#Defining Multimedia

[rohitdigitalsblog]

Best Multimedia Iinstitute in Rohini 

[femboypussy420]

Hey holy shit?

Press Release Rooster Teeth to Find a New Home with the Brand’s Original Creator Burnie Burns at Box Canyon Productions Nine months ago, Rooster Teeth announced that it would shut its doors after 21 years of creating content. Today, the Rooster Teeth brand and much of its remaining assets have been acquired by founder Burnie Burns, and his independent company, Box Canyon Productions. Austin, TX – February 5, 2025 – Burnie Burns, founder of the online media outlet Rooster Teeth, has officially acquired the beloved entertainment brand. This milestone marks a new chapter for Rooster Teeth as it returns to the hands of its original creator as part of his company Box Canyon Productions. Under Burns’ leadership, the historic brand plans to renew its focus on innovation, community engagement, and the spirit of creativity that first defined its success. Burns started Rooster Teeth in 2003 with the breakout success of Red vs. Blue, the longest-running web series in history. Over the years, Rooster Teeth expanded into a multimedia powerhouse, producing hit shows like RWBY and the international RTX convention series, while fostering a passionate global fanbase. With this acquisition, Burns aims to reignite the collaborative and community-driven energy that made Rooster Teeth a trailblazer in digital entertainment. “I am excited at the challenge of bringing Rooster Teeth back to its roots,” said Burns. “The heart of this brand has always been its fans, and I look forward to writing a new chapter together.” As an early pioneer of online video content, Rooster Teeth set the standard for how fan-first entertainment could thrive in the digital age. With Burns back at the helm, fans can anticipate a renewed dedication to Rooster Teeth’s original mission: to entertain, inspire, and connect. Along with the acquisition, Box Canyon announced a new development slate of productions for 2025, including renewed production of some of the platform’s classic shows, a new original audio adventure Again, and an untitled reimagining of Burns’ first film The Schedule.

Posted 2/5/2025

This audio is also on the RT main site

[probablyasocialecologist]

The image of the hippie is now so thoroughly entrenched in the public mind that some of the very strangest aspects of the counterculture can easily be forgotten. Those in the rural commune movement were frequently not in any sense running away from technological society. Indeed, the commune builders were often some of the staunchest believers in the transformative power of new technology, making experimental multimedia artworks and installations, pioneering many passive and renewable architectural technologies and construction methods. While some communes attempted to recreate pre-Columbian patterns of life, building pueblos and tepees for their new society, others became in thrall to Buckminster Fuller, creating delirious versions of his ecological technocracy and reinforcing the strange links between the military and the hippies, the government and the counterculture, that so defined those times. And eventually, some of those who fled the city as part of the ‘back to the land’ movement ended up as powerful members of new elites as the Cold War drew to a close.

Douglas Murphy, Last Futures: Nature, Technology and the End of Architecture

[legends-expo]

With the passing of iconic artist Greg Hildebrandt, we thought we'd take a chance this week to shine a highlight on Shadows of the Empire, starting with the amazing work Greg and his brother Tim put into the ambitious multimedia project, that helped to launch the classic EU as we know it. The Hildebrandt brothers' art defined for many this gigantic leap into expanding the universe, when their artwork was used to capture and tie together scenes from all aspects of the project (book, comic, and game), in a series of Topps trading cards. The process of their endeavor is captured in the artbook "Star Wars: The Art of the Brothers Hildebrandt."

[empvrealities]

@ ! DR𖤓NA’S LOGBOOK ;

drana , 23 , she / they . asks ok !

( last updated : jan 31, ’25. )

hi, hello, hi !! i’m adriana, but please feel free to call me 𝓭.rana — that is the ( nick ) name i go by online and the one i’m most comfortable with. i am a linguistic & intercultural mediation graduate aspiring to get into audiovisual / multimedia translation & dialogue adaptation ... or ( forensic ) linguistic mediation; fluent in italian ( mothertongue ) and english especially, i know my way around a spanish dictionary but completely fail wherever french is involved. funny, but i promise this has nothing to do with the french. love and hate you guys.

interests of mine include procedural dramas ( for the love of all that is holy guys watch fringe, nobody knows or talks about it and idc it is a crime in my book ), broadway / musicals, behavioural analysis, criminology, horror ﹢ thriller genre, text–based roleplay ( guilty pleasure ), hozier, arctic monkeys, chase atlantic, dog training & equestrianism. the autumn–ish, winter–ish vibe ? love it. absorbed it into my very being. i am it & it is me. i am that one brownish, reddish leaf that refuses to let go of the branch & holds on for dear life. the cup of warm, sweet chocolate that warms your hands on the coldest of afternoons, but especially the too hot to handle cup of coffee that you throw on your enemies out of pure spite, because why the hell not. i am also ( very obviously ) all over the place. i’m trying to be funny. or interesting. some of you guys may say i’m very much not funny. nor interesting. ( rude. but maybe fair ? )

⁎* 𓆃 *⁎

though i haven’t been involved with the shifting community prior to like, 2023, i have been lurking around shifttok since early 2020, mid–quarantine. yes, i somehow managed to survive early shifttok & shook off all of the misinfo that stubbornly clung to me like second skin for the better part of three years ( yikes. ) tiktok–wise, i’ve fallen back to old lurking habits. i don’t know if i’ll ever pick that account back up. but i heard good things about the tumblr side of the community ( better than both shifttok & shifttwt at least ); & i missed having a safe space to chat everything shifting–related in. my inbox & asks for this blog are open & are to remain so. please feel free to drop whatever in there. ♡

dni : basic dni criteria ( racists, lgbtphobes, misoginists, zionists... you know who you are. don’t be weird ), anti–shifters & non–shifters. if you don’t like who i’m shifting for ( nobody problematic, dw ) just don’t interact. for your own safety & mine, i will not be following or interacting with any minors.

✡ ❛ supernatural @ the third winchester, 25. ( wo ) man of letters, ¾ of team free will. the middle child ( kinda ) & sam’s twin sister — older by like five minutes. rest assured i play the “older sibling” card every chance i get. insufferable ? he deserves it. ⁎ i’m what the angels define a blessed child, imbued with angelic grace @ the crib and endowed with ( mostly passive / defensive ) angel–like abilities. castiel’s charge and lover. whoops, i guess ?

main tag: #✳ᬊ：the family business﹒

↪ post masterlist.

✡ ❛ criminal minds @ the bau’s specialist in cult & ritualistic crimes ﹢ victim advocacy, formerly an officer for the los angeles police department ( lapd )’s k–9 unit. 29, italian–american. raised by rossi & his ( late ) first wife in my sick, constantly in–and–out of the hospital mother’s stead. my biological father is out of the picture ( read as: stuck behind prison bars. ) ⁎ dynamics with the team are all fine & dandy. then again, reid may just be the one honest to god bane of my existence. hate him, love him, love to hate him & hate to love him. or however it goes.

fun fact — when not busy with bau–related work, i’m in charge of overseeing the fbi’s k–9 dogs’ training. because... hell yeah ?

main tag: #✳ᬊ：wheels up in 30﹒

↪ post masterlist.

✡ ❛ supernatural x criminal minds @ john’s bastard daughter & half–sister to the winchesters. from a mol family before the mol "disbanded". fbi agent & unit chief of the prd ( preternatural research & defense ) unit, successors to the american men of letters. specialist in undercover ops, linguistics ( enochian ), demonology ﹢ werewolf lore, tracking, hunting. called to deal with violent cases where the supernatural ﹢ hunters are suspected to be involved & tasked to "protect" its existence while eradicating the problem at its source. without alerting the general population, nor local law enforcement.

crossover drs are fun. they are. huh-uh. really.

main tag: #✳ᬊ：confidential﹒

↪ post masterlist.

✡ ❛ yellowstone @ a cozier experience than what’s seen in the show, for all of my western & cattle–driving & horse–taming dreams. fifth dutton child & youngest daughter, one of three barrel racers competing for the ranch ( my main mount is a palomino ahq mare ) & kennel manager of the dutton border collies, also situated on the ranch’s land, where we raise and train our working stockdogs. a blood feud between my s/o’s family & mine makes for a nice romeo & juliet trope — minus the deaths.

main tag: tba.

↪ post masterlist.

[ridiasfangirlings]

What are your thoughts on K as some kind of multimedia series thing? I've been seeing other series that do that with them having anime, games, books, etc. that are all supposed to be this one big project that you'd need to know entirely to see the whole story. Unlike K though which got popular when the anime released, I barely hear anything much about other series that sorta did the same as it did.

I think K’s a bit different from a lot of other multimedia project style anime, in that it seems like nowadays ‘multimedia project’ is just code for ‘there’s a gacha game’ XD Seriously though I do feel like a lot of series do that now, an anime comes out but it’s just secondary to the mobile game and the real focus of the project is please please spend your money to buy pngs of our large cast who will each be allowed to have one (1) defining personality trait each. Sometimes the show might get some drama CDs or there will be an idol element so they can sell CDs and concerts but it definitely feels like you don’t see light novels as much (unless it’s for an already popular series to capitalize on something pre-existing) or even really manga that are specifically intended to fit into the series timeline and aren’t just random ‘day in the life’ or ‘retelling of the gacha game’s story’ ones. 

I think K is also interesting as a multimedia project in that the anime seems to be the ‘primary,’ more or less, or at least the thing that it’s expected people can generally watch with minimal knowledge of the other materials and still enjoy. Like I think it’s expected that viewers will at the very least watch season one of K first and that will get them interested enough to seek out the side materials, the side materials supplement the anime storyline but never supersede it. Compare that to something like, for example, Hypnosis Mic, where the main storyline is more in the songs and drama CDs and the anime was intended to promote those, but the HypMic anime itself can easily be skipped (season one at least, I never watched further than that) without affecting the main storyline of the actual series. Or something like the recent Delico’s Nursery anime, which gives a taste of the story but doesn’t really stand alone well without any knowledge of the stage plays it’s part of. By contrast while you could theoretically skip the K anime and just read the side materials you would be missing the main thrust of the storyline, the side materials build up the world around the anime but ultimately they remain in service to the anime rather than the other way around. 

I actually personally prefer this way too, while I do wish the side materials would get referenced more in the series proper I’ve found K far easier to follow than pretty much any other multimedia project I’ve tried to get into because the anime had actual stakes and important story happening and I didn’t feel like I would be totally lost if I missed, say, posts from the one person posting translations of a drama CD on Twitter or something like that. I also like that while K did have a mobile game at least it was brief and had fun moments with the existing cast, rather than falling into the trap of needing to constantly add more characters and everyone’s personalities getting flatter the more the cast ballooned. I think it both helps and hurts a little that K was created by light novel writers, on the one hand I think the anime is a bit uneven because Gora as a whole aren’t used to working within the confines of an anime but on the other the novels and short stories really give these characters a chance to shine that I don’t think they would have gotten if the anime was just there to promote a mobile game or a concert.

[4okra]

my term paper written in 2018 (how ND games were made and why they will never be made that way again)

hello friends, I am going to be sharing portions of a paper i wrote way back in 2018 for a college class. in it, i was researching exactly how the ND games were made, and why they would not be made that way anymore.

if you have any interest in the behind the scenes of how her interactive made their games and my theories as to why our evil overlord penny milliken made such drastic changes to the process, read on!

warning that i am splicing portions of this paper together, so you don't have to read my ramblings about the history of nancy and basic gameplay mechanics:

Use of C++, DirectX, and Bink Video

Upon completion of each game, the player can view the game’s credits. HeR states that each game was developed using C++ and DirectX, as well as Bink Video later on.

C++

          C++ is a general-purpose programming language. This means that many things can be done with it, gaming programming included. It is a compiled language, which Jack Copeland explains as the “process of converting a table of instructions into a standard description or a description number” (Copeland 12). This means that written code is broken down into a set of numbers that the computer can then understand. C++ first appeared in 1985 and was first standardized in 1998. This allowed programmers to use the language more widely. It is no coincidence that 1998 is also the year that the first Nancy Drew game was released.

C++ Libraries

          When there is a monetary investment to make a computer game, there are more people using and working on whatever programming language they are using. Because there was such an interest in making games in the late 1990’s and early 2000’s, there was essentially a “boom” in how much C++ and other languages were being used. With that many people using the language, they collectively added on to the language to make it simpler to use. This process ends up creating what is called “libraries.” For example:

          If a programmer wants to make a function to add one, they must write out the code that does that (let’s say approximately three lines of code). To make this process faster, the programmer can define a symbol, such as + to mean add. Now, when the programmer types “+”, the language knows that equals the three lines of code previously mentioned, as opposed to typing out those three lines of code each time the programmer wants to add. This can be done for all sorts of symbols and phrases, and when they are all put together, they are called a “package” or “library.”

          Libraries can be shared with other programmers, which allows everyone to do much more with the language much faster. The more libraries there are, the more that can be done with the language.

          Because of the interest in the gaming industry in the early 2000’s, more people were being paid to use programming languages. This caused a fast increase in the ability of programming. This helps to explain how HeR was able to go from jerky, bobble-headed graphics in 1999 to much more fluid and realistic movements in 2003.

Microsoft DirectX

          DirectX is a collection of application programming interfaces (APIs) for tasks related to multimedia, especially video game programming, on Microsoft platforms. Among many others, these APIs include Direct3D (allows the user to draw 3D graphics and render 3D animation), DirectDraw (accelerates the rendering of graphics), and DirectMusic (allows interactive control over music and sound effects). This software is crucial for the development of many games, as it includes many services that would otherwise require multiple programs to put together (which would not only take more time but also more money, which is important to consider in a small company like HeR).

Bink Video

          According to the credits which I have painstakingly looked through for each game, HeR started using Bink Video in game 7, Ghost Dogs of Moon Lake (2002). Bink is a file format (.bik) developed by RAD Game Tools. This file format has to do with how much data is sent in a package to the Graphical User Interface (GUI). (The GUI essentially means that the computer user interacts with representational graphics rather than plain text. For example, we understand that a plain drawing of a person’s head and shoulders means “user.”) Bink Video structures the data sent in a package so that when it reaches the Central Processing Unit (CPU), it is processed more efficiently. This allows for more data to be transferred per second, making graphics and video look more seamless and natural. Bink Video also allows for more video sequences to be possible in a game.

Use of TransGaming Inc.

          Sea of Darkness is the only title that credits a company called TransGaming Inc, though I’m pretty sure they’ve been using it for every Mac release, starting in 2010. TransGaming created a technology called Cider that allowed video game developers to run games designed for Windows on Mac OS X (https://en.wikipedia.org/wiki/Findev). As one can imagine, this was an incredibly helpful piece of software that allowed for HeR to start releasing games on Mac platforms. This was a smart way for them to increase their market. 

          In 2015, a portion of TransGaming was acquired by NVIDIA, and in 2016, TransGaming changed its business focus from technology to real estate financing. Though it is somewhat difficult to determine which of its formal products are still available, it can be assumed that they will not be developing anything else technology-based from 2016 on.

          Though it is entirely possible that there is other software available for converting Microsoft based games to Mac platforms, the loss of TransGaming still has large consequences. For a relatively small company like Her Interactive, hiring an entire team to convert the game for Mac systems was a big deal (I know they did this because it is in the credits of SEA which you can see at the end of this video: https://www.youtube.com/watch?v=Q0gAzD7Q09Y). Without this service, HeR loses a large portion of their customers.

Switch to Unity

          Unity is a game engine that is designed to work across 27 platforms, including Windows, Mac, iOS, Playstation, Xbox, Wii, and multiple Virtual Reality systems. The engine itself is written in C++, though the user of the software writes code in C#, JavaScript (also called UnityScript), or less commonly Boo. Its initial release took place in 2005, with a stable release in 2017 and another in March of 2018. Some of the most popular games released using Unity include Pokemon Go for iOS in 2016 and Cuphead in 2017.

          HeR’s decision to switch to Unity makes sense on one hand but is incredibly frustrating on the other. Let’s start with how it makes sense. The software HeR was using from TransGaming Inc. will (from what I can tell) never be updated again, meaning it will become virtually useless soon, if it hasn’t already. That means that HeR needed to find another software that would allow them to convert their games onto a Mac platform so that they would not lose a large portion of their customers. This was probably seen as an opportunity to switch to something completely new that would allow them to reach even more platforms. One of the points HeR keeps harping on and on about in their updates to fans is the tablet market, as well as increasing popularity in VR. If HeR wants to survive in the modern game market, they need to branch outside of PC gaming. Unity will allow them to do that. The switch makes sense.

          However, one also has to consider all of the progress made in their previous game engine. Everything discussed up to this point has taken 17 years to achieve. And, because their engine was designed by their developers specifically for their games, it is likely that after the switch, their engine will never be used again. Additionally, none of the progress HeR made previously applies to Unity, and can only be used as a reference. Plus, it’s not just the improvements made in the game engine that are being erased. It is also the staff at HeR who worked there for so long, who were so integral in building their own engine and getting the game quality to where it is in Sea of Darkness, that are being pushed aside for a new gaming engine. New engine, new staff that knows how to use it.

          The only thing HeR won’t lose is Bink Video, if that means anything to anyone. Bink2 works with Unity. According to the Bink Video website, Bink supplies “pre-written plugins for both Unreal 4 and Unity” (Rad Game Tools). However, I can’t actually be sure that HeR will still use Bink in their next game since I don’t work there. It would make sense if they continued to use it, but who knows.

Conclusions and frustrations

          To me, Her Interactive is the little company that could. When they set out to make the first Nancy Drew game, there was no engine to support it. Instead of changing their tactics, they said to heck with it and built their own engine. As years went on, they refined their engine using C++ and DirectX and implemented Bink Video. In 2010 they began using software from TransGaming Inc. that allowed them to convert their games to Mac format, allowing them to increase their market. However, with TransGaming Inc.’s falling apart starting in 2015, HeR was forced to rethink its strategy. Ultimately they chose to switch their engine out for Unity, essentially throwing out 17 years worth of work and laying off many of their employees. Now three years in the making, HeR is still largely secretive about the status of their newest game. The combination of these factors has added up to a fanbase that has become distrustful, frustrated, and altogether largely disappointed in what was once that little company that could.

Suggested Further Reading:

Midnight in Salem, OR Her Interactive’s Marketing Nightmare (Part 2): https://saving-face.net/2017/07/07/midnight-in-salem-or-her-interactives-marketing-nightmare-part-2/

Compilation of MID Facts: http://community.herinteractive.com/showthread.php?1320771-Compilation-of-MID-Facts

Game Building - Homebrew or Third Party Engines?: https://thementalattic.com/2016/07/29/game-building-homebrew-or-third-party-engines/

/end of essay. it is crazy to go back and read this again in 2025. mid had not come out yet when i wrote this and i genuinely did not think it would ever come out. i also had to create a whole power point to go along with this and present it to my entire class of people who barely even knew what nancy drew was, let alone that there was a whole series of pc games based on it lol

[deepdreamnights]

Terms and Conditions Do Not Overrule the USTPO

Originally from reddit. I am not a lawyer, but this hardly needs one.

I use Suno, but it being a useful tool doesn't mean they're off the hook for trying to be sneaky. Also, this isn't just about them. Pretty much every Generative AI tool has some similar such claim or clause in place.

Any so-called controlling rights on public domain works are entirely unenforceable.

This is a long post, so enjoy this public domain song which you can use for whatever purpose you like.

Terms and conditions do not override the determinations of the USTPO, which is that without significant human modification, generative AI generations do not qualify for copyright protections and thus are in the public domain.

So for Suno, you own your lyrics if you wrote them. You own any modifications you make to the song in post. You might own the tune if it was prompted directly using Suno's weird symbols/tabulature stuff, but at this point there's been no judgement on whether a significantly complex prompt makes a resulting generation have "significant human expression".

Not to say Suno can't pull DMCA BS or issue takedowns, but it wouldn't be hard to prove they lack the standing. You'd probably have to go to court to do it, so if you're not willing to roll the dice on having to do that sending an email is easier, and that's what the company is counting on.

The important part, is to remember that human authorship is required for copyright. If you want those rights, you gotta make sure you're putting in the authorship (lyrics, editing, remixing, etc.)

Or, you can be cool with the commons and be open about the copyleft nature of AI generations.

I tend to approach my own work in a "making parts" sense because I've been doing multimedia collage for far longer than there's been generative AI. The final work is the faux trailer, fake commercial, music video or the comic or the mini-episode or whatnot.

But everyone's process is going to be different.

Part of countering misinformation around generative AI is breaking the hype side of things as much as the doom.

The corporate dream of an endless IP machine is a paper tiger, because all they've made is an infinite public domain machine. A century of trying to control and hoard the "rights" to our culture have drained the commons dry and this new tech just pumps solely into it's parched reservoir.

On the other end, the idea that one is going to get rich just because they've got some generative tools is just mist and vapor awaiting a light breeze. It's a great force multiplier, but anyone can get access to the same tools. The things the robot can't bring to the table are the things that matter, and they're going to matter even more now.

I like to compare most AI to toys (an object's use defines its function) and a way of making parts of a whole, so Lego is a good metaphor here. The creations that get attention are the ones that aren't out-of-the-box and made from the instructions.

I don't say this to discourage anyone from trying to use the tech to fulfill their expressive vision, but to emphasize that it's not a push-button-get-end-result situation.

Everyone has access to the same bricks. Everyone can use your bricks if they find them in an out of the box state. This is a feature, not a bug.

[beanist]

(rancid homestuck take) i feel like homestuck encourages the worst sort of attitude in some people (me. it encourages bad attitude in me). so much of it is brainless bad faith nonsense that's complicated for the sake of being complicated, but it presents itself to the dumbass teenage reader (me at the time) as being Super Smart and Very Intricate, so having strong opinions on it feels good and super smart... but it made me a very annoying person. it's difficult to engage seriously with something that presents itself as "ironic" because an argumentative person like me can, when shown to be wrong, say "but i said that IRONICALLY brooo" and something happening later in the series will show that my bad faith waffling is valid because the comic will also play with itself like that. but to what end? making yourself "above criticism" this way is quite annoying. to discuss something constructively, that thing should be pretty clearly defined, and homestuck is undefined by design ("everything is canon bro!"), so it's a bit frustrating

this is to say... i feel like... sometimes... homestuck changes its goalposts... like a debate bro...

(but i still like the self-serious silliness of homestuck, and it was very fun to keep track of a very large multimedia project made by "scrappy" creators)

[rohitdigitalsblog]

 Best Multimedia Iinstitute in Rohini 

[industrial-horror]

Skinny Puppy is a pioneering band in the industrial music genre, known for their dark, experimental sound and theatrical live performances. Formed in 1982 in Vancouver, Canada, by cEvin Key (Kevin Crompton) and Nivek Ogre (Kevin Ogilvie), Skinny Puppy blends elements of electronic music, punk, and performance art, crafting a unique and unsettling aesthetic that has significantly influenced the industrial and electronic music scenes.

Early Years

The band began as a side project for Key while he was a member of the new wave group Images in Vogue. However, Skinny Puppy soon became a primary focus, with the duo recording their debut EP, Back & Forth (1984), in Key’s home studio. They quickly gained attention for their experimental approach, incorporating samples, synthesizers, and abrasive rhythms to create a chaotic yet controlled soundscape.

Their first full-length album, Remission (1984), and its follow-up, Bites (1985), helped define the emerging industrial genre, alongside artists like Front 242 and Throbbing Gristle. Tracks like "Assimilate" and "The Choke" showcased the band’s fusion of ominous atmospheres and driving beats.

Themes and Style

Skinny Puppy's music frequently explores themes of dystopia, environmental destruction, animal rights, and the darker aspects of human psychology. They are noted for their confrontational approach to social and political issues, often challenging their audience with disturbing imagery and lyrics.

The band's sound is characterized by dense layers of electronic textures, distorted vocals, and innovative use of sampling. They are also known for their intense and theatrical live performances, which often feature elaborate visuals, costumes, and provocative stage setups.

Evolution and Influence

Throughout the late 1980s and early 1990s, albums like Mind: The Perpetual Intercourse (1986), Cleanse Fold and Manipulate (1987), and VIVIsectVI (1988) solidified their reputation as industrial trailblazers. Too Dark Park (1990) and Last Rights (1992) pushed their sound even further, diving deeper into noise and experimentalism.

However, internal tensions and personal struggles, including Ogre's battles with addiction, led to the band's initial breakup in 1995 after the release of The Process. The death of their longtime collaborator, Dwayne Goettel, from a heroin overdose added to the turbulence during this period.

Reformation and Later Years

Skinny Puppy reunited in the early 2000s, releasing new material, including albums like The Greater Wrong of the Right (2004), Weapon (2013), and HanDover (2011). These later works maintained their signature intensity while incorporating contemporary electronic influences. They continue to tour, delivering politically charged performances that resonate with fans old and new.

Legacy

Skinny Puppy's influence extends beyond the industrial genre. Artists ranging from Nine Inch Nails to Marilyn Manson, and even electronic acts like The Prodigy, cite them as a key inspiration. Their innovative approach to sound design and multimedia presentation has left a lasting mark on the music world.

To this day, Skinny Puppy remains an icon of industrial music, a symbol of uncompromising artistic vision, and a voice for those on the fringes of mainstream culture.

[imasloid]

SHINY COLORS FASHION ANALYSIS: Kiriko Yukoku (幽谷霧子)

"It's not that I have an injury, but... the reason I'm wearing these bandages is… a secret."

This is a project analyzing and taking a look at the fashion design and application in the multimedia series, The IDOLM@STER: Shiny Colors. This section is about the mysterious and soft-spoken bandaged girl of the series, Kiriko Yukoku! If you want to jump to a specific section, go here!

(This is a reprint of my thread on Twitter. I put it on Tumblr for easier reading and for archiving purposes. Enjoy!)

-----

INTRODUCTION

“Kiriko is a silver-haired girl who exudes a mysterious atmosphere, most notable by her ephemeral nature and being wrapped in bandages. Soft-spoken but kind-hearted. She is very empathetic, sensitive, and interacts with the world around her in a very peculiar way. ”

---

Profile

Age: 17

Birthday: September 23rd

Height: 160 cm

Weight: 51 kg

Blood Type: AB

Hometown: Fukushima

Hobbies: Collecting cute things, handcrafts, blood donation

Special Skills: Wrapping bandages beautifully, stepping silently, peeling apples

CV: Yuina Mizuki

---

Before starting the analysis, I would suggest if you haven’t already, read her W.I.N.G. (introductory) commu (through the broswer game's English patch or on YouTube). If you don’t play the game, I would listen to her image song and read the lyrics to get a better sense of her character.

-----

STYLE BREAKDOWN

Kiriko’s fashion style takes great influence from girly-kei fashion, a feminine style that emphasizes cuteness. However, Kiriko turns it into her own by making it more casual, desaturated, and minimalistic, fitting her mysterious, dollish, ghost-like first impression.

Before going into fashion influences, Kiriko has doll-like qualities that aren’t clothing-related that synergize well with her simple design like porcelain skin & light, natural makeup. The attributes listed here combine with her dolly clothing to make her look like a mannequin.

Girly-kei fashion is the main influence on Kiriko’s style, following a common silhouette and typical elements of the style, like ribbons, lace, and heeled dress shoes. She makes it her own by dressing the style down as well as simplifying the outfit composition and silhouette.

Many of Kiriko’s coords take common elements from other girly-kei subtypes leading to a versatile but reined-in wardrobe. Though the style inspirations are varied, a consistent silhouette and repeated bijou elements like ribbons, frills, and ruffles unite her looks.

Another prominent influence on Kiriko’s style is “classical,” an adult, elegant fashion inspired by film actresses of the 1940s-1970s. It comprises of layering basics and a balance of both bold and natural colors, bringing out Kiriko’s mysterious elegance in a less dollish way.

Preppy influence in Kiriko’s wardrobe is easily seen in the her early outfits and forms her usual silhouette & outfit composition that’s seen as the foundation of many of her outfits. Though it really defines her early wardrobe, the influence is more subtle in her later outfits.

Her bandages are a huge part of her identity & how she presents herself. Kiriko doesn’t wear them for fashion reasons or having a fragile body, but they act as a “good luck charm” for her extreme anxiety. It also ties back to her dollish demeanor and how she lives at a hospital.

Kiriko’s image color is an icy light blue, perhaps relating to her mental fragility and her use of bandages. It’s a very dreamy and ephemeral color and synergizes with her doll-like lightness and girly elegance.

Kiriko’s color palette comprises primarily of dull & light neutrals used as a foundation for most of her outfits. This palette often either colors the whole outfit or takes a back seat to a secondary palette of vibrant cool tones and grays.

-----

STYLE ANALYSIS

Kiriko auditioned at the production to be an idol to “boost her self-confidence” and improve her timid nature. When Producer asks her about her bandages, she lies and said she “bumped into something.” Kiriko says putting them on makes her feel at peace.

Kiriko’s name in kanji (幽谷霧子) contains the character “幽 (yu)” commonly attributed with the word for ghost “幽霊 (yuurei)” and the character “霧 (kiri)” meaning “fog” or “mist.” As such, Kiriko is most known for her fragile and ephemeral appearance.

As touched on in the last section, Kiriko has many qualities that make her feel like a living doll. This sentiment is shared by the other members of L’antica, often complimenting her and how just looking at Kiriko makes them feel “at peace.”

Many of her earlier outfits had her outfits in the same silhouette, like a fashion mannequin, with a collared top and flared above-the-knee-length skirt. Before major development, she was characterized with this dollish silhouette in the beginning.

Also mentioned in the previous section, Kiriko is a huge worrywart: constantly anxious about other’s physical and emotional states and very sensitive to how others interact with her. She tends to bite her tongue and finds it hard to speak freely to others.

Her extreme anxiety isn’t limited to just people, but also real-life events and even inanimate objects’ feelings. As stated before, her bandages are a “talisman” Kiriko uses to calm herself down and “protect” her before she gets “injured” by her pangs of unease.

The frequency and size of her bandages have a direct relation to how much her anxieties are hindering her, bigger size & higher frequency relating to a weaker mental state. Kiriko wore them constantly, but as her character got developed she started relying on them less & less.

She only wears her forehead bandage and sometimes even doesn’t wear any at all in her most recent cards, showing her growth in how she interacts with her anxiety. To add, Kiriko has never been “ashamed” of her bandages either and considers them a part of her identity.

Her bandages also relate to her medical background with both of her parents being doctors, living in hospital dormitory housing, having a hobby of donating blood, and often volunteering at said hospital. Her main color palette of whites/light grays also relate to this.

Kiriko is also very smart to where her career advisor encouraged her to become a medical professional. She is a methodical person with a sharp memory; her preppy influences in her fashion also call back to this as well.

Another trait about Kiriko is her “ephemeral” and “fantastical” aura like that of a fairy-tale character. Some things she does are personify inanimate objects, have vivid daydreams that tend to bleed into reality, and having a very surreal sense of humor.

Though she has notable anxiety, Kiriko’s personality is simple, positive, and tends to see the good in the world and in others (which is why she worries so much about everything). She is easily awestruck and has a high sense of wonder for the world.

Her fashion really suits that side of her personality well with lots of hazy, muted colors, soft fabrics, light textures, bijou detailing, and flowy and oversized clothing pieces. It makes the viewer feel like they’re also in one of her daydreams.

Kiriko’s fashion evolution is subtle, but you can see how her style influences change in the beginning, middle, and end as her character develops. Though her fashion changes, her dollish, plush, mysterious, and dreamy aura stays intact.

-----

This is it for Kiriko Yukoku!

If you liked this thread, check out my Twitter and give me a tip on Ko-Fi so I can do more things like this with other idol series! Thanks for reading <3

Next section: Houkago Climax Girls

[denimbex1986]

'Try and explain the motivations or internal psychology of recent Marvel Cinematic Universe villains. If one engages in this exercise, one will be quickly disappointed to see that many of these foes have no real relevance to the world audiences inhabit. Dar-Benn from The Marvels, for instance, was justifiably mad about what happened to her planet and her response to that trauma was to suck up the sun(?). Kang in Quantumania was so vaguely defined that it was impossible to get a read on the character. Kro in Eternals, meanwhile, was such a throwaway baddie that even MCU diehards likely forgot he existed! Compare such subpar adversaries to Kevin "Kilgrave" Thompson (David Tennant), the villain of the first season of Jessica Jones.

A man with the ability to control minds, Thompson kept detective Jessica Jones (Krysten Ritter) under his control for months on end. As a result of this experience, Jones struggles with PTSD and has withdrawn herself from the world. Throughout the first season of Jessica Jones, Kilgrave proves a terrifying foe and one who, despite carrying such heightened superpowers, perfectly embodies several terrifying elements of reality, such as male privilege. Kilgrave’s inability to see other people as human or even consider the humanity of those he controls is a stylized depiction of how often men in Western societies similarly refuse to gaze into the point-of-views of marginalized genders. His superpowers may have been rooted in comic books, but Kilgrave was decidedly a villain ripped from the real world. This is just one of many fascinating attributes of the character that make Kilgrave somebody who needs to return to the wider Marvel Cinematic Universe pronto.

Kilgrave Deserves to Be One of the Netflix Elements Brought to the Marvel Disney+ Shows

As Marvel Studios fleshes out its multimedia plans for the rest of the 2020s, it’s clear many elements of the Marvel/Netflix shows from 2015-2019 will be incorporated into the broader universe. When programs like Daredevil and Luke Cage were running, there was a bit of a divide between these shows and the larger movies. Characters on these Netflix entities would occasionally reference Captain America or Iron Man, but the first three phases of the Marvel Cinematic Universe movies never acknowledged these characters in return. Starting with Hawkeye and Spider-Man: No Way Home, though, certain actors and figures from the Netflix shows have been carried over into the bigger Marvel Cinematic Universe projects. It’s still unclear (though presumably unlikely) if the narratives of the Marvel/Netflix shows are still canon, but folks like Charlie Cox’s Daredevil are now fixtures of modern MCU media.

While that doesn’t mean Avengers: The Kang Dynasty will be focusing exclusively on Danny Rand/Iron Fist (Finn Jones) and Willis Stryker/Diamondback (Erik LaRay Harvey), it does mean a bevy of Marvel/Netflix characters are now at the disposal of future Marvel Studios programs. Kilgrave would be a fantastic character to incorporate into these forthcoming projects, especially since his presence as a more grounded figure would fit in with some of Marvel’s upcoming TV ambitions. Projects like Echo and Daredevil: Born Again are being marketed as adult-skewing programs that aren’t afraid to engage in thornier, more challenging material. Kilgrave, a man who commits murder and rape rather than pursue nebulously defined cosmic MacGuffin’s, would be a perfect villain to fit into this narrative landscape.

Plus, Kilgrave isn’t somebody who’s been seen in tons of other media beyond the comics. While he's shown up in a pair of video games and occasionally appeared in animated TV shows like The Avengers: Earth's Mightiest Heroes, Kilgrave has largely been restricted to the comics and his appearances across the three seasons of Jessica Jones. This isn’t a character like The Joker that’s been done to death in pop culture, there’s lots of new territory one could explore when it comes to Kilgrave. This could even include giving him his purple skin from the comics, a trait Jessica Jones hinted at with his default purple suits, but never went all-in on. That visual detail encapsulates how much there is still to do with Kilgrave.

It doesn’t hurt that Kilgrave is played by a beloved actor like David Tennant, whose fanbase only seems to grow as the years progress with his roles in post-Jessica Jones programs like Good Omens. Tennant is always a welcome presence in any capacity and getting him back for further MCU projects as one of his most famous and chilling characters would be an exciting development. It’s not like Tennant was a “nobody” before Jessica Jones (he had Broadchurch and Doctor Who, after all!) but he’s only become even more prominent since that Netflix show wrapped up its run. That uptick in notoriety has included a string of notable voice-over roles in Disney projects like Ducktales and Ahsoka, a sign that the parent company of Marvel Studios is keen on a good relationship with this performer. These qualities tied into the esteemed career of David Tennant would surely be another incentive to get Kilgrave back into the MCU picture.

David Tennant's Kilgrave Would Give the MCU a Tangibly Terrifying Villain Again

The most important facet of bringing Kilgrave into the MCU, though, would be finally bringing back tangibly terrifying villains back into this sprawling saga. Recent MCU titles haven’t been entirely devoid of solid baddies (The High Evolutionary in Guardians of the Galaxy Vol. 3 was an enjoyably over-the-top creation) but too many modern foes in this franchise leave something to be desired. Dar-Benn, Kang, Gorr the God Butcher, Kro; they’re all too removed from anything resembling discernible reality. While Thanos proved truly haunting because he was a big purple alien who acted like a weary human being, few recent cosmic MCU baddies have registered as remotely in touch with the real world.

Kilgrave would solve that problem and then some. This figure was truly terrifying in his nonchalant evil, while his ability to manipulate the minds of seemingly anyone Jessica Jones encountered provided a vivid visual metaphor for how omnipresent toxic men are in American society. They’re everywhere, even when they’re not physically in the room! Embracing such a terrifying baddie rooted in heavy real-world material (like the sexual trauma he inflicted on Jessica Jones) didn’t weigh down Jessica Jones as a show but rather gave it extra gravitas. That’s not the kind of praise one could offer recent MCU baddies obsessed with convoluted cosmic justice. David Tennant is always a welcome sight in any piece of pop culture, but him returning as Kilgrave would be especially helpful for the broader Marvel Cinematic Universe.'

[women-of-malevolent]

META - What "canon" is in Malevolent, for the purposes of this blog

TL;DR:

In order of most 'I accept this as meaningful to the story of Malevolent' to most 'do not bring me this crap'

Canon:

The podcast itself

The official podcast transcripts from the website (I edit out the emotion tags because I often find them redundant or disagree with their assessment /no offense; I super appreciate transcriptionist work! Thank you so much for providing the accessibility resource to fans who need and want it /genuine <3 )

I guess I'll hear you out if you think it's really important:

Call of Cthulhu lore

Original Lovecraft lore

Supplemental Q&A's on main podcast feed

Supplemental Q&A's on other social media

Just don't:

Patreon-locked content

Pay-locked content

Invictus stream / Patreon chats / Discord / speculation about author/writing choices

Malevolent is a weird story. I've seen it marketing itself as an ARG, or an alternate reality game. From Wikipedia -

"An alternate reality game (ARG) is an interactive networked narrative that uses the real world as a platform and employs transmedia storytelling to deliver a story that may be altered by players' ideas or actions. The form is defined by intense player involvement with a story that takes place in real time and evolves according to players' responses. It is shaped by characters that are actively controlled by the game's designers, as opposed to being controlled by an AI as in a computer or console video game. Players interact directly with characters in the game, solve plot-based challenges and puzzles, and collaborate as a community to analyze the story and coordinate real-life and online activities. ARGs generally utilize multimedia, such as telephones and mail, but rely on the Internet as the central binding medium."

So, what are the multiple media that make up Malevolent?

First of all, I want to explain for anyone who might not know all these details: Malevolent is a weekly podcast. Every week, ~15-20 minutes of story is delivered as a Chapter to the Malevolent Patreon Patrons. Each week, those Patrons vote on one big choice that the characters will make in the following week's episode. These Patrons are called The Voices. Every 4 weeks, those 4 story Chapters are collected into one episode called a Part and shared with the public. The Patreon also shares exclusive author interviews, commentary, silly songs/other miscellaneous bonus content, plus access to the Malevolent Patreon Discord channel, in which the author and his wife are moderators and off-and-on participants in fan discussions about the show (including commentary about character backstories, motivations, what ships are/are not canon, etc). Higher-paying tiers get access to more channels.

Most of Malevolent's listeners have access to the Parts as hour-long episodes, plus whatever supplemental material is shared on the podcast feed. A small contingent of highly financially supportive fans have access to everything.

With that legwork out of the way...

Below is a list what I understand to be all the possible layers of "canon" in Malevolent, followed by an explanation of how deeply this blog will consider it as a source. This list is in order from most canon (1) to least/not at all canon (9). More sources are added as they come up.

These numbers also (probably, maybe) roughly align with listener drop-off rates. Imagine funnel-like drop-offs in number of people who care enough to engage this ancillary of material. Also keep in mind the listeners who are tuning in for the first time, 20 years from now. How much will they get from this source?

The podcast itself - this will be the blog's prime canon source. This is the primary story source from which the vast, vast majority of all readers and listeners - now and decades in the future - have access to.

The podcast transcripts - this is its own category because the transcripts often editorialize (not a bad thing - just necessary product of translating one art medium into another). I've come away from episodes with a strong impression of one line delivery (ex: delighted), then find that in the transcript, it's described totally different (ex: disgusted). I will use the transcripts as my primary source for this blog. I usually delete the tone indicators. I also add MR. to Mr. Scratch's dialogue tags after he asks Arthur to call him that.

Call of Cthulu roleplay game - I'm not familiar with this and I don't think most listeners of the show will be, either. The relevance of this source will be considered on a touch-and-go basis.

H.P. Lovecraft extended universe - I have not read much Lovecraft and I don't want to start. The relevance of this source will be considered on a touch-and-go basis.

Supplemental interviews, episode commentary, Q&As available on main podcast feed - The author very regularly provides thoughts on the story and writing of Malevolent. I will consider this source as little as possible. If you have some information from here you think is important for me to hear, I will consider it; but please understand that 1) the VAST majority of listeners will not hear this, even if it's not cost-gated; and 2) not everyone who hears it believes/respects authorial self-reporting. No offense but no way

Twitter/X, Reddit, YouTube, or other social media commentary - similar to 5, with less weight because even fewer listeners will ever find this or seek it out. Also, social media is highly susceptible to internet decay.

Invictus CoC games - not considered. I might look into these later (WAY less thoroughly than the main WoM blog), but also I might not. These are Call of Cthulu games that were DM-ed by the author of Malevolent. There are some overlapping characters like Anna Stanczyk and Frank Uphill. Even if you're into these pls you have to admit that most of the Malevolent listening audience will not watch them.

Supplemental, Patreon-exclusive content - NO. If it can't be accessed without paying or signing up for a website, naw.

Semi-private discussions from heavily gated discord groups - NO. Let's not

Speculation about the author - NO. This includes speculation on whether or not ____ is intentional, or why writing choices were/weren't made.

[silmarillionwritersguild]

The SWG Hosts Tolkien Fanworks

Fandom creators may be looking for alternative and additional archives, in light of the multiple critiques currently being made of the OTW and AO3.

This is not intended as commentary on the many issues raised about the OTW and AO3 in recent weeks, although an unofficial position of our organization (as a small archive) has always been that it is ideal to archive your fanworks across multiple sites, and multiple options for archiving should exist. Rather, this post will provide information about who we are and the fanworks we accept so that Tolkien fanworks creators can decide if our archive is a viable option for them.

What is the SWG?

The Silmarillion Writers' Guild was founded in 2005 by @dawnfelagund, and our archive opened in 2007. Our mission is to provide an online archive and community for anyone interested in The Silmarillion that values civility and openness in discussing and making fanworks about Tolkien's legendarium. You can read the SWG's complete mission here.

We currently archive just over 5,000 fanworks by 414 creators. In addition, we offer monthly creative challenges, publish a weekly newsletter that features research by our members, maintain a reference library and beta-reader directory, compile a listing of Tolkien fandom events, and host events such as live readings, fanfiction book clubs, and collaborative creative sessions on our Discord.

What fanworks does the SWG accept?

The SWG is an archive for Silmarillion-based fanworks. We try to define the term "Silmarillion-based" as broadly and inclusively as possible so that we can welcome as many fanworks on our site as possible while maintaining our purpose as a Silmarillion group. Significant use of a source, character or character group, location, or time period featured in The Silmarillion, as long as it is not also covered in detail in The Hobbit or The Lord of the Rings, qualifies a work for our site. Our detailed FAQ on how we define "Silmworks" can be found here.

We accept crossover, alternate universe (AU), and multi-age fanworks, as long as a significant component meets the "Silm fanwork" definition above.

Non-Silmarillion Tolkien Fanworks. We recently added a section to our site called Beyond the Silmarillion, which accepts all fanworks based on Tolkien's writings or Tolkien-based adaptations (films, shows, games, etc.) SWG members become eligible to post in this section once they have archived five fanworks or 10,000 words with us, whichever comes first.

Types of Fanwork We Archive. The SWG currently accepts the following types of fanwork: writing (fiction, nonfiction, plays/screenplays, and poetry), artwork, audio, video, link collections, playlists, series, and multimedia fanworks that include two or more of the formats above. If you need to archive a fanwork that doesn't match any of the above, the site moderators will help you archive your work with us, if it's possible to do so. With the exception of video, we host all fanworks on our server. (Videos must be posted to a video hosting site.)

Ratings and Adult Content. We accept all ratings of fanwork. The only adult-rated fanworks we cannot accept are images or videos that include "graphic depictions of sexual activity, sexualized nudity, and any representation of an underage character in a sexual situation" because these fanworks violate the Terms of Service of our webhost.

AI-Generated Fanworks. We do not accept fanworks entirely or partially produced through prompting an AI generator. Our AI policy can be found here.

What are the conduct expectations for SWG members?

Simply put, the SWG "is a positive-focused, open-minded space." We require civility in all interactions conducted on our archive and affiliated social sites. The SWG is a moderated site and community, so we do hold our members to our expectations. You can read our complete Site Etiquette and Terms of Service here.

How is the SWG governed?

The SWG was founded and is currently run by Dawn Felagund, assisted by a team of moderators. Active moderators are Russandol, Grundy, Lyra, Saelind, and Janeways; they make the ultimate decisions concerning the archive. Other volunteers aid other tasks needed to run the site and community and may contribute to decision-making as well.

The SWG is not a democracy in that we do not hold formal elections and there are certain aspects of our mission that we are unwilling to change, even under majority preference. However, we consider member feedback as part of our decision-making process whenever possible—especially with regard to decisions on controversial or impactful issues—and some of the policies and features we've implemented over the years have come about by member request.

Members who need assistance, have a concern, or wish to make a suggestion can contact the moderators directly or use the #town-hall channel in the SWG's Discord.

We aim (and are generally able) to reply to all communications from members within twenty-four hours.

Because we are a small organization with relatively few decision makers, we can generally implement change relatively quickly. Our recent AI policy offers a good example of how governance in our group works. The issue of AI-generated fanworks was raised in a discussion among the site and Discord moderators on May 5. In this discussion, the moderators shared information and came to a consensus on how they wanted AI-generated fanworks handled on the SWG. Dawn drafted an AI policy, which was put before the other moderators for feedback on May 9. By May 13, the site admins had researched and implemented a block on AI scraper bots using all known strategies. Also on May 13, the AI policy was opened for public comment through May 26, during which time members and other interested parties shared suggestions via email with the moderators and in discussion in the #town-hall channel on Discord. During this time, the draft policy was revised twice using those suggestions. On May 28, the finalized policy was announced on the SWG's site and social networks, and relevant documents on the site were updated to reflect and link to the new policy.

How does the SWG handle racism and other attacks on groups that have been historically marginalized in fandom and beyond?

As stated in our Site Etiquette, as an organization, we recognize that fandom and the Tolkien fandom specifically has historically been and continues to be hostile to and dismissive of fans from marginalized groups, including fans who are Black, indigenous, and people of color (BIPOC); women; LGBTQIA+; and fans with disabilities. We believe strongly that, as a fandom organization that has benefited from the status quo, we must also be part of the solution to ensure that these inequities do not persist.

Specific solutions we have implemented on our group include:

Our Site Etiquette and Terms of Service strictly forbids "[a]ttacks on other members based on personal characteristics (such as race, color, religion, ethnicity, nationality, age, sexuality, gender identity or expression, disability, or medical condition)" and states that "[a]busive or derogatory behavior will not be tolerated at any time or in any part of the SWG. We do not welcome or allow any content in our group that is designed to be hurtful or insulting." While we generally observe a three-strike policy for rule violations, "[i]f moderators feel that someone is acting deliberately to harm SWG and/or its members … we reserve the right to suspend that person's account without prior warning." Our hope with this policy is to allow members who mess up the opportunity to improve while also having the ability to remove bad actors immediately.

We currently require fanworks on our site to be correctly labeled with warnings, including fanworks that include "in-universe intolerance," such as racism, homophobia, and misogyny. Creators have the option of labeling a fanwork as "Choose Not to Warn" if they do not want to label their fanwork. Our ratings and warnings policy is here.

We maintain an inclusivity focus group that we consult on policies and issues related to inclusivity or that may have a disproportionate impact on some groups of fans. Any SWG member who is part of a group historically marginalized in fandom is welcome to join this focus group and participate when and how they feel comfortable. Any member can request the input of the inclusivity focus group on a moderator decision.

If I want to archive my work with you, what is the best way to do this?

First, review the Site Etiquette and Terms of Service, and if you believe our group is a good fit for you and your work, register for an SWG account.

A moderator will approve your account before you can begin posting or commenting on the site. We aim to approve new accounts within twenty-four hours of registration; typically, it takes much less time than that to be approved.

Once you are approved, you can begin posting your fanworks! We do ask that new members who are archiving many older works with us to backdate these fanworks and exclude them from the Most Recent list to allow creators posting new work to have that spotlight.

Questions on how to use the site, SWG policies, or how best to archive past works with us are welcome via the site's contact form, by emailing the moderators at moderator@silmarillionwritersguild.org, or reaching out to the mods via any of the SWG's social media.

[dailyfatefigures]

Do you mind explaining what evillous is? It looks like miku, rin and len to me? is it just a vocaloid song that they were given unique identities in?

evillious (or the evillious chronicles but that's too much for me to be bothered to type out again and again) is a massive multimedia franchise made by the vocaloid producer mothy!

the vocaloids basically serve as actors in it which is why most characters look a lot like their corresponding voicebanks.... but also the close resemblance the characters can be 50/50 like on one hand you have michaela who looks JUST like miku but on the other hand you have ma who's a luka but looks.. nothing like a luka (tbf that is bc of bodyswapping but also like . come on . the girl she bodyswapped with was also a luka) and then there's characters like bruno who, despite being p fucking important, doesn't have a vocaloid at all

^^ michaela, ma, and bruno

but also i think the reason riliane, allen and michaela look so much like their vocaloids in those figures is bc they're meant as 'rin in this one song', 'len in this one song' and 'miku in this one song' and not 'riliane lucifen d'autriche, a character who has 5 light novels, a bunch of manga volumes, and too many songs to count that are all primarily about her' etc etc (i'm not calculating allen and michaela's appearances or the amount of manga volumes riliane is in you could not pay me to (actually you could and i know the exact price but no one's going to)). also the evillious characters all have p defined facial features that get ironed out when they get converted into generic anime figure style.

^^ maybe my perception is warped as an evillious fan but i do not ever see ichika's illustrations of riliane and think 'that's kagamine rin'

in regards to what evillious actually is though, it's also known as story of evil and the seven deadly sins series, and if you're into vocaloid (esp if you've been into vocaloid for any decent amount of time) whether you know it or not, you are very, very familiar with at least a little bit of evillious. and by that i mean you've heard daughter of evil at least once, and also probably servant of evil, the tailor of enbizaka, the lunacy of duke venomania and judgement of corruption. the story basically follows this world known as the third period from its creation to its destruction (and a bit before and after). the seven deadly sins series makes up the bulk of evillious and follows seven people at different times and locations throughout this world's history and those around them as they get possessed by the seven deadly sins and uhm . well it should be p obvious that nothing good comes of that. story of evil is a colloqiual name given to the pride arc bc daughter of evil, servant of evil and regret message were the first songs mothy released that were explicitly meant to be tied together upon release (he likes to drop a song and then be like 'teehee this was part of the evillious canon all along' years later) and the evillious name wouldn't come around til much later.

if you want to actually get into evillious, you really have to go by release order or you will get very confused very quickly (gasp! the guy who likes fate enough to run a daily blog based around it for over a year has strong opinions on that age old issue of watch order (not the right phrase bc i am a fate anime adaptation hater til the day i die and the evillious anime never actually got made but. you know what i mean)!) mainly bc of the sheer amount of body swapping and reincarnation that goes on and the scifi fantasy concepts that get explained when they first appear and then never again. the songs all have translated pvs up on youtube (a lot of pvs are fanmade and may have aged poorly w noncanon visuals so don't fully let your guard down) and most if not all written materials have tls by @/pricechecktranslations here on tumblr. obligatory warning for a lot of incest and also everyone fucking dying goes here, there are more cws that should be attached to it but we'd be here literally for fucking ever if i were to list all of them bc it's huge and every bad thing happens at least once but those are the two big ones that happen in most if not all arcs.