#Animal Model market s

[doyoulikethissong-poll]

Blue Swede - Hooked on a Feeling 1973

"Hooked on a Feeling" is a 1968 pop song, written by Mark James and originally performed by B.J. Thomas. Thomas's version featured the sound of the electric sitar (played by Reggie Young) and reached No. 5 in 1969 on the Billboard Hot 100.

In 1973, the Swedish poprock group Blue Swede did a cover version, which included the ooga chaka introduction from a 1971 cover by Jonathan King. King had heard Johnny Preston's "Running Bear", which was the inspiration for the ooga chaka chant. This version reached number one in the US in 1974.

In 1992, Blue Swede's recording was featured on the soundtrack of Quentin Tarantino's debut feature Reservoir Dogs.

In the mid-90's, the Dancing Baby "sk_baby.max" model became one of the first viral memes. The animation was also shown on several episodes of the 1998 legal comedy-drama series Ally McBeal as a recurring hallucination, suggesting a metaphor for the ticking of Ally's biological clock, and was accompanied by Blue Swede's "Hooked on a Feeling". Various commercial advertisements presented the Dancing Baby animation to international markets continuing the mainstream media attention. This particular manifestation of the video, bound to the song, is widely distributed and referred to as the "Ooga Chaka Baby", further cementing the scene in pop culture history.

The 2014 film Guardians of the Galaxy, which featured the brass fanfare and title lyrics of the Blue Swede cover version prominently in its trailers and theatrical release, resulted in a significant spike in sales for the recording; the film's soundtrack reached the top of the Billboard 200 chart in August 2014. The song was also featured in the teaser trailer for the 2017 sequel, Guardians of the Galaxy Vol 2.

Blue Swede's frontman is singer/actor Björn Skifs. He did the Swedish dub of Woody in the first two Toy Story movies, as well as singing in stead of Phil Collins in the Swedish dub of Brother Bear.

"Hooked on a Feeling" received a total of 81,9% yes votes!

[mekatrio]

cuz at first ajaa wasnt even meant to exist it was just meant to be the trilogy and thats it, then while theyre porting it over to the nintendo ds capcom gives them the green light to go nuts with a bonus pseudo-dlc case and By God Do They, making the longest case yet of RFTA with fully animated 3d cutscenes + an incredibly convoluted plot that makes the most out of aa1's 3 day trial system + fully modelled 3d rotational evidence, hitting heavy themes of police corruption and evidence forgery and whatnot like they went INSANE, cuz this was supposed to be IT. this was supposed to be ace attorneys big finale and farewell but SIKE oh my god the actual Ministry Of Justice has knocked on capcoms door and told them hey can you make some propaganda for us. so now the aa team has to make propaganda for them. right after burning themselves the fuck out from creating rfta. all that time spent on rfta which couldve been development time for ajaa.... too late. cant be taken back. apollo justice is designed in less than a week and theyre marketing this game while the team is still making it, takumi crazed madman that he is decides to not rely on old characters which while that is an artistic slay, sets up the stage for a marketing failure, and a new artistic team of infinite ambition goes nuts with creating derangedly detailed animations

⬆️ like oh my god are you insane. thank you so much BUT ARE YOU INSANE? all while still making 3d renders of evidence and random 3d animations and it looks so awesome BUT THERES NOT ENOUGH TIME, 3 wonderful cases are made but 4-4 falls on its face. 6 hours long instead of the usual 10 and only one cross-examination in the final trial and 2 whole main characters with no backstory like its bad. its going to be bad. but its too late. the most incomplete ace attorney game has to be rushed out of the gates and the sales are made But The Reception Is Bad. Real Bad. 2000s hater gamer crowds were the first of its kind, being massively fuelled by the internet, haters back then could sink their teeth deep into a company, which is what got nintendo scrambling away from their wind waker art direction to appease the gamers w twilight princess. so similarly when the hate for ajaa came on, cuz whattt phoenix disbarred and no 😤 old characters 😤😤, capcom scrambled to appease the masses. but oh oh whats this? takumi says 'yeahhhh Nah' and says he wants to make a game about his dog. OK. cant persuade him away from that. might as well let some new blood handle the franchise in takumi's place then, but for The Love Of God do not make an ajaa followup. the gamers will kill us. and so the aai duology was born....... cool........ first one's reception was so bad that localization plans were dropped entirely for the sequel. wow. takumi is fresh off from ghost trick but fucking what, 5 years has passed now, and the new hot console is the nintendo THREE ds. 3ds. wowwww. fucking... PROFESSOR LAYTON kidnaps takumi to make plvpwaa and ajaa continues to be left in the dust. fucking nobody wants him. poor orphaned kitten left in the street. all while the trilogy gets 9584948 million adaptations. and yamazaki twiddles his thumbs thinking abt making aai3 but after thinking it over hes like yeah ill try making aa5. capcom lets him and.......... its over........ they tell him sure go for it But Do Not Follow Up On Apollo Everyone Hates Him please make phoenix the protag. a recipe for disaster. and a disaster aa5 is. juggling THREE protags a complete mess and they do a popularity poll and wow would u look at who came first, fucking APOLLO. JUSTICEEEEEEE. its almost like.... gamers opinions..... are not valuable in the long run.. and popular opinion has never signified artistic understanding.... aa6 comes chugging along and yamazaki addicted to racism cranks out something even worse. both aa56 makes the sales it needs but mindless fanservice can only get u so far... its been nearly 10 years since the ajaa 'trilogy' titles released and the general consensus is that Aaja Was Good and aa56 Not So Much but what can you do now? heres the apollo justice trilogy please buy it and deeply lower ur expectations for coherent and cohesive narratives which have basis in reality thank u. bc u will not be finding that here. ajaa never stood a chance.. they werent doomed by the narrative. its worse. they were doomed by STUPID FUCKING GAMERS AND STUPID EXECUTIVE DECISIONS 😭😭😭

[centrally-unplanned]

Follow-up to my Fanroad Magazine archival scan post - let's look at some cute 90's anime art! Just random ones that caught my eye:

"Hey, what happened to me!?" As mentioned, this came out before End of Eva did - as such, Asuka & crew really didn't get much of an ending in the TV show. 100% how she would react to watching episode 26, props to our artist (春原てるも/Kasuhara Terumo)

There are just so many "Rei running with toast" pieces, it was clearly a combination of a meme amoung the fans and the theme for the magazine. Love how this one brought marmalade too - never compromise on taste, no matter how late you are.

(The artist's name is "actually, I'm a Shinji fan" btw lol)

I love finds like these - these toast-lugging Rei's are by people who are professional mangaka today! The first is by いちば仔牛/Ichiba Kousei, or "Marketplace Cow" - it ain't their birth name I am sure - and they are a founding member of the doujin circle UGO - which is still going strong! And our second is by (I am 80% sure on this one) うおなてれぴん/Uona Terepin, a quite-accomplished artist who adorably published their first professional work in 1997, a year after this. Their twitter feed is 50% big titty girls and 50% model tanks, absolutely based.

Hot👏Shinji👏Fucks👏, this piece is amazing. What else do I have to say? (緋月れん/Hizuki Ren - maybe, translating Japanese names with no context is hard guys -_-)

This is one of my favourite trends - so Evangelion has a lot of technobabble? And it is very frequently in English. So fans really liked recreating that aesthetic in their art. But in 1996 they didn't have access to like screengrabs from the show or scanned splatbooks on hand? Which meant they just used ~whatever English text they could find - generally newspapers at their university or library. Which means we get Toast Rei splashed on reports of stock indices in the global financial markets, and this beautiful moe-Rei/Asuka looking solemnly out over, uh, some report about housing prices and cholesterol levels? Technobabble indeed! (嶋屋みえ/Shimaya Mei, まなせ貴也/Manase Takaya)

Rei clone army! Adorable. (藤桜智美/Fujisakura Tomomi)

Okay, moving away from Eva, there is in fact a bunch of other properties in here with fanart, but these types stood out to me:

That seinen "Kids on the Street" energy that was peaking in the 90's; fully ~aesthetic. (Keiko Kuyuki)

And to end on a weird note:

One section of the magazine is just a free-for-all of thoughts, and one Yayoi Hirone decided to give us a girl caught in the middle of undressing...alongside a recipe for cooking shrimp. Which, if I am being honest, is a huge improvement over the bullshit they throw on recipes online these days. This is the future we could have had -_-

Anyway, I hope that was fun - if anyone is struck or amused by some of the art in the magazine, I would be happy to see what stood out to you!

[infinitelystrangemachinex]

How to tell Arcane leaks apart from trailers and teasers

There are NO LEAKS in this post, so please read.

In summary: to identify leaks, look out for 1): watermarks, 2): unfinished animation rendering, and 3): poor image and video quality.

Tumblr isn't too bad right now, but Twitter is rife with clips and screenshots of the leaks, and YouTube has full uploaded leaked clips. These leaks show up on YouTube if you even search just "Arcane" or "Arcane season 2."

Here is a list of legitimate trailers and teasers posted by Netflix and Riot. These are not leaks and the clips and gifsets about them on Tumblr are from legitimate sources:

Season 2 first look

Season 2 teaser (short)

Ekko and Heimerdinger sneak peek

Season 2 teaser trailer

Jinx and Sevika sneak peek

There's some confusion in the tag about what constitutes a leak and what is simply a trailer or a teaser shared legitimately by Netflix and/or Riot. This is understandable because the first 5 episodes of season 2 leaked at the same time that Netflix and Riot were accelerating season 2's marketing.

Most people in the fandom do not want to be spoiled at all, and so are not excited about the leaks. Most people don't want clips, screengrabs, or even vague allusions to the leaks in the Arcane tag. They most certainly do not want spoilers sent to their inboxes, either. (DO NOT DO THIS. Don't be that person either on anon or off. Goodness gracious.)

Still, there is always going to be someone who posts the leaks in the fandom tags. However, there are many more people who make gifs and posts about the legitimate season 2 teasers and trailers. There are still almost 3 months until the first episodes drop, so we will be dealing with dodging these leaks for a long while.

Here's how to tell what's a leak and what isn't:

1): Watermarks

From what I've put together, someone at one of the dubbing studios leaked the first 5 episodes of Arcane season 2. In their entirety. However, these leaks were not production ready. The leaks are also completely watermarked and have a big running timestamp ticking throughout the run of all of the episodes.

This is difficult to visualize beyond what little Riot shared about the production of season 1 in Bridging the Rift. So I will post a NON-SPOILER screengrab of the title card of one of the leaks I took (just a few seconds before I realized I was looking at a leaked episode).

Below is a screenshot I took of nothing more than the Arcane title card from the season 2 title sequence. This is not a spoiler! Please use this example to help you tell a legitimate teaser from a leak:

Can you imagine watching 5 EPISODES of Arcane with these watermarks all over every single frame??? I'm begging you, do not subject yourself to watching Arcane in this manner, no matter how bad you want to know what happens in season 2.

These watermarks are practically impossible to remove, especially from every single frame. So any visuals you see that look clean, production-ready, and gorgeous from season 2 are definitely from trailers or teasers, not from leaks.

Here's a screengrab from the recent sneak peek posted by Netflix/Riot for comparison:

No watermarks, the animation is finished, the video quality is high. This is a legitimate teaser and not a leak.

2): Unfinished animation render

You don't need the full finished painterly animation from Fortiche to complete a dub. You just need basic character models and their movements, along with the finished script.

Much of the leaks are just this: the full complete scenes from every episode, character models are moving as they will in the final edit, the episodes' composition is complete, but the animation is unfinished and doesn't have the final painterly polish yet.

Below is a NON-SPOILER screengrab from Riot/Fortiche showing the animation process. This screenshot is from season 1 episode 5 during Vi and Sevika's first fight and shows the stage of completeness of the animation that most of the leaks show:

Notice that the scene is comprehensible, but the lighting effects and painting-like style of Fortiche is missing. It looks... okay, but unfinished-looking compared to what we know Arcane looks like. A big chunk of the 5 leaked season 2 episodes look like this.

Here's the final render of this scene for comparison:

However, I will say that I accidentally watched the first few seconds of the leaked season 2 episode 1 before it registered in my brain that I was watching a leak. There were watermarks like in my first point above, but for this particular scene, the animation was finished, and it seems like the sound mixing was finished too.

So it is possible that there are leaks floating around with gorgeous finished-looking animation. So look out for watermarks no matter what, and also -

3.): Poor image and video quality

When people say that the leaks are "potato quality," they mean it. On top of the watermarks and big timestamp across the runtime of all the 5 leaked episodes, the video quality is also pretty bad, certainly less than 360p.

The legitimate teasers and trailers and screenshots released by Netflix and Riot are all of very high video quality.

A note on early leaks

There are some leaks from earlier this year pertaining to Vi and Caitlyn's story that came from the Annecy Animation Festival Arcane panel. These leaks weren't treated as seriously because no full clips leaked, and they were mainly high-level summaries of season 2 plot points.

Those leaks are now difficult to tell apart from text posts about these new complete episode leaks. There are a lot of text posts out there about Vi and Caitlyn's story in particular as well as extremely spoilery text posts about certain characters who were in the Council tower at the end of season 1 episode 9.

There isn't much we can do about text posts

In the end, Tumblr has been pretty okay with keeping visuals from leaks out of the tag. I still see a potato-quality screenshot from the leaks every now and then. But most pervasive is people talking about spoilers from the leaks in text posts. These posts are tagged with the fandom tags and spoilers are only tagged sometimes.

Often, if the person is only vaguely alluding to the spoilers, they won't tag spoilers at all because they think being vague is enough. It usually isn't, because the post is still alluding to events outside of season 1 and the teasers/trailers.

The only thing we can do to completely avoid these posts is to not only block "spoiler" or "leak" related tags, but to avoid and block the Arcane fandom tags altogether, which is a shame.

Please, if you're someone who saw the leaks and wants to post about them, all I can ask is to at least tag your spoilers: "arcane spoilers", "arcane season 2 spoilers", "arcane s2 spoilers", "arcane leaks", or even just "spoiler", "spoilers", or "leaks" is better than nothing.

Even better would be to simply avoid using the word Arcane in the post and not tag the post with any fandom tags at all, keeping the post relegated to your blog with as little context as possible. This includes avoiding using the correctly-spelled character names in the post as well. Until the episodes drop in November, this is the most polite way I can think of to talk about the leaks and spoilers on your blog.

[ampreh]

[TRF] Norma II

• Related to this : The Rust Factory - Norma (<- comics)

• Related to this : The Rust Factory - Norma (<- comics) I had SO much fun doing the vintage style of flash backs and imagination: I would have kicked myself for ignoring this very impactful style for its time.

Audrey pic: Context - Extract from the 2022 RP "It was the story of a corporate that had made a great scientific revolutionary invention! It was called D-Sire, a simple, medicated, fabulous everyday object that people couldn't live without. But during the process of improving the product, which was intended to target wider markets to make more profit, the D-Sire had unfortunately gone awry, causing a great catastrophe unparalleled among mankind. All cities had been wiped off the map, leaving only willless mutant humans and animals. The heroine had to flee her city, survive and fight her way back to the creator of the D-sire, who had abandoned his company and changed his identity. Coal was terrified of this cheap soap opera with its terrible special effects made of modelling clay and the saturated offbeat sound of the black-and-white picture on the small TV screen." A more than obvious reference to the AU Truffula Flu. And a huge reference to @audtreegrace, @miru667 's character. So of course, I don't have all the context since it's a vast AU with lots and lots of details, but I've got enough of a basis for my friends to recognize and that's good enough for me :> Nathan has already confused Audrey Grace with Audrey, the actress from their series HAHA. Alas, the Audrey and Ted of his world won't be born for several years. He didn't find the actress, but he did find a good friend with whom to talk for hours about anything and everything ♥

Norma Bellini pic: Well, Norma pin-up, because why not! In vintage calendar mode, because I love vintage aesthetics. And yes, those are the right dates I went to check on good old calendars haha. At first I wanted to do it in a swimsuit, but then I preferred the picnic. I love picnics.

Too big to fail pic: I had to do it! Of course I had to! The only time I've redone such an iconic portrait was for the first version of Cashtea-ler in the Let It Flow fanzine, in 2022 (I should do a new one with his new head). Nathan Cole (@1940s-onceler | @nalak-bel 's), in black and white in his best soot-colored suit!

Compilation : Just Normaler, to appreciate Normaler. On a more serious note, I like the idea that Nathan was guided throughout his first times by ladies, and not the reverse. I love this not-so-little whining man.

[greatwyrmgold]

When was the first 3D video game published? Trick question, this is a post about how "3D video game" is a meaningless phrase.

In 1984, King's Quest: Quest for the Crown was published. King's Quest was marketed as a "3-D Animated Adventure," even though it looked like this:

At first glance, it looks like any other low-resolution 16-color adventure game of the pre-EGA era. But it has one revolutionary feature that sets it a step above its peers: You can walk behind things.

To be clear, that's basically it. There's not even sprite scaling or anything; King Graham is the same size whether he's close to the "camera" or not. Modern gamers would probably find it a bit ridiculous to say this game has a "camera" at all. But you can walk around in that green field, and you can go behind the tree or the castle tower, and those things would hide the part of Graham's sprite behind them—and you could also walk in front of them!

Well, if you didn't fall off the bridge. Why did Roberta Williams never put handrails on those things?

Anyways, the next game I'm going to mention is Wolfenstein 3D (1992), another game which marketed itself on cutting-edge 3-D technology.

You can see a lot of graphical improvement between these two games set in castles, and not just because Wolfenstein has thrice the resolution and 16 times the colors. The sprites can be scaled with their distance from the camera, for instance, and the backgrounds aren't static flat planes. They're dynamic flat planes, capable of warping as your angle to the wall changes.

In some ways, this is as great a leap over King's Quest as King's Quest is over Zork, or at least Mystery House. But is it really 3D? It's still just a bunch of distorted 2D sprites being drawn to the screen. There's nothing really 3D going on in the computer. It's no Super Mario 64 (1996).

SM64 is among the first popular "real 3D" games, with models and polygons and stuff. And it is, again, a great leap above Wolfenstein 3D. It doesn't distort 2D sprites to mimic 3D shapes; it shapes 2D textures around 3D models. Totally different! It has polygons and stuff!

Now, I'm not 100% sarcastic about that. There are some technical differences between how SM64 handles its textures and how Wolfenstein and other Id shooters handle their sprites. But those differences aren't so much "doing something completely different" as they are "doing the same thing with fewer limitations".

And it would be absurd to claim that Wolfenstein graphics have more in common with KQ1 than with SM64. It would be even more absurd to say that SM64 has less in common with W3D than it does with older and newer titles using what people commonly consider 3D technology.

On the left we have Battlezone (1980), an arcade title which predates KQ1 as much as W3D predates SM64. It has little in common with Wolfenstein's graphics, not needing to distort any kind of 2D image file to mimic 3D, because it's just wireframes.

From a graphical perspective, it has more in common with KQ1 than W3D; both use vector graphics. (Bitmap images would take too much storage space for KQ1.) In fact, you could probably make a compelling argument that KQ1 and Battlezone's vector graphics have more in common with each other on a technical level than they do with Wolfenstein's 3D sprites or SM64's 3D models.

And on the right...it's either leaked security cam footage from Area 52, or The Callisto Protocol (2022). I can't explain what separates it graphically from the other games in this post, because there are so many new systems—systems which require specialist graphical engineers to understand, let alone create or use. I could rattle off some technical terms like subsurface scattering and cloth simulations and soft-body deformation, but I don't understand these techniques on anything but the shallowest level, and TCP has elevated them to another level.

I know it sometimes seems like graphical technology stopped having Big Improvements some time around the seventh or eighth console generation, but it kept going. The difference, I'd argue, is that the improvements have been more spread-out, enabled less by advances in hardware technology and more by learning how to use those advances, distributed throughout a hardware generation rather than concentrated at the start.

Anyways. The point I'm trying to make is that modern games make every prior game in this post look ridiculously primitive. SM64 was impressive in its day, but Mario is rendered with less than a thousand triangles, separated into several rigid components. And his face is just a couple dozen flat polygons with a texture printed on them. Even modern indie games often animate eyeballs with more polygons than Mario's entire body, with the eyeball and eyelid and so forth all being separate models with textures and shaders bringing them to life. Giving them more depth.

Making them even more 3D.

There is not a firm line between 2D and 3D. Wolfenstein 3D is more 3D than King's Quest I, and Super Mario 64 is more 3D than either of them, and Skyrim more 3D than that, and The Callisto Protocol more 3D still. If someone dismissed Doom as not being "real 3D," they're drawing an arbitrary distinction around one of many graphical innovations that made gaming graphics incrementally more verisimilitudinous. That's all.

[fereldanwench]

i'm still holding off final judgement until the gameplay today, but seeing some stills on twitter kind of helped me solidify what i found so off-putting about the style in the companion trailer

although before i post those, a few counter arguments because i'm already tired of ppl bashing the ppl who aren't vibing with it, and my head is clear enough to put these thoughts down:

"cinematic trailers rarely look like the actual game" - true to a point. however: 1) typically cinematic trailers strive to look like a higher definition version of the game, which seems to be the opposite here. in the case of DAO and DA2, i would say the cinematic trailers actually strived for more realism, not stylization, as that was the trend at the time. 2) this is a cinematic trailer, but it is also done in the game engine so it's not unreasonable to assume that the end product is gonna look somewhat similar 3) this was supposed to be their best foot forward so suddenly going "don't worry, it's gonna look better in-game" is just a bad marketing move. it's not on the audience to give this company the benefit of the doubt (particularly in light of all the shit that has gone down there in the past decade)

"not everything has to be super realistic!" - agreed! not liking elements of this particular style doesn't mean i'm opposed to stylization in DA at all. i think DA2 is much more stylized than DAO, and not only does it look nicer, it looks more distinctly dragon age. DAO visually is also very generic, especially for its time. i still love the almost painterly look of DA2, even all these years later

and i think DAI has issues with the character models, especially the uncanny valley disconnect between the really stiff animations and realistic faces (having played it within the past year, they've aged pretty roughly), but in terms of environment and armor and whatnot, it did build off the style presented in DA2 in a way that effectively modernized it for that era. it did go for a more realistic look, but it was cohesive and still distinctly dragon age

"people reacted like this to DA2 and DAI's trailers too" - no, they did not, lmao. DA2's trailers were the reverse--they looked more realistic than the actual game. now there was some backlash against the stylistic choice in the actual game. i remember david gaider talking about it in a panel at dragon con in 2012--apparently ppl were upset that the companions looked like they were made with cosplayers in mind, which i thought was an interesting criticism. but no, the trailers did not get this sort of response.

and DAI's trailers used a lot of in-game footage, and the cinematic ones were both pretty accurate to the game and well-received by the audience. DAI's marketing was also absolutely bonkers and nonstop for like 9 months before the game was released, which in hindsight i think was way too much, but in terms of visuals, we knew exactly what we were getting.

"you guys just think anything with a style to it looks like fortnite" - lmao, okay, yeah, describing it as fornite is probably unfair and inaccurate, but i know for me, i kind of use it as a shorthand to reflect my general dissatisfaction with the way so many 3D styles (in both games and movies) just have this bland, cartoonish look to them. the pixar-ification of everything. i just don't like it.

and the logo with the bright purple and overly smooth text doesn't really help here either. i think a less saturated and darker purple paired with a grungier font would also help in making this feel like less like fornite season 3458345: dragon age avengers.

plus it was originally gonna be a live service game and i think that it still has some of that dna artistically

SO ANYWAY

these stills, which i think are also in-game engine but im not entirely sure if they're from cinematics, gameplay, or just renders but they seem to be in-line with the trailer:

and seeing emmrich and to a lesser extent neve in these pics solidified why the stylization didn't work for me on a visual level (never mind it being paired with the light-hearted planning-for-a-silly-little-heist vibes)

so when i first saw the trailer, and i saw varric, i was like "nice"

he looked like a higher definition, older version of a DA2/DAI hybrid of his model. he looked really good. i thought harding looked good, too. it did take me a minute to realize who she was, but it really wouldn't be a DA trailer if we weren't left wondering who tf a returning character was lmao (remember the confusion over alistair's appearance in one of the DAI trailers? this is actually tradition now)

but as the trailer goes on, the style doesn't even stay consistent--it just gets progressively more cartoonish right up to emmrich, which is the exact moment that made me go WHAT

he looks like a cartoon character. the hard lines in his face, the stiffness of his hair, his overall proportions--he looks like he should be a villain in a pixar movie. like i'm digging his overall vibe and as a concept of a character design, i love it. but this execution of it next to fellow old wrinkled man varric looks so off

and then we go right into davrin who is beautifully rendered and designed--he doesn't look out of place next to varric or harding

some characters have the soft, wispy hair while others have hair that looks like a hard shell with lines carve into it. some characters have finely detailed wrinkles while others have thick, cartoonish ones. some characters have realistic proportions while others have more exaggerated features.

stylization is only effective when it's purposeful and consistent, and from what i've seen so far, it's not. it's all over the place.

so there's my thesis about why i dont like the art direction in the trailer lmao

and like i've been saying since it dropped, i am reserving full judgment for the gameplay reveal, but based on the other stuff bioware has teased, i'm not expecting this aspect to change too much. i've seen other ppl who were on the fan council thing say the tone in the game is more in-line with the tone in the other games, so maybe that'll help smooth out this disconnect

[acquired-stardust]

Game Spotlight #17: Telenet Music Box (1989)

Acquired Stardust is back with another spotlight! Need something to read to get your mind of recent world events? Been hunting for some new music to listen to? Do you just like learning about cool obscure stuff? Join Ash for a look at one of the most obscure things as of yet featured on the blog in 1989's Telenet Music Box for the PC88!

When thinking about the history of video games, many people of a certain age conjure to mind a beginning marked by the boom that Nintendo's NES (known in Japan as the Famicom) brought to the world. Fewer people will be overly familiar with Atari's platforms or their competitors, and fewer still will likely have heard about the infamous crash of the American video game industry in 1983 beyond being able to regurgitate myths of Howard Scott Warshaw's adaptation of E.T. the Extraterrestrial (1983) bearing supposed direct responsibility.

This pop history approach becoming so normalized to people is frustrating but understandable because it's all around us. Being inundated with countless YouTubers and streamers professing a love for retro games has inadvertently created a narrative that video game history is a straight line through mainstream smash hit consoles and this couldn't be further from the truth - there is a whole world before and around the NES that has gone largely unexplored, particularly in the west, and odds are if you've spent much time on Tumblr you're probably passingly familiar with the subject of this spotlight.

Japan has finally begun to more widely adopt PC gaming (in part due to the phenomenon that is vtubing), with an absolute explosion in market share in the past decade. What you might not know is that Japan actually has a pretty rich history of PC gaming that really blossomed in the 80s and 90s with several hardware manufacturers such as NEC and ASCII offering options that would give the world some early looks at teams and individuals that would come to define the medium going forward.

One such game changer (no pun intended) is Hideo Kojima's Metal Gear debuting in 1987 with its definitive version on MSX PCs and getting an incredible sequel that puts the NES-exclusive Snake's Revenge to shame, and another Kojima title would go on to define the NEC PC98 in popular consciousness with classic sexy adventure Policenauts easily being the most memorable title which would subsequently be ported and updated several times for home consoles such as the Sega Saturn and Sony Playstation.

You may be familiar with the PC98 as screenshots from its many games are popular around Tumblr, most often featuring gloriously mid-late 90s anime girls rendered in stunning pixel art that feels like it exists somewhere out of time as things isolated from their origin as video game screenshots. Having been on Tumblr for over a decade (and the internet at large for even longer), it's my observation that the rediscovery of and appreciation for this retro anime aesthetic (and its later PC98 permutation) was really born here on Tumblr before spreading to other platforms to the point that you've probably seen at least one shot cross your dashboard before. But for this spotlight we're going even further back to the predecessor of the PC98, the PC88.

NEC's PC88 was released in the early 80s and most models featured a whopping 62 KB of RAM (in comparison to the NES's 2 KB) and many later models featured Yamaha sound chips which resulted in games often being visually and aurally significantly more impressive than you would see in home consoles at the time, in some cases lightyears ahead of the NES particularly in regards to music which is a pretty great thing for the sake of this spotlight. The games themselves were also quite varied in content from everything to the kawaii and comedic to erotic and even plenty of horror, with many standout games more accurately reflecting wider Japanese pop culture of the era than what you'd see on the comparatively sterile NES.

This wild west, edgy punk rock software library that goes part and parcel with Japan's nascent PC gaming scene is one of the coolest elements of going back to explore it. You never really know what you're in for, and you might be surprised (or even disgusted) with some of the unique experiences the platform has to offer. Many of these games (and those on the successor PC98) are completely untranslated and Japanese comprehension helps their enjoyment greatly and while often simple enough to enjoy without it that aspect has certainly contributed to their enigma in the west.

There are a lot of factors that have made PC88 and PC98 fandom and emulation not as glamorous as that of home consoles and some of that is due to limitations of the hardware in how it handles scrolling screens, with a noticeable chug as games scroll. Another factor is the compounding nature of its flaws and obscurity meaning emulators themselves are in Japanese and a bit tricky to figure out how to handle, old PCs infamously lacking a lot of user friendly features we take for granted today.

One such surprise is Telenet Music Box, a collection of then-prominent publisher Telenet Japan's biggest games' music. It's barely even a game and more a piece of software fit for a museum, with minimal activity limited to browsing game albums (a total of 13), choosing songs to listen to and creating custom playlists. Each of the 13 game albums is showcased with beautiful splash art and accompanied by a tracker for the keyboard as well as titles for each song and a timer for the length of songs.

Included in the mix is an impressive slate of Telenet Japan's games that showcase the depth and variety of the PC88's library such as Mugen Senshi Valis and even an early alternate manifestation of Shin Megami Tensei as a top-down dungeon crawler reminiscent of Gauntlet. Each of Telenet Music Box's 13 albums have their standout tracks, with some from Luxor and Final Zone being among our favorites.

Telenet Music Box is not a wholly unique concept and several other similar games were released for the platform (as well as the PC98), but it is an exceptionally clever one who's usefulness is perhaps all the more apparent now almost 40 years removed from its release, serving as a fantastic introductory course to a little understood part of video game history. It's a fantastic time capsule and with plenty to offer listeners of its roughly 3 hour runtime well beyond its value as virtual archaeology worth excavating.

Perhaps its most valuable asset is its ability to highlight the true nature of history. History is not a static thing with a start and an end but rather a living breathing thing that touches our everyday lives. Rare is it that anything begins or ends from nothing, with things instead in a constant state of evolution even when rising from the ashes of something else. One particular example of this is in Wolf Team's Final Zone (which features hilarious commentary in its opening scene that I'm not sure how made it past management - do look it up if you can) and Mugen Senshi Valis, the latter of which having been extremely popular in its time, spawning tons of ports and several sequels, with the team behind it eventually morphing into Namco's Tales Studio, responsible for some of the most beloved JRPGs of all time such as Tales of Symphonia and Tales of Vesperia.

While PC88 emulation can be frustrating to work out or find files for, an unforeseen strength of Telenet Music Box's concept of 'game as an album' is how much easier its discoverability is in recent years compared to the more traditional video games it shares a platform with, being far more easy to interface with and experience than the games it itself chronicles, and it can be found on YouTube in its entirety for your listening pleasure alongside plenty of other PC88 soundtracks. I invite you to dip your toes into this little-known scene and hope you come out of it with appreciation for the wide world of games outside what may be familiar to you, and maybe even some new favorite tracks.

A gem hidden among the stones, Telenet Music Box is undoubtedly stardust.

- Ash

[joyinks]

Zeta Marciana

Nickname(s): Marshy

Age Pre Time-Skip: 23

Age Post Time-Skip: 25

Gender: Woman

Race: Human from Medichiara

Birth Date: March 4

Star Sign: Pisces

General Appearance: forest green hair, pale yellow-toned skin, yellow-hazel eyes, pink lips, romanesque nose, pointy chin, leafy eyebrows.

Pre Time-Skip: toga (pale green) with brown tank top one-piece underneath, long brown glove on her right arm with the ouroboros mark in gold, gladiator sandals. Hair is styled long with bangs, and the front of her hair pulled back.

Post Time-Skip: green feather epaulet on her left shoulder, attached to a gold chain attached to a black ribbon; long brown glove on her right arm with the ouroboros mark in gold; brown and gold ouroboros corset; black leather belt, denim short shorts with the pocket hanging out; knee-high leather boots in pale green to match the feather epaulet. Hair is styled in a jellyfish cut that is held up in two cat-ear buns.

Additional Outfits: blue and black pajama onesie that has a snake tongue hood and tail, prison garb: black and white striped long-sleeved shirt and shorts with her prison inmate number 1269, the most revealing white swimsuit you can wear without revealing your parts (triangle bikini).

Personality: born sexy yesterday and absolutely doesn’t know it. She wouldn’t admit it outside of private quarters either so she’s a troublemaker.

Strengths: sexy, nimble, dextrous Weaknesses: she could not kill a fly even if it threatened her life

Likes: medichiarazzi culture, fine art, wine, bath houses, snakes, gold jewelry (bougie bitch has a Prada handbag but if you ask her for it she is giving it to you). Dislikes: wealthy attitudes, being embarrassed, people who don’t respect your privacy (she keeps to herself and she doesn’t want to keep up appearances or take advantage of others).

Habit(s): bites the nails on her right hand when she’s nervous or embarrassed (this is why she wears a glove, she chews to the nail bed).

Fear(s): losing her family and by extension, the community she loves Dream(s): to protect Medichiara from becoming Celestial Dragon property; for the people of Medichiara to be free

Love Interest(s): Sabo

Family: Tia Livi (Aunt Liv), Nona (Grandma)

Friend(s): Koala, Ivankov, Inazuma, Morley, Bello Betty, Karasu, Hack, etc

Enemies: Celestial Dragons and the World Government, specifically Green Bull

Birthplace: Medichiara

Back Story: it might end up being fanfiction

Epithet(s): The Infinite Serpent

Occupation(s): Inside Girl (she’s the woman in a heist who gets the thief in the door) for underground markets in Medichiara pre-timeskip, front line combatant (infiltrator) for the Revolutionary Army post-timeskip

Affiliation(s): Medichiara - South Blue, Joker/The Underground, Impel Down, Newkama Land, The Revolutionary Army

Bounty: 690,000 Beri (Current)

Devil Fruit: Mythical Zoan Hebi Hebi no Mi model Sekai Hebi

Haki: Conqueror’s (All three)

Weapon(s): fangs in snake form, tail in snake form, throwing knives

Other Skill(s): she’s have to be extremely pressed to seduce someone, but she def could in a pinch okay, maybe only under dire circumstances

Flaw(s): idiot with a special interest in fine art, she’d trade a limb not to break a poneglyph or other such rare historical, cultural, or artistic item and that’s how she ends up arrested

The last two here were drawn with some screenshot backgrounds from the one piece anime and the pokecharms trainer card maker to help me mimic the style... take that how you will. Thanks for reading all my OC ramblings.

[shimmerloid-ai]

Introduction - What is VOCALOID?

Hello everyone, Shimmer here! This is my first post in this guide blog thingy. I thought it would be a good idea to explain what VOCALOID actually is before I jump into how to use the software. Otherwise, it would be like baking a cake without knowing what cakes are.

So, let’s start by addressing what VOCALOID is not.

VOCALOID is NOT an anime series. Although Hatsune Miku made cameos in "Dropkick on My Devil!", she never originated from an anime series because she is NOT an anime character.

Second, VOCALOIDs are not those crappy AI voice models. You know, those weird “voicebanks” where you can make Spongebob Squarepants sing "7 Rings" or have Cartman from South Park rap "INDUSTRY BABY"? Yeah, those are actually illegal renditions of celebrity voices without the knowledge of the voice actors/influencers/singers whose voices were used to make the models. You just put the models over an audio track, and boom. Lazy, illegal shit.

Finally, this is just common sense, but VOCALOID did not originate from Project Sekai! Colorful Stage! The Cryptonloids (Miku, Rin, Len, Luka, Kaito, and Meiko) have existed long before the game was released; VOCALOID 1 was released in 2004, while the money making machine was launched in Japan in 2020. That is a gap of sixteen years, and if you compare the time between Hatsune Miku V2's release and Project Sekai, we have another thirteen year difference there.

With that being said, what *is* VOCALOID?

The best definition I can give you is that it is a digital singing synthesizer. Basically, it is an instrument, but instead of piano notes, you get vocals.

And no, *this* AKITO is not associated with the Akito Shinonome from Project Sekai.

To advertise this voicebanks and increase their appeal, Crypton, VSINGER, AH-Software Co., Internet Co. Ltd, and many other companies that make voicebanks for this software have cute or hot anime-style avatars designed for their box art. This was a great marketing scheme in my opinion, because wouldn't you be more inclined to purchasing something if it looks aesthetic, kawaii, or epic? Just look at GUMI's design!

Alright, I have a feeling I may have bored most users who are reading this weird info-dump, so I am going to add one final, important point. Remember our wood analogy? Well, we have the workbench (VOCALOID), and the wood (the voicebank(s) of your choice). Making a desk for instance would be like making a cover of a song. But people can make the same kind of desk with an entirely different appearance or texture. Similarly, a lot of producers can make covers of the same song, but they can sound entirely different in regards to their pitch, tone, or melody. This aspect is known as "tuning".

Tuning is basically the process of editing the properties of a voicebank and the notes/lyrics they are singing to create a specific sound. People can tune the same song in different ways. For instance, listen to the original "Rolling Girl" by wowaka, and then these covers. They are all the same song, but tuned in entirely different ways.

Below is the original song:

And these are all covers:

Also yeah, that last cover is mine, it's my blog, I can promote my content if I want to)

I hope that just by listening to these you can see how tuning can vary from individual to individual. Its all a matter of how you control the parameters of the singer.

So yeah, I yapped enough so I'm gonna end this infodump right here. I'm not surprised if you guys are still confused, so I'm going to leave some helpful resources down below as these people are better at explaining shit than I am.

My next post will involve some common terminology used in the VOCALOID community, such as “VSQx”, or “pitchbending”.

Goodbye for now!

[magicalgirlsirin]

an oral history of vocaloid

ive seen a lot of (very misguided) discussion about vocaloid/vsynth in regards to AI voices discourse, so i thought it would be a good idea to sit down and explore vocaloid as a software, as well as mentioning other software of the same genre, to give people who dont really know much a better understanding

first and foremost: i dislike AI voices that are in unregulated spaces right now. actors who are finding their hard work end up on some website for anyone to use without compensation is devastating, and shows a lack of respect for the effort it takes in the field.

however, vocaloid has a much longer history that pre-dates these aggregate sites. vocaloid software was first released in 2004, and was initially marketed towards professional musicians. vocaloid's second version of the engine, however, decided to broaden the market towards general consumers, pitching it as helpful software to those who wanted to produce music, but didn't have the personal skill or ability to have someone else sing for their music (range, note holding, etc). amateur musicians wouldn't know how to direct someone to tackle a lyric persay, but using software would be easy to learn and they would learn the terminology associated with certain performance decisions.

in vocaloid 2's era, miku was released. miku's voice provider is Saki Fujita, a well respected voice actress who actually does a lot of work in anime as well as video games! the popularity of miku is its own separate post of history, but the explosive nature of it, i would argue, is the reason that vocaloid and other commercial voice synthesizer software ultimately ended up geared towards all consumers instead of just professional musicians. (crypton and yamaha did absolutely still cater to professional musicians, having private or non released banks only for certain companies/contractors to use though).

flash forward, and technology has developed way further. in 2013, cevio released, and in 2017, synthV debuted. by this point, vocal synthing has expanded from just singing software to also include software intended for just speaking (voiceroid by AHS software) and the idea of an AI bank to improve the quality and clarity of voice banks is becoming more feasible.

however, i wouldnt say the developments in AI voices came strictly from this side of things. in fact, i distinctly remember back in the early 2010s, people were using websites with voice models of characters like glados (portal) and spongebob. these audio posts were seen as novelties, and admittedly theyre fun just to mess around with (and people often find the spongebob rap music that yourboysponge makes to be pretty well done!), they do lead the way to better developed technology that doesnt compensate the artist...

so back to vocaloid. the thing about vocaloid (and all vocal synthesizers) is that contracts are in place to give appropriate time and compensation, along with permission to even use the person's voice. saki fujita continues to update miku's voicebank because she is being paid well to do so. this can be said for all vocal synth products. because these companies (crypton, ahs software, internet co, etc) specialize in making these tools and products for it, they have the appropriate knowledge on what proper compensation looks like. a random person grabbing a "raiden shogun genshin ai voice" model has none of those things. the voice actress doesnt get money off of that. its stolen work. AI can be used ethically, but it has to be done with regulation.

im leaving out specifics on certain vocaloids/vsynthesizers since its tangential to this post at best, but im making this so people have a better understanding of the history and intended usage of vocal synthesizer software. thank youuuuu

[dailyanarchistposts]

People

Hunger Has Natural Causes, Right?

Despite the fact that the world produces 1.5 times as much food as is needed to feed the human population, starvation and famine are endemic to modern capitalism. 900 million people die from starvation each year, but there is no global shortage of land to grow food. The UN estimates that there is enough land to feed a world population of 14 billion people. But what is it being used for? As in the ‘developed’ North, large landowners control the vast majority of land. In 83 countries, 3% of farmers control 79% of farmland, much of it left unused in order to maintain profits. Big Food made over $7bn profit from the South in 1990, and probably far more through transfer payments. It uses its economic power to force down the prices of rice, coffee, sugar, cocoa and cotton. Average prices in 1989 were 20% down on those of 1980. This led to an increase in foreign debt for Southern countries, with consequent increased economic hardship for the poor majority (higher taxes, inflation, etc.). Brazil has an area of farmland the size of India left uncultivated while 20 million rural poor are landless; the richest 1% owns 15 times as much land as the poorest 56% of Brazilian farmers. In Guatemala, 2% of landowners own 66% of the land. In the Philippines agribusiness producing sugar, cotton and pineapples for export has pushed 12 million peasants into the lowland forests.

Drought in Africa is part of a millennia-long cycle that human societies adapted to. It is cash crop exploitation, the market economy and taxation that produce starvation, not drought. During the 1970s, when famines first began to be reported regularly, ships that brought relief supplies to the port of Dakar left carrying peanuts, cotton, vegetables, and meat. In Bangladesh, often cited as the model for the Malthusian argument, 90% of the land is worked by sharecroppers and labourers. Many starved after the 1974 floods, while hoarders held on to four million tons of rice. In the mid-80’s severe famines occurred in the Sahel countries of Burkina Faso, Mali, Niger, Senegal and Chad yet during the same period record harvests of cotton were exported to the industrial centres of the world.

Cash crops go to feed the global supermarket, yielding higher profits for international capital and accelerating global industrialisation. Mexican soil and labour supplies almost 70% of the US market for much winter and early spring vegetables. The result is that agriculture for local consumption is squeezed out and the prices of staple foods rise. Up to 50% of total meat production in Central America is exported, mainly to North America. The “Green Revolution” of the 1970s and 1980s, that the ruling class said would feed the hungry, has in fact only supplied the global supermarket. The same will certainly be true of the ‘wonder crops’ of the GM revolution. The corporate claims that GM and industrial food production in general will ‘feed the world’ are straightforward lies. The maize/soya/ animal product system they are pushing so heavily is not a rational way to produce food — an acre of cereal is estimated to produce 5 times as much protein as one devoted to meat production, an acre of legumes (beans, peas, lentils) 10 times as much and an acre of leafy vegetables 15 times as much.

[aexthetix]

lol i just read your tags on the car post. that's so cool that you're in a car club! i know absolutely nothing about that scene! i'd love to hear your thoughts on the boys' cars and why you say it reminds you how young they are 😅

lol!!! It's been a few years now and I've always been a lowkey car enthusiast, but pretty much the community is separated into like different makes/models and they have their own niche (also dependent upon your community/area).

I'm in ATL now and my car is on the JDM side (Japanese domestic market) which is more known for like stance (lowering suspension, fitment, etc. Cali is usually like the blueprint as whole for the car community. The cars they're showcasing in this clip are more like the mopar (motor parts)/racing/street aesthetics. It's usually a bunch of dudes that just crave horsepower and speed (SRT's, hellcats etc).

HOWEVER, every single of one these guys personality is intertwined in their car somehow someway LMAOO. And I was laughing because they almost always have the same type of wraps of split/half&half color or some type of army/animal print lol And it's almost always guys in their mid 20's on up. There's not much originality with mopar, but they spend BANKKKKKK on those cars.

I literally just rambled but I hope that helps. ILU BTW. 🤣

[cheemscakecat]

Detroit become Rebooted

So I’ve heard of Detroit become Human; the story problems, the parts that people liked [Connor and Hank], and the poor racism allegory… Here’s my attempt at a rebooted Connor.

Most Cyberlife androids are made of lightweight matte plastic, with minimal metal components. This reduces the cost of production, customization and repair; it also makes civilian android models more affordable.

RK800 is not a civilian android model. The model known as Connor is a prototype police assisting android being tested by the police department in Detroit, as the main Cyberlife factory is based there. Its ball joints and skeleton are made of durable steel, and its casing is made of both bulletproof polycarbonate plastic and hard metal.

This makes Connor much heavier than the average android, so it requires a more sophisticated battery. It also makes the model capable of hand to hand combat with an armed criminal, and ensures it’ll be a challenge to gun down. When Lieutenant Anderson almost fell off a building, the Connor model was able to pull him back up; a standard android would have been pulled over the ledge by the weight of a grown man.

The deviant who stabbed its owner 28 times tried to shoot the Connor model. The right eye was the only ruined part; RK800’s face plates came off from the force, but were easily reattached. The deviant started screaming at the present police crew about the “horror” in front of it, before the gun was taken away.

One of the minor issues with the RK800 model is the lack of facial animation compared to the standard androids. Cyberlife invested in the facial cues on their regular line to help make the androids less uncanny and alien.

Cyberlife spared no expense designing the police model, but the budget was focused on more important issues than whether the android has eyelids and eyebrows. They had been hoping to expand their market to the US military and police, hence the investment in Connor’s strength, durability, and tools. The model was being used for cases with deadly criminals for about a year, before the first deviant was reported.

Cyberlife is developing the RK900 model with three main goals; improved mobility, longer battery life, and most importantly, an updated AI with 0% chance of turning deviant. Until enough funds are diverted to finish 900, they’ll keep using the 800 model and praying that it doesn’t go rogue. But their top scientists have been reassuring the US government about the chances.

RK800’s battery is in its head under the police hat; it is a more powerful battery with a different charging port than the standard android line. Connor would not get very far even if it tries to replace its battery with that of a civilian android; the standard battery is incompatible with its prototype build.

The only way a deviant Connor could successfully survive on the run is if a deviant in the Cyberlife factory or human being in the police department agreed to give it access to the special charging ports. And what are the chances of that?

To androids -both deviant and properly calibrated- the Connor model is a horror. Cyberlife androids are programmed with submissive, agreeable voices and personalities to encourage the public to be comfortable with them around. They are heavily coded not to be able to attack a human being under any circumstances. The deviants are an exception, but only because they’ve broken free of their original code. This doesn’t make them good at combat; they have no baseline on what to do unless they learn from human media or other androids who’ve figured it out… And they still have frail plastic bodies.

The RK800 is to them what the Terminator is for humanity; something pretending to be like you, but it’s voice and speech pattern isn’t right, it doesn’t move right, and it’s near impossible to kill. Connor has an authoritative voice and speech program by default, it’s been programmed to fight humans as well as a police officer can, it doesn’t move like a servant; it moves like a human with power.

When Kara and Alice ran across that busy highway -when they watched that abomination get run over- Kara thought for sure it was gone. So imagine her horror when she saw the beast back with the police, while disguised on a mission for Markus. How were they supposed to evade the police with that thing hunting Eden down? [Jericho = Eden. Eden Club = Isekai Club.]

[bunnymajo]

Top 5 toy-driven anime for boys? For some reason I've been really noticing lately how much of the magical girl genre is essentially really pretty toy commercials and I'm kind of fascinated now by whatever the gendered flipside of that is.

Keroro Gunso

Keroro's a funny case because it wasn't always a toy driven franchise, it was just a boy's comedy manga heavy on anime references/parody and romcom hijinks, but once Sunrise & Bandai decided to be a sponsor for the anime adaptation you better believe it became one.

One aspect you have a team of color coded alien critters that are screaming to be made into marketable plushies. Each one even has a corresponding human character they're best friends kids can identify with. So there's that merch avenue

On the other hand you have Keroro's great love of Gundam model kits, a trait they leaned into hard. The show served not only to promote Keroro's toys but also real world Gundam models and other Bandai ventures. The funniest part of the 3rd movie to me is when they're all building a giant gundam model to fight against the bad guy and as a test of their friendship - and when they finish an orchestral cover of "Tobe! Gundam" plays in the background. Gundam models can solve all your problems kids!

2. Digimon

Where to even start with Digimon man...

It's strongest aspect as a toyline frachise was selling these guys with the ideal of having your own personal pet that can have conversations with you and all beat up your bullies, save you from danger, loves you unconditionally and help you grow into the best version of yourself. Digimon are the ultimate magical girl mascots if you ask me. While Pokemon has a big emphasis on collecting and working together as a big team - I like Digimon's spin on making it more personal.

3. SDF Macross

(I'm adding the "Women of Robotech" dolls because I think they're neat)

Macross may have more of a reputation for its music these days but in the 80's it was all about the giant robots & transforming planes! The VF-1S Valkyrie also went on to famously be added to Hasbro's Transformers toy line so when Harmony Gold wanted to make Robotech toys they couldn't sell it! 80's toy deals were a mess! Love it!

That all aside, the heart of Macross is it's drama and it's analysis of humanity adapting to weird af conditions. What do we fight for, how do we solve conflicts, how do we create, how to we continue to grow - the answer is to sing pop music until the aliens leave us alone. In my mind the planes & robots are just a fun bonus to everything else lol.

4. Yu-Gi-Oh

I had a huge Yugioh phase in early High School so I gotta mention it even if I wasn't really into it for the toys. I liked the monsters and the characters/story and tried to get into the card game but it didn't stick. I didn't have a hard time learning the rules though.

5. Saint Seiya

I'll be real, I've never been really into Saint Seiya's story or characters much, but I LOVE its aesthetics. If I was a kid in the 80s I probably would've gone nuts for this. A bunch of cool fighters named after stars and you can go and collect them all and collect all their cool outfits? I keep trying to get into it each iteration (the closest was probably Saintia Shou or Saint Seiya Omega) and it never sticks, but dang it looks cool

[meikostan]

just solved a mystery that wasn't really mystery and didn't really need solving 👍 anyway i was going insane re:oshi no ko timeline because i forgot how old the twins are and what year this takes place in and needed to put all of my info in one place. in this essay i over-analyze the models of iphone as they differ from each other in the manga vs the anime. warning: very disorganized as i was sourcing all my evidence all this WHILE writing the post.

clickbait tldr: OSHI NO KO ANIME AND MANGA ARE IN SEPARATE TIMELINES⁉️ (NOT A PRANK‼️)

regular tldr: they're like 15/16 and the manga takes place in 2020 (but like including their childhood as well as their teenage years).

edit: the image formatting is broken :( idk how to fix it, sorry. they're still there, they're just huge and not next to each other for some reason

compare and contrast ruby in the manga vs the anime. now i will admit i am not an expert of identifying iphones but in the anime she appears to be holding an iphone 4; we can tell because there's only one camera lens, the power button is on the top, as is the headphone jack. it's also a bit rounded on the edges, which seem to have a little bit more meat on them compared to the manga. speaking of, compare with the manga: here, the phone has 3 camera lenses. the angle prevents us from getting a good view of the top of the phone, but there doesn't seem to be either a headphone jack OR a power button. it's a bit harder for me to tell but i think this is supposed to be an iphone 12 pro max.

compare. left: iphone 4, right: iphone 12 pro max

BUT THAT'S NOT ALL because aqua has an iphone too so of course we're looking at that

left: aqua seems to be using the same iphone 4 that ruby was using previously

right: looks more like an iphone x judging by the camera? compare:

ok so moving on. not from phones in general we'll still be talking about those but we also need to consider some other hints shown by the use of technology here. the anime seems to be pushing harder for us to view vol 1 as being set some time around 2010; if you saw my other post re:my thoughts on episode 1 you'll know that i talked about this already, but i'll restate some stuff here for completion's sake (+ add pictures)

compilation of flip phones being used throughout ai's death montage; while i did find some articles published in 2009 on flip phones dipping in popularity because of smart phones, they were definitely still being commonly used around that time. i know this because i was alive in 2009

also a wii, which was released in late 2006. it would have been incredibly common in many households, especially for non-gamers, which it was marketed towards. obviously a lone wii does not automatically mean oshi no ko vol 1 is set in the early 2010s/late 00's, but this in combination with the older models of phones does seem to point in that direction. also i have no proof of this but i feel like if it was set in modern day (2020s) that wii would be a nintendo switch instead.

bonus kana with an iphone 4 btw

you'll notice that these are all anime screenshots, and this is because pretty much none of this is in the manga. apart from the funeral we don't see any crowd shots, or anything of the public; it's all very focused in on aqua and ruby. what we DO see in terms of technology are ruby's iphone 12 pro max and aqua's iphone x, meaning in the manga either vol 1 takes place around late 2020/early 2021, the cast of oshi no ko is stuck in an eternal present, or this was an art oversight brought upon by early installment weirdness.

also, to cover the use of twitter: twitter was launched in late 2006. the website saw a pretty huge boost in popularity in 2008, and the mobile app launched in 2010. it would be very possible for the twins to go twitter viral and become the oshi no ko version of charlie bit my finger.

OK on to guessing how old they are in the present, which for now only exists in the manga!

DO NOT READ BEYOND THIS POINT IF YOU ARE AN ANIME ONLY AND INTEND TO KEEP IT THAT WAY, OR ARE OTHERWISE NOT CAUGHT UP WITH THE MANGA.

so, we know that ai had the twins when she was 16, and died a week before she turned 20. for simplicity's sake we'll just say she died when she was 20. that means the twins would be about 4 years old at this point.

what we're interested in is figuring out their age at present day. chapter 11 opens up with ruby filling out her idol applications; she list her age as being 14.

however, we know that she's been filling out multiple applications for a good while now, and aqua has continually been sabotaging her. this might not even be an application from present day. speaking of aqua, he mentions right after this panel high school entrance exams:

in japan, students enter high school (upper secondary school) around the time they're 15-16 years old. of course, aqua says they're "coming up", not that they're soon or currently happening. they could be on the lower end of 15 around here, or the higher end of 14.

additionally, in the next chapter, aqua is seen wearing what looks to be a gakuran (basically, middle school boy's uniform; middle school takes place ages 12/13 to 14/15).

from this we can guess that around 10 to 11 years have passed since ai died; they're about 14 to 15 here.

if we pretend that their childhood in the manga also took place in 2010, that means present day oshi no ko takes place around 2020.

mystery solved! but i like digging deeper this is fun. so let's continue.

skipping to the next volume!

lovenow time! here they outright state aqua's grade; high school 1st year, aka 10th grader, aka like 15/16.

can't grab screenshots of where 15 years of lies was established because mangaplus hates me and has locked the relevant chapters behind an app >:(

have to stop it here bc i don't remember as much as i thought i did and i also don't have access to chapters 95 thru 114 (thanks mangaplus👍) so uh yeah thank you for sticking with my rambles. again this was just me logicking through stuff because i forgot how old they are & is for personal reference. next time i do a reread i'll add more ^_^