentioned that the gate could lead to all kinds of different places, but 02 actually takes that a step further in the lore, showing us the dark ocean and the dimension of dreams (even mentioning that the latter is pulled from by the digital world).

but it does maintain some of the problems i had with the original adventure in that i do wish more of the kids got to see their mega forms. :/

(i know tamers fixes that somewhat, then frontiers backpedals, but. you can't get me to rewatch frontiers lmao.)

furthermore, it does kind of suck that we're still left to wonder about ken's adventures in the digital world. we see ryo and millenniumon in his flashbacks to the adventures, but for audience members who missed out entirely on the wonderswan games, it makes it so we have to trust wormmon's word that ken was a kind person in the past. it's shown to an effective degree in the show, especially with his flashbacks to his childhood after the chimeramon arc.

it also makes narrative sense that they didn't feel the need to go over a story that's already happened, because that likely would have taken too long for 02, which already had so much going on. but maaaaaan. i do not want to play the wonderswan games, frfr (though i know there are fan translations out there for 'em).

i do love ken's arc though, as frustrating as him struggling with self-doubt is to watch. i'm glad the writers didn't make it seem too easy for him to forgive himself, because that's hard even if you weren't the vessel for like. All That Shit. i'm giving this boy a weighted blanket and hot tea.

tl;dr: compared to the oftentimes fever-dream like qualities of 01, 02 feels a lot more narratively focused in its story, and i think that really works to its favor. not a flawless season, but none of the digimon seasons are. a successful sequel to 01, much more so than i remembered from my last rewatch of the dub in 2020.

[darkmaga-retard]

https://www.globalresearch.ca/the-covid-killer-vaccine-people-are-dying-all-over-the-world-its-a-criminal-undertaking/5800358

The Covid “Killer Vaccine”. People Are Dying All Over the World. It’s A Criminal Undertaking

By Prof Michel Chossudovsky

Global Research, September 18, 2024

We are being accused of  “spreading disinformation” regarding the Covid-19 vaccine. 

The Reuters and AP media “trackers” and “fact checkers” will be out to smear the testimonies of parents who have lost their children.  

“Once the Lie becomes the Truth, there is no moving backwards. Insanity prevails. The world is turned upside down.”

Let us be under no illusions, the Covid Jab is not only “experimental”, it’s a Big Pharma “killer vaccine” which modifies the human genome. The evidence of mortality and morbidity resulting from vaccine inoculation both present (official data) and future (e.g. undetected microscopic blood clots) is overwhelming. 

The official data (mortality and morbidity) as well as numerous scientific studies confirm the nature of the Covid-19 mRNA vaccine which is being imposed on all humanity. 

Peer reviewed reports confirm the causes  of vaccine related deaths and “adverse events” (injuries) including among others blood clots, thrombosis, myocarditis, cardiac arrests.

The stated objective is to enforce the Worldwide vaccination of 8 billion people in more than 190 countries, to be followed by the imposition of a digitized “vaccine passport”. Needless to say this is a multi-billion dollar operation for Big Pharma. It’s a crime against humanity.

The global vaccine project entitled COVAX is coordinated Worldwide by the WHO, GAVI, CEPI, the Bill and Melinda Gates Foundation in liaison with the World Economic Forum (WEF),  the Wellcome Trust, DARPA and Big Pharma which is increasingly dominated by the Pfizer-GSK partnership established barely four months before the onset of the Covid-19 crisis in early January 2020.  

The Covid 19 “Vaccine” from the very outset in January 2021 has been conducive to a Worldwide Upward Movement in Mortality 

[the-monkey-ruler]

Dota 2 (2013)

Date: July 9, 2013 Platform: Mac / PC / Linux Developer: Valve Corporation Publisher: Valve Corporation / Nexon Corporation / Perfect World Entertainment Genre: MOBA Theme: Fantasy Franchises: Dota Also known as: Defense of the Ancients 2 Type: Crossover

Summary:

Dota 2 is a free-to-play high fantasy action real-time strategy game developed and released digitally by Valve for the PC, Mac and Linux on July 9, 2013.

Built on the studio's Source engine, Dota 2 is the official sequel to Defense of the Ancients, a series of custom scenarios for the 2002 game Warcraft III: Reign of Chaos that originally popularized the "Multiplayer Online Battle Arena" sub-genre. Development of the game is led by the original mod's final lead designer, IceFrog.

Similar to the original mod, the main gameplay pits two five-player teams (the Radiant and the Dire) against each-other as they work to escort their three endless waves of AI-controlled monsters (or "creeps") to the fortified enemy base in order to destroy the enemy "Ancient". Each player controls an individual Hero character and, throughout the match, earn experience (to level up their stats and abilities) and gold (for purchasing items and equipment) by eliminating enemies.

Rather than using a weekly free-to-play character rotation system (similar to other MOBA games at the time, namely League of Legends), the game makes all characters playable from the start and features cosmetic microtransactions (such as alternate appearances for each Hero's armor and weapons, alternate announcers, and custom UI enhancements) using the Steam Inventory and Steam Market systems.

The game received numerous updates since its original release, adding new Heroes, game modes (including support for custom modes), and features while revising certain gameplay mechanics. New features include better support for both new players (with integrated community-made guide support, coaching, and improved training modes) and competitive players (with improved replay and spectator support), as well as VR headset support (for spectating and viewing cosmetics). It also received a reworked client update in June 2015 (named "Dota 2 Reborn" for a short time), porting the game to Valve's Source 2 engine (the first game released with it), and received a complete map revamp on April 2023.

Dota 2 originally received an invite-only beta in November 2011, during Gamescom 2011. It was formally launched July 9, 2013, but access was gated via a queue system until December 16, 2013. It was also distributed as a standalone game in some regions, with Perfect World publishing the game in China, and Nexon publishing the game in both Japan and South Korea. The game also received spin-offs, including the 2018 digital card game Artifact, the 2020 "auto-battler" game Dota Underlords, and the 2021 animated series Dota: Dragon's Blood.

Source: https://www.giantbomb.com/dota-2/3030-32887/

Link: https://www.youtube.com/watch?v=LqtkfCLjJz4&ab_channel=DotaCinema

[genericpuff]

Remembering My Roots - Rest in Peace, RateMyDrawings

I've talked about my old art before on here, but never really fully in-depth about the site that hosted it. I was reminded of it today while going through my FB memories and felt like I should actually write a true eulogy towards what once was.

Once upon a time, before LORE | REKINDLED, before Time Gate: [AFTERBIRTH], before I had even started drawing webcomics, I entered the world of digital art through one website - not DeviantArt, not Pixiv, but a little site called RateMyDrawings. Back in the day, it was one of the most popular browser-supported art tools, offering multiple different art tools that were, at the time, revolutionary. A flash drawing tool which could replay the progress of your drawing (but the tradeoff was that you had a limited amount of 'ink' aka recording data), a Java-supported tool that was essentially Photoshop Lite (but didn't come with the recording), and later, a more refined tool supported by HTML5 (?) that offered more 3D-like brush tools. There was also DrawChat, a live drawing flash tool where you could draw with others and chat.

And on that site, I created my first works of digital art. No drawing tablet, just a mouse and a loooot of patience. They'd host contests every now and then to win budget Wacom tablets. Sometimes I'd enter, I'd never win. I did eventually get my first drawing tablet, but by then, I'd moved on from RMD onto actual software such as GIMP and Photoshop Elements.

That site is gone now, one of the first art site deaths I'd ever experience in my teen years. I was around 12-13 when I started using this site and I adored it. When people talk about missing the 'tight-knit communities' of old, I don't think of DA, I think of RMD, my first home. Unfortunately, the site couldn't survive in the 'modern' era of the Internet, overshadowed by more advanced tools and art-sharing sites like Deviantart, Facebook, and Instagram.

But I did manage to backup some of my old art pieces before the site finally became completely shuttered in the early 2020's. For a while the site was awake but lacked any content or features, with a message from the site's creator Mick that it might come back, it might not.

It didn't. The old ratemydrawings.com URL now redirects to the inactive FB page. Any attempt to bypass that kill screen like before leads to an Error 404.

But while the site was in its comatose state - before it was shuttered permanently - I was able to access my old profile and extract some of my art pieces of old. I posted them to my FB about 3 years ago, and today they showed up in my memories.

I share a lot of art pieces from creators like Rachel Smythe in an attempt to preserve media. But I also need to remember to preserve my own. So here are a handful of the 100+ pieces I drew on RMD. Enjoy ( ´ ∀ `)ノ～ ♡

Don't be confused by the '1987' part of the username, I picked that number because I was a huge Zelda weeb and 1987 was the year the first Zelda game was made. Whoof.

What's ironic is I actually didn't have the Featured Artist award last time I was actively on the site, so it clearly happened while I was inactive in its final days. The one award I wanted the most and I wasn't there to witness getting it. RIP.

Unfortunately that's all I really have in the way of high-resolution drawings as I wasn't able to preserve much else (though if I find anything more I'll definitely add it to this post!) That said, I was able to nab some screenshots of my homepage via the Wayback Machine where you can see more of the pieces I did back then:

There are so many dorky ass drawings here, some from Time Gate (because it's that freaking old!!!), some are screenshot recreations from anime that I enjoyed (a very common trend on RMD), some are collaborations. There was a point where I learned how to color with the mouse by using low opacity colors and layering them one at a time. Really upped my game there LMAO That Ocarina of Time Link drawing was the first one I ever did that made it to the front page of RMD and y'all, I was so proud, the site back then I think had 50k users total which is nothing compared to the Internet today, but achieving that was one of the greatest things ever LOL The Skyward Sword drawing that followed was one that really felt like a milestone in terms of my art evolution, I felt like I was finally creating something good. I believe I did that Skyward Sword drawing off another DA piece at the time, it was really common to do redraw challenges on RMD what with the technical limitations of the site - I suppose redrawing stuff I liked back then should have been foreshadowing LMAO

That feeling wouldn't last forever ofc once the art high wore off, but even to this day I look back on the pieces from that era fondly. It's where the mysteries of digital art finally started to 'click' in my brain, and I had still barely gotten started.

I also have a few drawings preserved that were done after I got my first drawing tablet, and you can really tell with the improvement of the lineart LOL That said, I think I was around 18-19 when I did these:

Now, one thing that I really enjoyed doing on RMD were collabs - specifically, trading collabs where users would exchange drawing files through the RMD PM system with one another to do steps of a drawing together. Often times I took the role of coloring other people's lineart pieces, which is probably where I started to really learn digital art coloring and come into my own with it.

A collab with user "lime":

Collab with user "Mikai":

A collab with user "Overik", which I specifically remember struggling with because, at the time, my computer monitor's screen was messed up resulting in the entire thing basically being a fluorescent pink:

A collab with "Mist04" that I don't remember doing lmao:

Collab with "Adzumi" (?). I'm fairly certain that's who it was, I definitely remember the process of painting this one, I had loads of fun with it:

Collab with user "ForgottenArtist", IIRC this one was more of a coloring page where they gave out the file freely for others to color, so this was my version. The forums on RMD were great for that sort of thing, people would literally just upload their drawing files for people to have fun with:

So I guess I drew this next little thing in 2021 when the site was still 'live' but not functional, I completely forgot I did this though LMAO Basically the main URL took you to that kill page I showed above, but if you knew any of the extension slugs, you could bypass that kill page and get into the rest of the site, which I was able to by using my username URL. So I got into the Java drawing tool and made this little thing in the hopes I could upload it. Of course, it didn't work, but hey, it was worth getting a screenshot, I suppose:

It's equal parts nostalgic and bittersweet to go through these drawings. Life back then feels so far away and yet I still remember it so vividly, the hours I'd spend drawing on the family PC, feeling more at home with the friends I made online than the ones I had in real life, listening to music that I still listen to to this day. It's far away now, but it still lives through me, in the work I do today. Even someone like me can go from being a complete noob drawing with a mouse to a professional making their living stabbing ink into other people while still drawing the same stories they drew as a child.

There is one piece I had to dig up outside of FB memories, fortunately it wasn't hard to find because I knew I had shared it ages ago on my FB so the search bar saved my skin. My very first digital art piece, of Sheena Fujibayashi from Tales of Symphonia, one of my favorite games of all time.

My very first digital art drawing:

Recreated in 2019:

Past me went through a lot, and they'd be doomed to go through even more still (they hadn't hit the plague yet). And yet they're going to survive, they're gonna keep getting better and better with each passing year. Thanks past me - you've done a lot of dumb shit in your life, but sticking with your craft wasn't one of them. Thank you for walking - through all the good and the bad that you've had to weather through - so that I could run for us both.

[my-hobby-is-finding-the-source]

I did a little bit of search myself and only found these posted on twitter in october 2022

Through my search I got to this Tumblr post from July 2020, by @yesterdaysprint. In it, they mention the issues of The Washington Post and The Tatler where the images are from.

I wanted to browse through the sources myself, but access to digital archives from the US and the UK is surprisingly gated. What's up with all that, by the way?

[louisupdates]

Louis Tomlinson’s Top 10 Songs Ranked

21 July 2023 | 10:00 am | Skylar Flowers

The UK heartthrob has just announced a massive tour of Australia and to celebrate the Vodafone presale starting today, we’ve ranked Louis’ biggest and best songs.

Earlier this week, one-man pop powerhouse Louis Tomlinson announced his imminent return to stages Down Under and if you’re a Vodafone customer (and believe us, you should be), you’ll be able to get your hands on the very first tickets this morning (July 21). An exclusive Vodafone presale will kick off at 10am AEST, running for 72 hours until the same time on Monday (July 24).

You can head here for more info on how to take advantage of that presale.

Come January, he’ll deliver his mind-bending blend of bubblegum, Britpop and rock to his biggest crowds yet in Naarm/Melbourne, Meanjin/Brisbane and Eora/Sydney. The run comes in support of Tomlinson’s stellar second album, Faith In The Future, and although this tour will be his biggest on local soil, we’re expecting tickets to fly right out the gates.

To get the hype train chugging at full steam, we’ve crafted the ultimate playlist to soundtrack your ticket-scoring endeavours: a meticulous, indisputable* ranking of Tomlinson’s ten best solo releases.

10. Just Hold On (with Steve Aoki) [2016]

We’ll happily admit that Tomlinson’s first solo outing followed a fairly safe formula – squeaky clean, harmonic vocals (supplemented with plenty of “woah-ohs”) flowing over the unique kind of pseudo-clubby bubblegum pop beat Steve Aoki is a certified master at – but for what it is, Just Hold On is exactly what it should be. Back in ye olden times (2016), it proved to us that Tomlinson had the chops to carry a pop banger on his own, lapping up every lumen of the spotlight. And listeners seemed to agree: the song went Platinum in five territories (including Australia), came just one spot shy of topping the UK charts, and still pops up in Tomlinson’s live sets from time to time.

9. Back To You (featuring Bebe Rexha and Digital Farm Animals) [2017]

Tomlinson’s second track as the headline act landed some 16 months after Just Hold On, making for one of the most brutal waits we’ve endured between a debut single and its follow-up. But it’s without a doubt that Back To You was worth the wait, shining with an equally cool and catchy beat, and an impassioned vocal performance (carried by emotive lyrics tailored for maximum swoonability) that made it undeniably clear: Tomlinson was always the biggest heartthrob in One Direction, and goddammit, he’s still their biggest heartthrob in his solo era.

Bebe Rexha’s vocals add so much colour to the tune, too, as her smoky swagger gels with the sweetness in Tomlinson’s own delivery. Us here Down Under were especially stoked on Back To You – racking up three Platinum certificates and a peak at #11 on the ARIA Charts, it remains Tomlinson’s biggest single as a solo artist.

8. Two Of Us (2019)

Though it came out a solid 15 months after lead single Miss You, it was Two Of Us that really kickstarted the cycle for Tomlinson’s debut solo album, Walls (which arrived in January of 2020). It was a bold choice for that role, too, as a deeply emotive ballad steered by haunting grand piano chords and widescreen orchestration. But it was a power move: the song itself is striking and cuts deep with authentic pangs of grief, Tomlinson’s vocals swelling from lowkey and melancholic to intensely poignant as the music builds. Thematically, too, it’s one of his most important efforts – a touching ode to his late mum.

7. Walls (2020)

The title track from Walls is another ballad, but this one stands out a little more with its ear-pricking instrumentation, channelling the greats of ‘90s Britpop with its coolly strummed acoustic guitars, droning pianos and atmospheric string- and synth-work. Released as the album’s fifth and final single, it offered a fantastic summary of everything we’d heard thus far, from the searing pain he poured out in Two Of Us to the energised pop-rock of Kill My Mind.

Then there’s the lyrics – some of Tomlinson’s most gripping and evocative – with the chorus in particular standing out for its motivational punch. He sings: “These high walls, they came up short / Now I stand taller than them all / These high walls never broke my soul / And I, I watched them all come fallin' down / I watched them all come fallin' down for you.”

6. Bigger Than Me (2022)

Tomlinson’s newest era began last September, when he dropped the lead single from Faith In The Future: a rousing slow-burner called Bigger Than Me. It’s the perfect song to bridge the gap between his first and second albums, starting off as a lowkey acoustic number and growing into a big, bold pop anthem you could scream along to at the top of your lungs. It swells into a peak around three minutes in, where Tomlinson is virtually howling to contest with the operatic strings, spirited drums and scene-stealing synths. When we first heard Bigger Than Me, it felt like a proper reintroduction to Louis Tomlinson – and goddamn, were we keen to learn more about this new version of him.

5. Just Like You (2017)

After launching his solo career with two collaborative tracks, Just Like You marked the very first time we heard Tomlinson without a guest singer or heavyweight producer. Released standalone in October of 2017 – about a month and a half before Miss You kicked off the Walls era – this airy pop gem serves as somewhat of a theme song, very on-the-nose as Tomlinson literally opens it with a verse about how he’s “the guy from the one band” with the “whole world in [his] right hand”, prone to racking up “headlines that [he] can't stand” with his lavish escapades (“Night out and it's ten grand”)... Before explaining that as his fans, we “only get half of the story” when we see Tomlinson revel in all “the cash and the cars and the glory”.

Is it self-indulgent? Yeah, absolutely. But does it absolutely slap nonetheless? Yeah, absolutely.

4. Miss You (2017)

It makes sense that the music video for Miss You takes place at a party: accented by tasteful juts of an electric guitar and a thumping drum beat, the song feels triumphant and energising – the kind of song you’d blast in your room to hype yourself up while you get ready for an actual party. Following on from Just Like You in December of 2017, this was also the first time we heard Tomlinson shine on a track driven primarily by electric guitars, something we’d hear a lot more of on Faith In The Future, but felt like a special treat on Walls.

3. Kill My Mind (2019)

Remember how we noted that Walls (the song) saw Tomlinson channel an ambiguous ‘90s Britpop flavour? We can be a little more straight-up with Kill My Mind – this song is Oasis as fuck. But we say that as nothing but a compliment: charging forward with brisk strumming and animated drums, the artist’s vocals soar overhead, his thick Yorkshire accent gripping as he sings passionately: “You kill my mind / Raise my body back to life / And I don't know what I'd do without you now.” Honestly, I don’t know what I’d do without this absolute banger in my morning playlist.

2. Written All Over Your Face (2022)

Walls was a stellar album, no doubt about it – this list features three songs from it, after all – but it’s with Faith In The Future that Tomlinson has really come into his own as a solo artist. The headstrong rock’n’roll energy weaved throughout it peaks on Written All Over Your Face, clear from the outset as, over a punchy drum beat and rollicking bassline, the artist embraces his heartthrob personality, seeped in sensuality as he quips, “Hey babe / It’s written all over your face.” You’re telling us this is the same man that once sang on What Makes You Beautiful!? Sheer insanity.

1. Out Of My System (2022)

The latest single from Faith In The Future – a post-release pick that made impact earlier this year – is a punk-laced belter that stands out with ripping guitars and a downright explosive chorus. It feels like an almost oddly natural fit for Tomlinson, too, as he smashes through the more intense vocal delivery with stunning aplomb – he’s a bonafide rocker, and Out Of My System shows he’s much better suited to reign in this world than in bubblegum pop.

On his upcoming Australian tour, Tomlinson will play three of the biggest and most renowned venues in the country – two in the open air (sorry, Sydney) – and this is the exact kind of song those venues were built for: a rip-roaring anthem-in-the-making that no sane human could stand still (or, God forbid, sit) for.

LOUIS TOMLINSON 2024 AUSTRALIAN TOUR

Sunday January 28 – Naarm/Melbourne, Sidney Myer Music Bowl

Tuesday January 30 – Meanjin/Brisbane, Riverstage

Friday February 2 – Eora/Sydney, Qudos Bank Arena

Presale: vodafone.com.au/ticket

Tickets: livenation.com.au

[koushirouizumi]

{Digimon Adventure:} {2020 Reboot} ~ Final Episode{s} + 2020 Koushiro & Tentomon {+Mimi as Support} (Friendship)

(Tentomon, Low m u r m u r i n g softly into Koushiro's e a r):

>Koushiro-han, we JUST 'finished' a "big j o b". >Lets take it easy from here.

"...You're RIGHT" - Koushiro, more calmly & content

Cap'd by @izzyizumi {Do Not R E P O S T} {Do Not R E P R O D U C E My Works Under Any Circumstances Without My Permission} (Please ASK to Use/Share!)

(Original commentary + Image usage rules under 'read more'!)

{T e n t o m o n proceeds to actively h e l p m a s s a g e Koushiro's s h o u l d e r s, something which should, 'T h e o r e t i c a l l y', 'Take W o r k'} (But Does It A n y w a y)

"No, they might POSSIBLY..." - L e o m o n

"H U M A N S and D i g i m o n... What kind of effects the M E R G I N G of the T w o W o r l d s produce from here"

"...Is 'something' EVEN I CANNOT {'P R E D I C T'}." - W I S E M O N

[spacegirlie]

[“Porter’s Gate Lodge - Charleston, SC” // Soleil Mobley 2022]

Here are some high quality pictures of my watercolor painting of the Porter’s Gate Lodge. It is where I would be walking through when I graduate, but ever since COVID yoinked my high school graduation in 2020, I just don’t have a lot of attachment to the ritual of the walk. I included two different kinds of lighting to show how it can change depending on the time of day if one was to display one of my pieces.

This is also an informal announcement that I’m opening commissions for… anything. If you need something made, I gotchu. Paintings, drawings, digital illustrations. Papier-mâché shark wall hangings. Home portraits. Anything! Hmu and we can talk about prices.

[msclaritea]

"What if Bill Gates tabled the idea to the CIA of Population Control? Not just the future management of Population Growth, but also the Control of the remaining Populations who would eventually realise what was going on. It involved the idea of Ethnically cleansing the Populations that hold most of the Land Assets the greedy 1% desire. The Populations of the USA, the UK, Australia, Canada & New Zealand predominantly. What if Bill Gates devised an Ethnicity Specific Weapon of Mass Destruction, mRNA Covid-19 injections, which he planned to use alongside the Poisoning of Water Supplies & the removal of Nutrient Rich Food by Genetically Modifying it? The Food looks great, but holds no Nutritional Value. What if Gates also Pollutes the Air we breathe with Chemtrails all leading to a shortening of Life? What if Gates was then given the role of Global Population Control on a limited contract, 2020-2030 along with a Licence to Kill? That he then publicly divorced in an attempt to shield his equally complicit wife & their Children from the dangers his new role would bring? His Licence to Kill allows him to target aircraft carrying individuals that could adversely effect his plans, like the Cancer specialists whose flight went down recently? What if he was gifted the contract to operate the new global digital currencies through Microsoft, meaning he earns with every single global transaction? What if the reason there are no "Property Of" signs on 5G towers are because they are Gates owned? And what if this ultimate salesmen managed to convince or blackmail the Leaders of our Nations that this was in fact a good & profitable idea?

Sell Eco-Terrorism as Geo-engineering?

Sell Death Jabs as Healthcare?

Sell Bio-Terrorism as a Pandemic?

Sell Financial Terrorism as Inflation?

Sell Digital Control Management Slave Systems as Convenient?

If the answer is Yes to any of the above.

Bill Gates is a Terrorist."

White Rabbit Podcast, Twitter

Who Is Bill Gates? (Full Documentary, 2020)

[1solone]

THE MYSTICAL NUMBER 33

Today KIN 33 7Skywalker marks the 33rd day of the sacred Tzolkin Matrix, giving us an opportunity to explore the multi-dimensional significance of this number across the fabric of Time and Space.

In classic numerology, the enigmatic Number 33 is referred to as the “Master Teacher” and it is associated with the Spiritual Evolution of humankind.The other two Master numbers are 11, which is related to “Vision,” and 22 which refers to “Vision with Action”.In numerology, these 3 Master numbers are the only multi-digits numbers that don’t get reduced or simplified. They create what is known as the Triangle of Enlightenment, where 11 and 22 sit at the base of the triangle, and 33 sits at the top (11+22 = 33).

Number 33 also plays a KEY role within the multiple spiritual streams of humanity:

–The Christ tells that he was crucified, resurrected and ascended at the age of 33. In the same way, it is known that King David (origin of the Christ lineage) ruled in Jerusalem for 33 years.

– Number 33 represents the two intersecting triangles of the Merkaba, which is symbolised by the Star of David and it is also referred to as the “Lightbody” (see attached video).

– The numerical equivalent of the word AMEN is also 33 (1+13+5+14 = 33)

– There are 33 deities in the Vedic Religion.

– There are 99 names of God in the Islamic Religion (33+33+33).

33: THE RESONANT CHANNEL OF PROPHECY

The spine is the central "channel" of the Human body and is comprised of 33 vertebrae, matching the sum of the 13 joints and 20 fingers and toes that give us the ability to move.

Kin 33 is a PERFECT holographic container for the summoning power of the 13:20 Natural Time Frequency (13+20=33) as well as the creators of the Dreamspell Count: Jose Kin 11 + Lloydine Kin 22 = Kin 33

Kin 33 Resonant Skywalker is coded with the Key Numbers of the Synchronic Order: Tone 7, Seal 13. The Skywalker (13) represents the Archetype of the Prophet and marks the centre (Resonant Chamber) of the Hand (7) Wavespell that started on KIN 27 1 Hand. 27=3x3x3

Following the 1 Kin = 1 Moon fractal count of 260 moons introduced by José and Lloydine on the "20 Tablets of the Law of Time" (1997), the 1 Wizard year corresponds to the 13-MOON planetary service wavespell of the Hand… Therefore this entire magnetic moon that started last July 26, 2019 is ALSO coded by KIN 27 1 Hand.

Today marks then the EXACT midpoint of the 13-DAY FRACTAL SYNCHRONIZATION portal where each of the 13 daily kin of the Hand Wavespell corresponds to each the 13 moons of the year, giving place to a PERFECT nested synchronization with KIN 27 corresponding to the 14th day of the MOON coded by KIN 27of the YEAR coded by KIN 14.

This 13-day portal started with the Lion’s Gate Portal of 8.8 - KIN 27 is therefore comprised between the 8 to the 21 of August, 2019, matching the 14th and 27th day of this Magnetic Moon (NS1.32.1.14 - KIN 27 to NS1.32.1.27 KIN 39 ).

It is therefore worth noting that the "Lion’s Gate" portal of August 8, 2019 (8.8) KIN 27 started at the time of the year when the Heliacal Rising of the star Sirius (the brightest star in the night sky) is rising before the Sun around Giza Latitude (30 to 33 degrees North).

KIN 33: PRELUDE TO THE ENTRANCE INTO THE 33rd SOLAR ORBIT OF THE HARMONIC CONVERGENCE

Finishing this special synchronization via number 33, we are experiencing 2 celestial events of great significance as Divine Signs in the Heavens of this major alignment taking place through the fabric of Time-Space:

1- VENUS-EARTH EXTERNAL CONJUNCTION:

TODAY, KIN 33 takes place the LAST External Conjunction between Earth and Venus before closing the 5-Pointed Star with the Internal Conjuction of June 3, 2020 (KIN 66 1 Worldbridger). Please note that 66 = 33+33.

2- FULL MOON AT ITS HIGHEST NOCTURNAL POINT:

Tonight August 14 is the perfect opportunity to watch the first Full Moon of the 13-Year and 13-Moon cycles that we just started last 26 July 2019 ~ KIN 14 - Magnetic Wizard. (The exact Full Moon peak is tomorrow 15 August at 12:29 pm UTC)

August 15, 2019 - NS1.32.1.19 - KIN 34 will also mark the completion of 45 Tzolkins of 260 days from the START (Alpha Point) of the New Dispensation of Time (also known as the Dreamspell/Wizard’s count) of July 26, 1987 on Kin 34 (33+1). It is also worth noting that this 1 Wizard year started on July 26 on the 33rd day of the 33rd solar orbit since the 1st day of the 1st Tzolkin Matrix of the Dreamspell count (June 23, 1987 KIN 1). This 33rd solar cycle will end on June 23, 2020.

Then on August 16-17, 2019 we will mark the completion of 32 years from the Harmonic Convergence of August 16-17, 1987 (KIN 55-56), organized by Jose KIN 11 and Lloydine KIN 22 (11+22=33) that closed the Quetzalcoatl Prophecy of the 13 Heavens and 9 Hells. Therefore it will mark also the entrance into the 33rd Solar orbit that will be completed on August

As mentioned many times in the past, Planet Venus is the orchestrating force behind the narrative of the Quetzalcoatl Prophecy and last KIN 55 (19 December 2018), we arrived to a NEW PROPHETIC FRACTAL MASTER NUMBER MILESTONE from the fulfillment of this prophecy: The completion of 11440 days (44 Tzolkins) since August 16, 1987 (KIN 55), a PERFECT FRACTAL of the 1144 years of the Quetzalcoatl Prophecy of the 13 Heavens and 9 Hells, experienced as 11440 days since the first synchronized meditation on Earth. Please note that 11+44=55

To commemorate this NEW PROPHETIC FRACTAL MASTER MILESTONE, we felt inspired to shift the name of this page from Harmonic Convergence 2013 to Harmonic Convergence 2020 and in this way, invite people from all over the world to start building a new momentum towards the celebration of 33 years of the original Harmonic Convergence in the year 2020 and the completion of a perfect fractal cycle of 7 years since Galactic Synchronization of 2013.

PLEASE STAY TUNED FOR UPDATES!

MAY PEACE PREVAIL ON EARTH!

In Lak'ech

Time is ART!

* Learn more about the Power of 33:

– Kin 33 Resonant Channel of Valum Votan & Bolon Ik

https://wp.me/p83Oy1-as

– Pakal the Great and the Mystical Centre of 33

https://wp.me/p4IbvA-20

– OMG 33:33 Original Matrix of Avebury

https://galacticwizard34.com/2018/11/28/the-original-matrix-of-avebury-3333/

#Venus #Sirius #33 #22 #11 #LionsGate #HarmonicConvergence #QuetzalcoatlProphecy #44 #55 #1320Frequency

[coolpixdump]

do you edit your photos at all?

nope! i shoot on a nikon coolpix 3200 set to -1.7 exposure compensation. sometimes i go up to -1.3 at night, but rarely above that. i underexpose because the nikon is like many digital cameras in that its automatic settings are too bright, but underexposing makes the colors pop. since sometime in 2020 i have been experimenting with setting the white balance to the 'incandescent' preset - this emphasizes the blues and cooler tones in the scene.

i'm glad you asked this, actually, because it gives me an opportunity to talk about why i chose this specific camera.

i come from a background of shooting film - at the time of this writing i have a bag with 216 rolls left to process, shot between 2014ish to 2021. i was attracted to 35mm and 110 film because i was sick of computers and wanted something with that elusive x-quality, a warmth/intimacy that i saw was lacking in the images from my digital camera. i shot a cornucopia of film throughout high school, on a million different point and shoots. (the highlight of my life at that point was when i bought 5 olympus xa's for a dollar each at an estate sale - the deceased was a camera collector & there was a canon room, a nikon room, an olympus room...)

but i look at photography as a diary, and the detail with which i document things was adding up to an overstuffed carpetbag of film to develop. around 2018 i began to wonder if i could exploit the very thing about digital images that i was trying to avoid, the cold, clinical look. i began looking at product photography (the canned food isle in your grocery store is pure unadulterated inspiration if you pay attention to the label designs), kitchen disease and a whooooole lot of the new topographics photographers.

at the same time i was sifting through the local thrift stores searching for the perfect digital camera. i first found a sony dsc-s750 at a pawn shop in 2018, and liked the images it gave back a lot. (different looking results than the coolpix, and 7 megapixels, but equally compelling - i would totally shoot one again) but i wanted something i could run on rechargable aa batteries, and that was a tad less - for lack of a better term - modern. eventually a quick 'test' flash shot of the glass countertop revealed to me my new best friend and constant companion, the nikon coolpix 3200, which i took home for $6. folks, this is from that magical era of ccd digicams when they got everything right. i didn't have a computer for a couple years but i would take my coolpix and a littany of 1 gb sd cards to the local library and dump the .jpgs directly to tumblr/flickr. if you set the exposure compensation to -1.7, you won't need to do any editing. this camera manages to be digital and still cater to the part of me that doesn't want to deal with computers by giving natural looking, soulful colors right out of the gate.

a word of warning to anyone looking to follow in my footsteps: there was a later model coolpix that looks like the 3200 but is 4 megapixels. the noise reduction nikon used in this camera makes the jpgs look wayyyy too soft. if you're looking to get one of these cameras the 3200 is where it's at. it's served me well - i've ran through four of them so far. (it's a very tough camera, but it was also released in march of 2004 and sometimes they develop trouble extending the lens after being sat on, moshed into or otherwise mistreated.) also, be sure to set the quality of the jpgs to the highest setting in the menu and the (gorgeous, borderline 16mm-like) video setting to 640x480.

happy shooting! thanks for your message ~.~