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ask-codeearasure · 1 month ago

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So... About that shitty Cross take that one person made....

If you've been following certain creators, even this account, I'm sure you've spotted a specific idiot going around complaining about Cross being Trans-Coded and using Republican talking points to say that it's "forced" or "doesn't make sense" and whatever other bullshit that shouldn't even be looked at let alone acknowledged. HOWEVER, instead, we are gonna sit down and talk about how the Trans Experience is so versatile and why Cross (and similar characters) being Trans-Coded is actually extremely important.

Gender nonconformity is fucking terrifying to Republicans, this is why it's been one of this generation's favorite punching bags.

If you look at the women who are tied to the Republican Party, you see a lot of hyperfemininity, so much so it's easy to tell that Barbie is considering suing them for stealing all her plastic.

Jokes aside, gender affirming care is gender affirming care and they are using the same gender affirming care that trans people have been using for years. This isn't only about nail products and cosmetic surgery, but also breast reduction or implant surgeries.

Gender affirming care however, is demonized by the right because they don't get it nor do they acknowledge that there is a range to it.

I once read a story about how one person had realized they were trans because a friend of theirs pointed out that when they had the option of choosing the gender of their playable characters in gaming, they always went with the gender they were not assigned at a birth. Example being an AFAB person constantly choosing male characters.

Though I have not finished watching Underverse this is applicable of XFrisk and XChara shoving the name "Cross" onto... Cross. They are pointing out he is not Sans despite being assigned that name since creation. Their true intentions here had cruelty in mind, but Cross made the name his own.

He is in denial about it which is applicable to how a LOT of trans people are in denial about it sometimes. Hell I remember a Right Wing talking head on Twitter who had tried to transition, detransistioned due to pressure from their family and then stayed at their assigned gender because of it and falling for the Republican propaganda.

Denial isn't just a river. It never has been.

Some people are in denial about their gender identities and sexual orientation and with the coming presidency we are going to see a rampant uptick in that statistic. With that coming, characters like Cross are needed far more.

Cross's story, as far as I've seen, is rough and follows a lot of self-acceptance and self-advocating storylines. Even when it comes to the biggest things that anyone from the LGBTQIA+ has to face, one of these struggles being the fear of rejection and/or being rejected by one's peers.

From what I've seen when it comes to spoilers is that Cross does end up being rejected by those he was close to before meeting Ink, and thus has to come full circle and accept himself by saying "I am Cross". He has to deny the name he went by in the past. He has to because if he doesn't, he'd be giving in to living in denial of who he truly is and thus be living a life of suffering for no reason than to keep others comfortable, setting himself on fire to keep people who couldn't give a damn about him warm.

A lot of Trans people have to show their rejection of their past or even the acceptance of that past to come to terms with themselves. Each person is different when it comes down to finding who they are and accepting that. It depends on the individual.

Some treat their past and their deadname as though they're a completely different person or someone who died so they could live. Think of a phoenix rising from the ashes.

Others treat it like their past self was the caterpillar where their new and true self is the butterfly.

Is it perfect?

No.

Is Jakei a perfect writer?

No. Neither are a lot of my favorite writers and franchises (I'm looking at you Riot Games and your shitty centrist takes on the worst of human history's sins).

But some of the things that imperfect writers make are beautiful and Cross is one of them. He is one of the few characters that speaks for the writer when it comes to saying "I see you, I see your pain. I see your suffering. You are not alone. You deserve to live your life the way you want to. You are valid."

But there are a few questions that the more clueless of people are going to ask.

Why bring Politics into this? And why do Republicans like the media made by progressives?

The answers are FASCINATING.

I bring Politics into this because Republicans, specifically Cishet white people, have made everything political since the beginning of time. Everything they don't like, everything different from them, everything they don't understand, and everything that directly rebels against their patriarchal idea of "paradise" is now considered "Political".

I remember a Republican had argued the dumbest thing once, and I was so dumbfounded I had to take a step back because holy shit.

Their argument was that black people enslaved each other which made their enslavement by white people their own fault.

Now if your jaw is on the floor, you already know where the problem is. If you don't get where the problem, is let me ask you something.

If that is the case, who was the one who made it all about skin color?

I'll tell you.

It was the white people (who were Democrats before the massive party switch, which makes them modern day Republicans).

Who were the ones who made having jobs all about gender? It was the Cishet white men (99% of whom are Republicans).

Who constantly demonized the LGBTQIA+ community during the Stonewall Riots? Mostly Cishet White Republicans.

Who are demonizing Trans people right the fuck now? Republicans and Pick-Me Gay people who vote for Republicans and side with Republicans thinking that the Republicans will finally accept them when they know Republicans won't fucking do it.

Being LGBTQIA+, making non-white characters, making a character a woman, it makes that character "Political", and "Political" characters are always the ones put on the spot for accusations of "forced diversity" and "perversion" where anyone with a working sense of conscience will understand this is a talking point butthurt Republicans or those warped by Republicans pulled out of their assholes looking for a problem where there isn't one.

All art, be it animation, digital art, traditional art, singing, writing, is political. They've always been political.

Do you want to know why Republicans are always bitching about coffee orders? It's because the Enlightenment era thus leading to the Romantic Era of literature was started because of coffee shops it was where all the best writers hung out. The moment they met each other and started talking to each other, the Enlightenment and Romantic Eras started taking off in full force.

It is because of the Enlightenment and Romantic Era writers we don't have Child Labor anymore. A lot of their writing brought talks of nature and the horrors of Child Labor into question. You can't talk about the history of Child Labor without talking about William Blake's Chimney Sweeper and Elizabeth Barrett Browning's Cry of the Children. You fucking can't. Without Blake and Browning we'd still have children in mines and on rooftops risking their lives to clean your fucking chimney.

And here is where we get to the why. Why Republicans LOVE progressive media.

Here is a little secret.

All shows and media made by Republicans are shit because it is all Propaganda.

I know. Shocker.

Look around.

Mr. Birchum, New Norm, Leo and Layla, it's all propaganda. It's all the same Republican talking points that they never shut up about and even then they don't know what they're talking about.

Ask a Republican what "intersex" means. Do it, I dare you.

They won't fucking know but they'll tell you that it's Satanic and shouldn't be allowed near children.

They'd never guess that it's a spectrum of natural gender nonconformity and mixed sexual/hormonal characteristics such as having PCOS or being AMAB and still having a functioning uterus. They don't care that their delusions about there only being "male" and "female" for reproductive sex options has led to medical malpractice, social abuse, murder, and erasure of intersex individuals, and the ones that do know about intersexuality diagnose it as a "Differential Sexual Development Disorder" as if just being born intersex makes someone's existence inherently wrong with an inherent need for surgical and hormonal "correcting".

Republicans like progressive media because it knows how to say something and still be well written. This is why Republicans LOVE Star Trek, Star Wars, My Little Pony Friendship is Magic, and Arcane.

It's all progressive media but it all knows how to build a world and say something. Good writers are progressive and know how to write.

Don't get me wrong there is a LOT of fucking garbage that tries to be progressive but that is a small outlier that Republicans LOVE to bring out and bash on to say that we're the ones who ruin media. They make false equivalences to try to make you stop thinking. They need stop-thinking clichés and talking points because it's all they have. But they are so fucking terrified of anything different from what is in their stupid bubble that saying "Oh yeah the champion Taliya is trans" will send them screaming and crying.

Yeah, Riot Games danced around the fact that one of their characters is Trans because they knew she'd scare off the entirety of the Republican player base. They had to hide it and use her magical girl skin to gently hint at it with "Yeah when I'm in this outfit I feel more like myself!" and the entire multi hour long Star Guardian album animation having the Trans Flag being the main pallet on everything.

I honestly wonder how many Republicans ran off when they saw THAT CaitVi scene in Arcane.

Republicans just hate anything that isn't Cis, isn't Hetero, isn't a man, and isn't white. This is why it's not uncommon to find that cishet white men are always found at Klan rallies or the modern Klan rallies which are called "Trump Rallies" these days.

This is why a lot of exhausted Democrats, Liberals, and BIPOC, Feminists, and LGBTQIA+ people have been laughing their asses off at the Pick-Mes who are getting fucked over now that they realize that surprise surprise, Project 2025 was the plan! We fucking told you so, dipshit!

This is what you asked for dumbass! We tried to warn you. You didn't listen. LESSON FUCKIN LEARNT!

Republicans like progressive shit because we make good media.

Republicans HATE anything that isn't CISHET and WHITE.

Now, am I saying all this to claim the person who made that anti-trans Cross post is a Republican, an abuser, or anything else that contributed to this systematic nonsense? Absolutely fucking not. That's an extreme statement to make and they're most likely just a very mislead kid who may or may not have been influenced by a couple of these problems, and them acting out the way they did is perhaps a reflection of how important it is to acknowledge these things even if our community is just fandom and the point is to have fun, to have a distraction from all the bad powers at play.

Either way, their actions pissed me off. Hope they learn.

Thanks for coming to my Ted Talk. Get the fuck out.

-- Ouija

#message from ouija's board #utmv #undertale au #undertale #undertale multiverse #utmv au #ut au #underverse #xtale #xtale cross #cross sans #crosssans #cross!sans #trans coded cross #trans-coded cross

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thealogie · 8 months ago

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my new pet theory after reading American/British cinematographer blurbs about all the previously mentioned examples is that it actually isn't one specific thing, it's the general commitment to allow imperfection and give an image a soul instead of following all the purely technical cinematography "rules" to a t.

like sure, you want something to be sharp, well lit, you want to have contrast instead of flatness, you want to compose something along thirds so it looks balanced to the human eye, you don't want everything to be super grainy etc etc but the thing is we've gotten to a technical point where it's very easy to do all of these things and when you do all of them at the same time it just looks soulless and terrible.

So what you can do to avoid that is:

Shoot on film (challengers)

Use vintage/exotic lenses (challengers, civil war)

Allow actors faces to go into darkness, allow imperfectly exposed images, allow black, crank up the ISO of the camera and use tiny amounts of light only (better call Saul)

Color grade in a genius way (add noise, grain, do things with saturation and contrast that aren't the technical standard)

Play with framing and what we're used to seeing as a balanced image (Mr robot)

Play with movement in unexpected ways, for example zooming or moving very rigidly (Wes Anderson). When handheld first became more of a mainstream thing it was so new and exciting as well!

Play with formats, colors (black and white), weird view angles (fish eye) and more.

If you're interested in cinematography even a little bit watch poor things. It does many of these things at the same time, incredibly well and in a way that actually supports the story too.

There's a cinematographer who says once he's done setting up a shot, having framed and lit it and thinking it is perfect, he always turns off one light. Or he kicks the camera a bit so the framing changes in an unexpected way. He says otherwise the perfection will suffocate the image. I think that might be what we're seeing with good omens.

I think franchises are more likely to fall into this rut of delivering a technically perfect product. Especially when there's a lot of vfx and post production down the pipeline there are so many factors a dp can easily get scared to not deliver what is needed in the next step. When something aggressively has to be sold to & by a streaming service like Amazon there is often pressure to take no risks. Comedy as a genre also has less examples of a wide range of different good cinematography styles. When I think of the word comedy the term "high-key" (aka well lit) comes up as we were taught in film school, according to the sit com standard. And modern day fantasy/magical realism comedy? I think is hard to pull off in a way that actually resonates and creates something new (not to say it couldn't have been done better sgdjdjs. looking at Gavin Finney's filmography I don't see anything particularly significant so...)

That's my two (three... five) cents. Thanks for the research rabbit hole on this Sunday evening 🫡

I love that this inspired a whole very nuanced and well researched essay on a Sunday. Thank you!!!

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avaantares · 1 year ago

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Wait, Zhao Yunlan's gun is actually a...?!

(I've never claimed production meta for @guardianbingo before, but after the amount of time and research I put in on this, I feel like I've earned the "Zhao Yunlan's Gun or Whip" square, haha)

SO. GUYS.

Maybe this is something fandom as a whole figured out back in 2018, but I, who didn't hear of Guardian until 2020, did not realize until now and I need to share the knowledge because when I finally noticed, I made an unholy sound.

I've tracked down where Zhao Yunlan's gun came from -- or at least, what it most likely started as. Not the in-universe dark-energy-maybe-uses-bullets-maybe-doesn't-device-that's-best-not-thought-about-too-long, but rather the actual fake-steampunk-revolver-that-is-best-not-looked-at-too-long-because-it's-awful prop.

Y'know, this disaster:

I was actually working on a different Guardian Bingo fill and needed to look something up for continuity, so I'd flipped through a couple of episodes at super high speed trying to find a scene. As luck would have it, one of my skips forward happened to land on the scene I screencapped above, when ZYL confronts Zhang Shi.

Normally we don't get this clear (or this stationary) a shot of the godawful gun prop. I'd assumed all along they had just taken a plastic gun, glued some extra bits and bobs on it to make it look fancy, and hit it with some dry brushing (fun fact: you can watch the paint flake throughout the series; check out the top of the barrel and the side of the cylinder in the above screenshot!) to make it look #steampunk like the abandoned aesthetic of 25% of the show (as I've said before, I have theories about what happened in preproduction, but that's another post). This sort of thing is exactly what I've done for cheap cosplay weapons or background props for film work that aren't going to be seen at HD detail range.

Anyway, since the detail showed up better here than in other shots, I paused the video to look at the random screws and hex bolts (why??) they'd glued on it, since I recalled that I had the aforementioned gun/whip bingo square to fill.

That's when I noticed a detail that had eluded me before: An inverted V shape at the bottom of the grip.

Only looking more closely, that's not an inverted V. It's a symbol that I've seen a whole series of variations of over the past 15+ years... every time there's a new installment of the Assassin's Creed video game series:

So I started hunting. The principal weapons in each game turned up no matches, but eventually I found a gun that looks almost exactly like ZYL's:

It's not a perfect replica, but the details are certainly all there: The stylized logo; the leaves and swirls on the grip; the feathers up the back; even the Victorian scrollwork beneath the barrel.

Now, what's really interesting is that this gun isn't actually from the AC game series. It's part of an elaborate fan project by artist David Paget that started as a class assignment back in 2014. Even though it gathered a bit of steam in the AC fandom and generated a couple of forum role-play groups, OCs and the like, nothing about this artwork was ever connected to a real Assassin's Creed title. So why would there be a physical version of a gun that was only someone's fanart?

This is where the smoking gun (*rimshot*) goes missing, because I can't prove any of this, and it's been long enough that digging through the archives of the internet to find answers is going to take way more time than I can afford to spend on a project I'm not getting paid for. But there are two likely possibilities:

Scenario A: Some employee in a toy factory somewhere in China got told, "This Assassin's Creed franchise is really big, so we need to be producing replicas from those games to sell. Work up some designs." So the employee Googles "assassin's creed gun," finds David Paget's very professional-looking art, and whips up a replica to mass-injection-mold without realizing it's not actually from a game. Later, someone on the cash-strapped Guardian production team needs a gun to mod, and finds a cheap toy revolver on clearance after several years of sitting in storage because there was little demand for a replica of a gun that was never in a game. They buy several, glue hex bolts on the cylinder for reasons unknown, and poof! Instant pseudo-steampunk!

Scenario B: Other fans were involved in the design. Someone did build a 3D model of David Paget's design that's still available on Sketchfab (screenshot below), and it's not unreasonable to assume that other fans could have thought it looked cool and built 3D printable models. Later, someone on the cash-strapped Guardian production team needs a gun to mod, and acquires the 3D print file of one of those models from the interwebs. They mod the file a bit, print some, glue hex bolts on the cylinder for reasons unknown, and poof! Instant pseudo-steampunk!

Personally, I find Scenario A far more likely than Scenario B, for two reasons: First, the hero prop looks more injection molded than 3D printed, especially given the technical state of 3D printing back in 2017-8. And second... Budget-challenged dramas do have a history of picking up bulk video game replicas and using them as cheap props. I made a post back in 2019 about the WoW Horde shields we spotted in a different drama...

Anyway, no firm answers about the source of the hero prop -- the world may never know! -- but we have now confirmed that in some alternate universe (possibly one of the first eighty?), Zhao Yunlan and/or Zhao Xinci is an Assassin.

Wait, wait, wait... *recalls mechanics of how the whole Assassin's Creed frame story is supposed to work* Uh... so... who wants to write a genetic memory explanation for the whole Kunlun -> [lots of lifetimes] -> Zhao Yunlan thing?

(I did actually check the catalogue of a friend of mine who makes replicas of props from various media franchises to see if he'd done a commission of the David Paget design, since a surprising number of his custom pieces actually do end up on film and television, but while he has a gorgeous replica of a revolver that actually appears in an AC game, it appears he has not done the Zhao Yunlan gun. I didn't really think it likely, since he's in the U.S., but you never know.)

#guardian #zhen hun #c-drama #guardian bingo #assassin's creed #tv props #it's always fun when my various hats end up stacked on top of one another

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riqfamecriticalcare · 10 months ago

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moonfairywritings · 6 months ago

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@/welovemonstergirls asked: Can I see hcs for Whitney, Candice, Hilda, Sabrina, Elesa and Skyla with an adopted child that was previously abused? The child is quiet, shy and fearful and is prone to crying and nightmares.

Franchise: Pokémon

Genre: General headcanons; angst; hurt to comfort; familial

Trigger warnings: PTSD mention

A/n: Ah, my first angsty ask. Poor little thing, I'll make sure these girls take good care of them, don't you worry!

❀ Sabrina

Sabrina hasn't been around kids since she herself was one; the only time she interacts with them is if a gym challenger just happens to be a kid. So to say that she's inexperienced with children is an understatement. But she's a kind woman with a big heart, and has absolutely zero tolerance for child abuse (well, game Sabrina anyways). Seeing the awful state that the child was in, she took them under her wing immediately and vowed to give them a second chance at living a happy life.

Despite her cold and aloof exterior, Sabrina is actually pretty laid back and chill. She won't be particularly strict or overprotective, but she won't just throw the child to the wolves either. As soon as the adjustment period is over, she'd gift them an Eevee and task them with evolving it into an Espeon, though that's not to say she'd be disappointed if it accidentally evolves into an Umbreon or Sylveon, she'd just be proud to see her child's growth as a trainer and person. Having a partner Pokémon that's a psychic type would not only serve as a protector, but if the child has a panic attack, the Pokémon's psychic abilities could help calm them down.

Speaking of which, panic attacks and nightmares become a non issue. With Sabrina and her Pokémon's psychic abilities, the child could be hypnotized into falling peacefully asleep or winding down from a PTSD episode. She'd be careful not to overuse them, as she knows that she can't always be there to help the child, so she would research and teach them some healthy coping mechanisms which range from the more normal tricks like taking 10 deep breaths or squeezing a stress ball, to more outlandish things like biting into a lemon. Not particularly elegant, but if it works, it works.

Sabrina would love doing activities with the child. Once she reached adulthood, she realized just how much she genuinely enjoys spending time with other people, and her favorite person to be with, of course, would be her own child. She'd like to read to them before bed, do puzzles with them, bake with them, or just sit together while they each did their own thing.

There's a chance that being around Sabrina and her Pokémon constantly would lead to the child developing their own psychic powers. In that case, Sabrina would be an excellent teacher. Whether it be teaching them to have a better grip on their telekinesis, clearer telepathic communication skills, or making sense of their visions, Sabrina would be there to guide them every step of the way.

*•.¸❀

❀ Whitney

Whitney is... Well, a bit of a mess. I can see her being a great babysitter or older sister figure, but being a child's primary caregiver? Let's just say not a lot of "parenting" will be happening. Whitney is spontaneous and energetic, and that's reflected in the way she takes care of her child. She takes the child with her everywhere, and I mean everywhere. To the gym, the baseball field, the mall, the beach, to run errands, to hang out with friends. Whitney loves them to the moon and back, but she'd end up treating them more like an accessory than a human at times.

Whitney would make absolute certain that the child will always look and feel their very best. Lots of cute clothes and accessories, the best skin and hair care products on the market, and a lifetime membership to whatever the Pokémon equivalent of the YMCA is. Of course, all of those burnt calories are nullified by the amount of sweets Whitney shoves down their throat. She likes to spoil and be spoiled. What can she say?

Whitney is prone to crying and, well, tantrums. She's a very emotional person in general, so if the child is upset and crying, she ends up crying too. Whitney tries to keep herself together for their sake, she really does, but seeing her little angel break down tears her heart to pieces. She'll panic, which sometimes makes things worse, but she'll do absolutely whatever she physically can to calm them (both) down and make them happy again. In the end, Whitney figures out a routine and is able to calm them down quicker whilst also keeping her cool. Maybe she's not so bad at this whole parent thing after all.

Very protective of them. They're her little baby, why wouldn't she be? If Whitney spots anyone being mean to her kid, cute little immature Whitney vanishes and she goes full mama bear. And if God forbid a person or Pokémon tries to physically threaten them? They get a taste of Miltank's most powerful Rollout. She can come across at times like a helicopter parent. It's not that she doesn't trust the child, it's that she's genuinely interested in their life and wants to be able to connect with them. Friends, hobbies, likes and dislikes, she wants to know it all. Helps with picking out birthday gifts, too!

*•.¸❀

❀ Candice

10/10 soccer mom. Probably the most experienced (and most normal) caregiver on this list, though Skyla would be a close second. Anyway, Candice takes her role as a parent very seriously. She'd buy several books on parenting and even take a few parenting classes. She wants her child to have the best life they possibly can.

Candice wants her child to live and grow from their experiences. She's not the type to throw them out of the nest and leave them to their own devices, of course, but she'd try to teach them independence to the best of her abilities. This is a little easier said than done at the start considering the child's background, but Candice is willing to put in the work to help them thrive.

Snow hikes, ice skating, sledding, Candice would make sure that the child stays active and healthy. She'd make sure they were the only ones around if the child was too anxious to be around other people. Afterwards, she'd treat them to a nice big mug of hot cocoa.

I can see her homeschooling the child for the first year or two after the adoption, to help them adjust before throwing them into another unfamiliar situation. You'd think that she'd be running short on time thanks to her juggling her job as a gym leader, her social life, hobbies and now a child, but somehow she manages. Candice is pretty intelligent, so educating the child wouldn't be too big of a challenge. Additionally, she'd enroll them in any extracurricular activity they show interest in so they'd get some social interaction, though she'd try to find groups that were a bit on the smaller side at first to avoid them becoming stressed out.

Walkie-talkies would be kept on Candice's and the child's nightstands in case they're woken up from nightmares or have an anxiety attack and need comfort. Candice can wake up in an instant, so it's no bother to her. She'll stay up as long as they need, talking to them, listening to them ramble, or telling them stories. She wants them to know that they can rely on her, and that she'd never find them annoying or a burden.

*•.¸❀

❀ Elesa

Elesa has virtually zero experience with children, but not because she dislikes them. She likes kids, thinks they're fun. I picture her as somewhat of a vodka aunt. Always showering her child with gifts and trying to prioritize being cool and fun so they don't find her annoying.

To expand on that last part, Elesa is rich, that goes without saying. She could afford practically anything the kid wanted. They want these specific snacks from Johto? Elesa will buy them a month's supply. They're too anxious to play outside with the other kids? Elesa hired the best architects in the region to build them an indoor jungle gym. Not to mention that she made sure to hire a great therapist to help the child through their trauma.

Unfortunately due to both of Elesa's jobs being extremely demanding and time consuming, she's rarely ever home. She hates this knowing how upset the child gets when she's not around. To at least attempt to remedy this, once she's on break she will immediately start a video call with them to check in. She would also make sure they were surrounded with stuff to keep them busy, whether it be toys, games, books, movies or Pokémon to keep them company.

Elesa doesn't mind being woken up in the middle of the night from nightmares, as she's used to functioning on little sleep anyway. She'll invite them into her bed with her and lay their head on her chest, ask them to tell her about their nightmare as she gently runs her fingers through their hair to calm them down. Being a model is a stressful job, with having to deal with everyone's expectations of her to be perfect, so she understands stress and anxiety. If the child is too nervous to sleep alone, Elesa will wrap them in the softest blanket she has and let them cling to her arm for the rest of the night.

Elesa is very gentle and patient with them, especially at first, but she isn't going to let the child continue to live in fear for the rest of their life. She won't push them beyond their limits, but in the rare moments when she has some time to spare, she'll take them out on walks or to visit the amusement park. The world is so beautiful and has so much to offer, and she wants her child to be able to experience all of the wonder and good the world has to offer. Like previously mentioned, Elesa hired a therapist for them, and is also willing to do everything she can to help them heal.

*•.¸❀

❀ Skyla

Second best parent on the list. Incredibly bright and optimistic, Skyla can rather effortlessly turn anyone's negative mood into a positive one. Though the child's case is a little more than a "bad mood," Skyla is patient enough to take any issue that arises head on and with the utmost care. She's always liked kids, always treated them with kindness and respect, never talking down to them or belittling them because of their age. Children are humans too, just because they're young and still learning does not mean that they are stupid or that their feelings don't matter, Skyla believes this wholeheartedly.

The child is on a set schedule that prioritizes both health and fun. Early mornings with breakfasts that contain lots of fruit, then afterwards a morning ride in Skyla's airplane. Most of their time during the day is spent either outside or in the gym. Fresh air is good for the mind and body, and so is being around Pokémon! That's what Skyla thinks at least. Of course, if it all gets too overwhelming, Skyla will take the child to the gym's break room for a little recuperation. In the evening, the child is free to do whatever they please - within reason, of course. Skyla always makes sure to be nearby in case she's needed, but learning some independence early on never hurts.

Skyla spends a lot of time with her friends. She's a social butterfly, and maintaining her friendships is very important to her. She wants the child to have that kind of experience as well, so she'd encourage them to join clubs or attend camps. Sometimes, she'd bring them along on shopping dates with Elesa and Caitlin, who were both completely on board with taking the child to as many clothing stores as possible to play dress up. Not only does the child have a caring mother, but two aunts who love to spoil them.

Also gets the child in therapy immediately. Skyla's smart, but she's no professional when it comes to children's mental health, and she knows this. She wants her baby to be healthy and happy, after all. Whenever they have a panic attack, Skyla makes sure to remain as calm as possible, and carefully walk them through it. Do they need water? Do they need to go somewhere quieter? Do they want a hug? No matter how they respond, Skyla stays gentle with them. It's not their fault that they feel this way, or that the adults around them failed them. Skyla's heart aches for the poor thing, and she'll do whatever she can to help them recover from their trauma.

*•.¸❀

❀ Hilda

I wouldn't exactly call Hilda "motherly," but I'd say that "sisterly" would be an apt description. She's... well, a bit of a meathead. Her fiery personality can leave people a little winded after meeting her, especially if they aren't as passionate about battling as she is. Despite how seemingly one track minded she is, I firmly believe that she would take on the role of a caretaker instantly if a child needed her help. She'd just be a little clumsy at first, but thankfully, she has friends like Hilbert, N (who would also be a bit clueless, but would try his best to help), Bianca and Cheren, ESPECIALLY Cheren.

As soon as they were old enough, Hilda would take them to Professor Juniper (or Bianca) to receive their partner Pokémon. As I said, Hilda is very passionate about battling, and would want to share her interests with the child. Even if they're not particularly interested in it, a Pokémon would still be able to protect them if the need arises.

Every weekend, Hilda would take them out to get Casteliacones. I mean, who doesn't like ice cream? It would be a good way to bond, while also gently reintroducing them to public spaces. If they were too shy and nervous to order themselves, Hilda would have no issue ordering for them. She hoped that her confidence would one day rub off on them, but until then, she didn't mind if they hid behind her. She promised to protect them no matter what, and she never goes back on her word.

I'm not gonna lie, I don't think Hilda would even notice the nightmares at first. Girl sleeps like a ROCK. She would one morning notice how groggy and sickly the child looked and would ask what was wrong. When they tell her that they had a nightmare and weren't able to wake her up, she'd feel terrible. After that, she'd ask every night if they wanted one of her Pokémon to snuggle with. Emboar was big, but very warm, Ursaring was also huge, but its fur was soft and you could also count on it to keep you safe, and Musharna would be able to keep the nightmares at bay.

Hilda wouldn't know how to respond to the anxiety attacks at first. Her knee-jerk reaction would be to hug them, but was later told by Cheren that that could make it worse by making them feel suffocated. Instead, she opted for sitting down next to them, letting them cry it out, and quietly telling them that everything was going to be okay, that she would always stay by their side. It's one of those rare moments where Hilda is softer and quieter. She loves this kid so much, and all she wants is to help them feel better. Normally she would rush into things without a second thought, but this isn't the sort of thing you can speedrun, and she knows that. This time, she'll be patient.

#pokemon #pokemon headcanons #pokemon imagines #pokemon x reader #rby #gsc #dppt #bw #angst #sabrina #whitney #candice #elesa #skyla #hilda

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weirdunclegamer · 1 month ago

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In my mostly failing and flailing attempt to just post shit on my accounts, here's a random thing that popped up I guess I'll talk about for a moment.

So I build and enjoy gunpla, that is, gundam plastic model kits. So I get suggested gunpla videos/channels on YT with some frequency due to my interest. However, shockingly (apparently), there are, in fact, other model kits franchises and product lines that exist! Due to having just enough proximity from a genre and pop culture standpoint, and the fact I do sometimes watch other non model kit videos about the franchise, I get, commonly enough, warhammer model kit videos suggested at me too.

Now I don't do any warhammer stuffs, and as such don't watch the videos cuz I wouldn't get anything out of them. But in the last... I dunno, upwards of a year I'd say, I've noticed something, a trend if you will. And thats people who do warhammer models... suddenly discovering that gunpla is a thing that exists. Now that in and of itself isnt too crazy, both franchises are sci fi stuffs with long running model kit ranges, people from one bumping into the other is bound to happen.

No whats weird is two things; first, how entirely one sided this seeming Age of Discovery is, its just warhammer peeps making videos going "holy shit gunpla is a thing?!", I've not seen a single gunpla video maker make a similar video. Now I have seen people who do gunpla do a one off warhammer kit or at least mention it (or in one specific persons case, they just do sci fi model kits more generally and don't hyper specialize in one). And that leads me to the second weird thing; virtually every one of the videos in these trends is "what is this?!" or "which one is BETTERER!?". And its... kind of funny as hell.

I get that not everyone building warhammer is actually playing warhammer necessarily... but it really can't be over stated that these product lines have essentially nothing in common other then broadly being sci fi. There is no competition between the companies, there is no overlap for model kit methods or general specifications (out of the box anyway). Warhammer kits are meant (mostly at least) to be used for the game of warhammer. Gunpla kits are build it yourself action figures to be displayed on a shelf. Yet nearly all these warhammer people seem to be coming at this "discovery" as if its suddenly some wise guy horning in on their turf, or like... I dunno, like they exist in the pokemon universe and someone just made eye contact with them and Its Time To Argue. A couple videos even suggested that gunpla was just like... the new hobby to discard warhammer kits for? Which... if all you care about is building models I guess? But again, they have completely different intended functions and also utterly different aesthetics/lore attachment. So I'm not sure how that would be a good hobby pivot since you're end product is gonna be entirely different.

I dunno. Its just been a funny trend to see.

I would be down for Bandai doing a HG kit for like, a popular warhammer mecha though. I would absolutely build that and add it to my shelf.

#gunpla #plamo #warhammer #gundam

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vezinpharma · 2 years ago

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#pcd pharma company #franchise for general range #franchiseopportunities #pcd pharma business #pcdfranchise #pcdpharmafranchise #pharma franchise company #pcd pharma india #pcd pharma franchise #pcd pharma products #pharma pcd distributors #pcdbusiness #pcdcompany #pharmaceutical #pcdpharma #pharma industry #pharmafranchisecompany #franchise

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merrinla · 4 months ago

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BioWare comments on Dragon Age II

Source: Dragon Age II Collector's Edition: The Complete Official Guide

In this section, members of the writing, cinematic design, QA and editing teams at BioWare offer illuminating insights into the creative processes behind Dragon Age II.

WRITING AS A CORNERSTONE

Jennifer Hepler, Writer: At BioWare, we have a rather unique structure that involves a lot of back and forth between the various departments of the team. The writers begin by designing a story, with space for combat and interesting challenges. This is refined by our technical designers to suit the gameplay needs. Once they approve, the writers begin work on the dialogue. When this is complete, the tech designers implement the plot, and it is tested and reviewed by a wide range of disciplines on the project.

Because many departments are dependent on having finished writing before work can begin - technical designers can't implement unwritten plots, cinematic designers can't stage unwritten dialogue, voice-over and audio can't work on unwritten, unrecorded dialogue, and so forth - the writing often takes place before much of the combat or systems are working in the game. So, while we know there will be tactical combat and we always aim to implement bos fights and fun gameplay, we often don't get to see it in action untill well after the writing has been locked down and recorded.

Though Dragon Age II is a sequel, nothing from this project was known or planned when we were working on Dragon Age: Origins. While we always hoped the game would be successful enough to launch a franchise, that's never a guarantee until it happens. Developing Origins was such a long process and went through so many changes of leadership that we were able to start DAII with a pretty fresh slate. We'd already told our "ancient evil rising" story, so by the end of the Origins project we were able to discuss what the most intersting parts of the world had turned out to be and how to turn those into more central game elements. For example, it was rather confinig to have all mages locked in the Circle tower, so in DAII mage freedom became a central part of the conflict to make their unique situation a broader part of the game.

There are no "big secrets" among the writers as to where the main story is going, and nothing is set in stone. So, while we have general ideas of which stories we want to tell - we'd definitely like to do more with Tevinter, the Qunari, Orlais and the Fade, for instance - exactly what will happen in each game isn't set until it goes into production.

At the beginig of a project, we usually have a list of main character concepts (like "human male rebel mage") that are put together by the lead writer and lead designer. Then all writers het to say who the're interested in. We've generally been very lucky in that our different personal interests have led all of us to focus in on defferent profiles, so there wasn't much competition who has custody of which characters. After that, those basic character concepts get fleshed out by the individual writer and the team. If someone feels strongly about an idea, they're usually allowed to run with it. For example, for Anders in DAII, I really wanted to try doing a cursed Angel-Buffy-style romance, which we hadn't done at BioWare before. We settled on using Anders and Justice from Awekening for this purpose.

It is each writer's responsibility to make sure that their characters have a consistent voice by reading all related lines in all other writers' conversation files, attending their voice-over sessions to work with the actor/actress and writing any non-plot dialogue for that character. One of my custody characters in DAII was Hawke's mother, so I made sure that I reviewed her dialogue and character development from her first appearance in the Prologue through to her final voice-over session. We also discuss communally how major game characters, like companions, feel about each other. This allows our banter to demonstrate a consistent relationship between NPCs and makes them feel like real people.

As writers, we're involved in changing systems that affect character relationships, such as companion approval. Were always looking for ways to use in-game systems to increase the verisimilitude of our protagonists, so something like lessening the impact of gifts compared to Origins was an obvious low-hanging fruit for us. It just didn't feel right that these people who were otherwise defined by the strength of their convictions could be convinced to like you if you gave them enough bottles of cheap wine. We attempted to correct that with the Friendship/Rivalry system in Dragon Age II.

I'd say that the relationships between characters is precisely what makes our series so roleplaying-friendly. In Dragon Age, we made characters who got under people's skins. For example, many players felt sincerely bad when ending a romance with Leliana in Origins, not because it had any effect on their own character's advancement in the game, but because they had come to care about her as a real person and hated making her cry. To me, that's the ultimate achievement as a game writer - to make a player willing to make a disadvantageous decision in a game just to keep a fictional character from suffering.

THE CINEMATIC EXPERIENCE

Frank Gordon, Cinematic Designer: A camera in a videogame has incredible freedom of movement and can be placed anywhere. This is actually a bit of a double-edged sword for us - it allows the creation of some truly spectacular moments, but it is very easy to create an unnatural looking shot. We study film techniques extensively and employ many of the same principles, but we have just as much fun breaking the rules as following them when it comes to composition and movement choices.

Every camera that we place is sending a subtle message to the player, and little things like the angle of a shot can convey a lot of information without the character having to say a word. These types of techniques generally go hand-in-hand with the narrative as they have to support one another or it will feel weird to watch. Ultimately, we conform to the tenets of cinematography in the same way as film, and that is one of the ways that we contribute to furthering our medium as an art as much as entertainment.

John Epler, Cinematic Designer: Technical limitations meant that early videogame cinematics had to be more skilled in the delivery of visual storytelling. Now that voice-over is expected, we have to find a new balance between image and dialogue. For writers, I think there's a bit of a tendency to "play it safe" and write whatever they think might be needed. And that's completely understandable - we don't always manage to hit every line, and so what you thought might be carried by cinematic design could be missed due to time constraints. While the writers sometimes give us a little more than we need, they're extremely accommodating when we ask them to rewrite or remove something, because they believe in the saying "show, don't tell" every bit as much as we do. So if a line (or even a series of lines) can be replaced with a meaningful look or a well-placed gesture, theyre always on board.

Frank Gordon: Cool scenes, especially ones with dragons, are the best parts of our job. They are just as fun to build as they are to watch. We are very open to suggestions and feedback from the whole development team, and when we get a great idea for a scene, we don't mind crunching a little extra to get it done. Having said that, our use of resources is a constant concern and we don't always have time to do everything that we would like to do.

Kaelin Lavallee, Technical Designer: Assessing the value versus cost is important. Good value for reasonable time and effort means the asset will probably make it into the game. Lots of work for a minor detail is not usually worth it. Sometimes, ideas are good on paper but aren't realistic or don't translate well to gameplay. If we don't think that a certain encounter or experience would be enjoyable - or if we do, and it doesn't test well - we discard it and focus on the things that are fun.

For instance, the "gang" quests are a great addition. They provide some relatively inexpensive, yet fun gameplay to the somewhat spacious night-time areas. This gives the player exploration, combat, XP, items and coin and fills out the world at the same time. The letter system works well for quest delivery or reactivity and saves a lot of unnecessary dialogue and cinematics, which made room to work on other areas of the game. These are two examples of win-win situations for developers and players.

John Epler: We'd rather the other departments in the team ask too much than too little, though. When someone says, "I want this awesome thing to happen," there's usually a scramble as everyone tries to claim it for their own. The big scenes are almost always the most fun to do, even if they're the most work, and you end up learning a lot more about both the toolset and your own abilities when you push out of your comfort zone.

Geordie Moffatt, Technical Artist: On Dragon Age II, we tried not to draw any creative lines. We know we can achieve outstanding animation and effects in-house. Several scenes required the creation of custom tools and a lot of R&D across multiple departments, but it was worth it to get that extra "Wow!" factor. For example, the Chantry explosion cutscene was challenging and went through many iterations, but the final version really makkes you sit back in your seat with your jaw open.

Frank Gordon: The capacity for cutscenes completely rendered in real-time by the game engine has really changed the way cinematics are incorporated in games. It's one of the reasons why dialogue looks so different from last-gen titles. The ability to incorporate cutscenes into gameplay and dialogue leads to a more homogeneous, cinematic experience, and I think were just scratching the surface.

John Epler: Clearly, the job of cinematic designer is one that is still in its infancy. We have a role that's more akin to that of a director on a film set than anything else, and this is only possible given the improved visual fidelity of games in the past five years. Currently, there's a bit of a divide - dialogue feels connected but very separate. Eventually, conversations will happen parallel to the gameplay, allowing for a more integrated experience. I see cinematic design playing a huge part in making this happen.

BUILDING ON FEEDBACK

Mike Laidlaw, Lead Designer: We are certainly very aware of both player and critical feedback for Origins. We analyzed and compiled every magazine and internet review. We also highly value what fans think, so we try to take as much feedback as possible into consideration when we move forward with future projects. It's impossible to please everyone, but I think we've managed to hit a "sweet spot" with DAII. It stays true to its roots while improving on many existing systems. For instance, the art of Origins was gorgeous, but it didn't particularly stand out on its own. So our team "hot-rodded" the art. Now we have a bold, easily-identifiable style - a visual signature that is grim, bloody and sexy.

Combat is another example. People loved the action and combat in Origins, but the pace was a bit slow and the mages were highly overpowered. So in Dragon Age II, we kept the tactical elements, big boss battles and the plethora of ability and specializations while revamping gameplay. Now controls are more responsive, each class has a unique and powerful style of play and combat is actively engaging and faster-paced. We also built a strategic, offensive cross-class combo system.

The same applies to narration. In Origins, everyone enjoyed the tough choices and the memorable characters with their own agendas, but the narrative and story took a long time to see the results of your actions. DAII is still filled with interesting conflict and in-depth, realistic characters, but we improved the system by having a framed narrative with a tighter story that responds to your decisions throughout the game.

Gary Conrad, QA: The feedback from QA is also an important part of the design process. This is one of the things that sets BioWare apart from a lot of other developers: QA is there right at the start of a project, working to ensure that all systems are being tested for possible bugs and end-user experience. Being involved from the beginning also means that it is much easier for QA experts to keep up to date with their knowledge of the game. Instead of being thrown into the deep end near the final stage of a project, the testers expand their knowledge of the game in lockstep with its development. This ensures that QA is always up to speed on all the intricacies of a game's mechanics and allows for that extra level of polish.

Chad De Wolfe, QA: Being involved in the creative side of the project also means that we know who to talk to, and we can make suggestions to solve problems or bugs, which helps the other teams with their workload.

On first contact with the early versions of the game, testers didn't necessarily feel challenged. It's only when they got to the end, where they saw how many choices and checks the game made, that they got a sense of the size of their task.

Gary Conrad: There are tons of variables and dependencies in a game as large as Dragon Age II. Methodical testing for such a massive amount of parameters requires legions of spreadsheets detailing all the various combinations of events that have to be tested. These are the times when the testers sit down and work out the most absurd ways possible to break the game. When a title sells millions of copies, this is essential as you just know someone out there will be trying those very same crazy sequences of events.

THE EDITING MARATHON

Chris Corfe, Editor: Editors are an excellent point of contact and liaison between departments because we see so much of the game. We work with writing, technical design, localization, voice-over and cinematic design, and we must view the game through all of these lenses while editing.

Such multitasking has its risks as well as its benefits. This is not too complicated early on as we are focused mostly on story feedback, brainstorming and editing, For DAII, however, we sent the game for translation and voice-over while we were still writing it, so when localization started, we really had to step up. We went through dialogue editing, voice-over and non-voice-over lockdown, bug-fixing and finally the finishing touches: the manual, credits, last-minute text and dialogue tweaks and, of course, the guide!

It took a high-performance machine to pull off a complicated game of this scale that was in constant flux until the last day. This made the project demanding for the Dragon Age team and for external partners like Piggyback, but it was a rewarding experience. We were very fortunate to work with the most talented and dedicated people in the business.

#bioware #dragon age #dragon age 2 #da2

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jakethesequel · 4 months ago

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World of Darkness is funny to me as an outsider because it's kind of accidentally set up regional discrimination in its major products. A major selling point of most of the franchise's TTRPGs is that they're set in the real world outside your window, just also in a secret hidden subculture of fantasy creatures. The two top-selling game lines* are Vampire and Werewolf, and which you play can very often correlate with whether you live in a city or a smaller town, respectively.

Vampire: The Masquerade started it off by strongly encouraging players to come up with vampiric political blocs maneuvering underground in their home cities. Gary, Indiana; Cleveland, Ohio; Chicago, Illinois; Denver, Colorado. American cities in the mid-to-major population range. The setting later gets slightly less exclusive to America, but never really drops the assumption that it will be played in a mid-to-major sized urban environment, especially in the way questlines are often centered around multiple independent populations of vampires aligned to different factions. This is kinda diegetically supported: vampires have to eat people without getting caught, so if you want a decent sized cast of PCs and NPCs you need a large population of humans nearby to mysteriously go missing.

Can leave you without the "world outside your window" appeal if you aren't an urban resident, though, which is where Werewolf: The Apocalypse comes in. All about werewolves living in rural areas, protecting the environment from climate disasters, and being more than a little appropriative of Indigenous cultures. Wherever vampires aren't, werewolves are. Everyone gets a game for their situation, win-win, right? But Vampire and Werewolf are such different games! Sure, they're in the same gothic-punk setting and use basically the same game system; but one is about relatively weak young vampires struggling to maintain their humanity while navigating the complexities of vampire politics, while the other is about relatively powerful young werewolves doing eco-terrorism against the forces of oppressive industrial humanity. They're so different that they don't even share the same metaphysics, despite being supposedly in the same setting: One takes a quasi-Catholic narrative with some Biblical apocrypha to justify all the vampire tropes, while the other invents a hippy-dippy Gaia-worship mythology about the balance and harmony of nature, and both are taken as verifiable facts about the nature of reality within their respective sourcebooks. It's easy to imagine preferring the urban/rural setting of one, but the themes or metaphysics of the other. They're kinda stuck though, Vampire is the most supported WoD game for urban settings and Werewolf the most supported for rural settings.

Accidentally emergent region-locking of TTRPGs! Through no real intent on the devs' part, just generated by incidental worldbuilding and game design choices. It's such a funny little scenario to me, especially living in a place where I could just barely justify either a Werewolf campaign constricted by suburbs and farmland OR a Vampire campaign with a smaller, more intimate vampire population than usual.

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disneytva · 11 months ago

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Chris Houghton and Shane Houghton Extended Overall Development Deal With Disney Television Animation, Ink Overall Development Deal With 20th Television Animation And Disney Branded Television In Multi-Year Agreement With Disney.

Chris Houghton and Shane Houghton, creators of “Big City Greens,” have struck a wide-ranging deal with Disney Branded Television and Disney Television Studios, it was announced today by Ayo Davis, president, Disney Branded Television, during the 2024 Television Critics Association winter press tour in Pasadena, California.

Under the deal The Houghton Brothers will also have full access to legacy and modern Disney IP to develop potential new animated series for Disney Channel and Disney+ based on heritage and modern Disney IP

“Big City Greens,” which debuted in June 2018, has been making kids laugh for four seasons and nearly 100 episodes. It was the No. 2 most-watched kids animated series of 2023, with more than 2 billion hours watched across linear and streaming since it debuted in 2018. The “Big City Greens” franchise will soon expand with a movie, set to premiere this summer. Additionally, “Big City Greens” recently collaborated with ESPN for the “NHL Big City Greens Classic” — a live, animated NHL game telecast, powered by volumetric and motion capture technologies — which is returning for a second iteration this year. The franchise's content also extends into many of Disney Television Animation's hit animated short-form series, including “How NOT to Draw,” “Chibi Tiny Tales”, "Theme Song Takeover" and “Broken Karaoke.”

Under this multiyear producing deal, the Houghtons will produce animated series,films and speciales with Disney Television Animation studio while also providing opportunities to develop live-action projects within Disney Branded Television across linear and streaming platforms like It's A Laugh Productions. Additionally, the deal includes development opportunities for adult animation projects with 20th Television Animation for ABC Network, FX Networks, Freeform and Hulu.

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The Houghton Brothers and Big City Greens have trained the next generation of storytellers at Disney Television Animation with upcoming shows on development like chicano-lead comedy Primos created by Natasha Kline slated for a summer release on Disney Channel, other creators with shows in development include Monica Ray with an original show and potential buyout of Magic Children Doing Things, Hannah Ayoubi with a original show and a potential buyout of Monsters Abroad, both projects originally with pilots at Nickelodeon (Both pilots buyouts have been on freeze at Disney Legal department due Bob Iger's cost cutting and content overhaul at Disney), Raj Brueggemann and Amy Hudkins are also other Big City Greens artists and alumnis with a chance to get their own animated series for Disney Channel.

The brothers also collaborated on “Harvey Beaks,” with Chris serving as a storyboard director and Shane as a staff writer, "Harvey Beaks" creator C.H. Greenblatt has been developing a Disney Channel animated series since 2023.

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