stuffidontwantmyfriendstosee

[retrocgads]

UK 1998

[rad-roche]

another watercolour style pic! these are pretty time intensive (you can't copy paste in rps) the program i do these in isn’t particularly intuitive, but they're pretty therapeutic. speedpaint included

there was some interest in a tutorial as well, so i've put a brief explanation under the readmore

hello hello! i'll just dive straight into the latter half because the first half is all pencil sketching. realistic paint studio has a wealth of options available to you and i encourage you to experiment. i, however, use three

the goal is to build layers. to do this, because of how the brush engine works, you're actually going to have to split your workflow across individual layers. if you're the type of person used to working on one, you'll have to let that go for now

so what i'll do is haphazardly mark the areas i want shaded with the brush i marked in that first picture, a whole colour block

then go back in with that second blending brush and light pressure

then, from there, make a new layer on top and repeat the process, which is how i get those dried down watercolour effects. if you try and do it on the same layer where the paint is already put down, it makes a mess

see what i'm going for? it's not complicated, just a little time consuming. doing that initial grey wash helps put down texture. i do that until i'm satisfied, then take it into another program for touchups and a gradient map. hope this helps somebody!

[thekimspoblog]

Is the video game really subverting its genre? Are you sure it's not just doing clever things within its genre, because otherwise the game would be boring and unchallenging and say nothing interesting? I'm just saying, it's cool and all that the internet allows horror game fandoms to overflow into eachother, but not EVERY 2 hour video essay needs to be spent breathlessly sucking off the devs. Sometimes a game is just REGULAR difficult and REGULAR high-quality.

Besides RPGs made over a decade ago, what is the thing supposedly subverting? Clearly not other contemporary indie horror games, because there is clearly a convergent ethos forming of cosmic horror and beginners' traps; that's just what the genre looks like nowadays.

[plum-drops]

unfinished redraw from 2021, of my favorite ghibli movie ;0;

[kuriokurio]

hyperbolic (2020)

⭐️ commission me through Kofi !

⭐️ check my Instagram !

[eerna]

Personally I'd rather see the entire Hollywood movie industry fall apart than the strike fail. Movies won't stop being made, they will just stop being sponsored by worker abuse, and if that means no more millions of dollars worth epics then so be it idc

EDIT: OK this is gaining way too much attention while being vague and hyperbolic and ranty so let's make one thing clear - I am NOT lauding projects which don't adhere to union requirements, this is about the fact that big studios pretend like they are the only ones who can give you entertainment and if they can't make projects, you'll be sad and bored forever, and also that the only worthwhile pieces of media are projects worth an ungodly amount of money. This is obviously a lie, since there have been studios that agreed to work under new union requirements, and that's what I mean by "movies won't stop being made" - there will always always always be projects, big and small, that won't ignore what unions have to say. And in a dreamlike hypothetical future where big Hollywood industry falls apart, other smaller and more manageable studios will rise to take their place, and they'll have a cautionary tale on what will happen to them if they try to push it again.

[collinsportmaine]

“Universal Studios has announced that Doja Cat will star as the Bride of Frankenstein in the newest reboot of the Dark Universe.”

(If they didn’t, they should. Couldn’t be any worse than Tom Cruise’s “The Mummy”.)

[lackadaisycats]

Since it's Indie Animation Day...

I figured I'd repost that list of other animation creators on YouTube that I shared last week, separate from it's original, weird context. I've also included several more entries based on suggestions in the comments. Thanks for the feedback! General Content Warning: Some of the below is not for kids, or contains violence or other subject matter some viewers might find distressing. Please use your adult discretion. Also, this is not a list of moral endorsements. I know some of these creators personally, but many of them I do not. While I have tried to make sure I'm not listing anyone who is a criminal or otherwise objectively harmful person, I don't have encyclopedic knowledge of every little internet drama that has gone down (and chances are I'm not super interested in hearing about it all because it's really difficult to tell fact from fiction from hyperbole around here).

Anyway, check out some Indie Animation:

Far-Fetched Worthikids Satina | Scumhouse Noodle and Bun Punch Punch Forever Ramshackle Noodle Papajoolia | Pipi Angel Hare | The East Patch Jonni Peppers Salad Fingers Monkey Wrench Studio Heartbreak Felix Colgrave JelloApocalypse Odd1sout (started indie, got picked up by Netflix) Allie Mehner JaidenAnimations Lumi and the Great Big Galaxy Cloudrise | The Worlds Divide Telepurte RubberRoss James Lee ENA Godspeed | Olan Rogers Ollie and Scoops Meat Canyon Port by the Sea Kekeflipnote Boxtown Kevin Temmer Weebl Joel Haver CircleToons Long Gone Gulch Atlas and the Stars Animist Skibidi Toilet A Fox in Space Alex Henderson Talon Toniko Pantoja Sr. Pelo Hullabaloo Kane Pixels (started indie, picked up by A24) Homestar Runner Fennah Gods' School Alan Becker Dungeon Flippers JazLyte Psychicpebbles (started indie, Smiling Friends picked up by AS) Piemations vewn Metal Family Dead Sound chluaid Jacknjellify Betsy Lee | No Evil My Pride Cranbersher GeoExe | Gwain Saga Horatio the Vampire Mech West Playground | Rodrigo Sousa The Brave Locomotive Finchwing (+ check out other Warrior Cats animators) Quazies SamBakZa Kamikaze: Trial by Fire Parasomnia

[syoddeye]

consequence / hyacinth

price x f!reader | 1.9k words series directory tags: exes, angst, references to depression. a/n: an ex boyfriend. a story. a kiss. ☕

a surprise trap door. an errant self-driving car. a jet engine falling from the sky. anything to get you out of this.

hyperbolic? maybe. necessary? absolutely. forty-five minutes, and you haven’t gotten a word in edgewise. ben drones on about his studio and his upcoming exhibition. you brought this on yourself by doing the polite thing and asking him how are you?—lesson learned. 

it hurts. it blisters to hear how happy and successful he is and how he’s moved on from the breakup. as if he didn’t leave you hanging with a dinner you couldn’t afford after admitting that he cheated. he hasn’t asked about your wrist, your old flat, or your art career.

eventually, he stands. sets you free.

“i should go, long trip home,” he says, eyes glued to an incoming text. “it was lovely to catch up. thanks for holding onto this junk for me.” he hoists the box off the seat beside him and tucks it under an arm.

you let him kiss your cheek. “yeah. of course.”

he doesn’t look back. you wish you could do the same. 

you order another cider and resolve to not remain looking like the miserable slump you are.

~~~~

>> are you in town?

>> if you are, i could use a drinking buddy

john’s hair is still damp when he spots her at a two-top in the garden, nursing a cider. he waves, then ducks inside for his own drink. his head buzzes with whatever this invite means.

he checked with the florist twice to ensure the flowers arrived intact at her place. made the woman on the phone read back his apologetic note and bit his tongue when she reminded him it wasn’t her ‘place to say whether it sounded good enough or not’. he never heard if she liked them.

there’s a stiffness to her smile but relief in her voice. “you came.”

“‘course.”

“how’re you?”

in six words or less, he knows something’s off. he eases onto the seat, trying to exude a sense of humor and not telegraph his one hundred questions. “undercaffeinated, but i’m more interested in how you’re doing.”

“i noticed you hadn’t stopped in.”

“didn’t think you wanted me to.”

“about that. it was rude of me to kick you out without warning.”

guilt isn’t what he wants. he adjusts course to shoulder the blame. “i crossed a line.”

she isn’t having it. “please, it was rude. i know you weren’t trying to…”

“cross a line? overstep?”

her mouth wavers undecided between a frown and a smile. “you didn’t know. i could’ve explained. spare you £45.”

you. little.

“so you did get them. the note, too?” she nods. “then why the radio silence? hyacinths a bad choice?”

“no, they’re perfect. i just. i sort of froze. i had a rough couple of days.”

the hangdog expression she hides with the glass makes his chest hurt. “i’ve been told i’m a decent listener.”

“it’s a long story.”

“i got time.” he offers quietly. “just got back. caught me in the shower, actually.”

her eyes narrow, curious. “did you dress and come straight here?”

“well, it’s generally frowned upon to walk around naked.”

he beams at her laugh, her shaking shoulders. for a moment, her whole face lights up. it relaxes her posture as it peters off, leaving her looking less like a cornered mouse than when he initially sat down. 

“so.” john pushes carefully. “the paintings.”

her smile lapses into something unreadable, a pause to find the right place to begin. her fingers trace the table’s grate.

when she finally speaks, she refocuses. meets his eye. good. he doesn’t want to twist her arm to get the story. the tale starts innocently enough.

the woman is hannah, her best friend and a ceramicist. they met on the first day of her mfa and were paired for the terms project shortly thereafter. they quickly became inseparable, until his girl met ben.

~~

“i can’t talk about hannah without talking about ben. to talk about ben, you need context.”

john leans in. his thick eyebrows lift in a silent go on. 

“they say it happens when you’re not looking, right?” you nervously laugh, smiling at the table sheepishly, unable to meet his eye. “well, i met ben at a networking event. last place i thought i’d find a date, rubbing elbows with alumni. but he introduced himself, said he liked my portfolio book. told me about his work and all these shows he’d done. he took me to lunch the next day.” 

you wince at the memory, crystal clear and acutely embarrassing. how starry-eyed you’d been. your throat dries, sandpaper scraping down your esophagus at the thought of ben scribbling his number on your wrist. you clear your throat.

“then he asked me to dinner. during lunch.”

if john’s disgusted or disappointed, he doesn’t show it. his self-control is infuriating yet reliable. steady where you’re shaky.

why can’t i be like that?

you push on.

“without diving into minutiae, i eventually had to introduce hannah and ben. they hounded me, because if i wasn’t with one, i was with the other.” 

“jealous of each other.”

“i think so. i agonized. they’re big personalities, i thought they’d clash.” you replay their first meeting in your head. you have a thousand times. “and they did.”

~~

‘differing artistic opinions’ and ‘absurd expectations’ are the root causes of the squabbling she describes. her words, not his.

(he thinks of less charitable ways to characterize interpersonal conflict.)

barrages of text messages competing for her attention. underhanded attempts to get her to cancel plans with the other. emergencies that turned out to be trivial. guilt trips. one particularly ugly screaming match at a mutual friend’s birthday.

(if it were him, he thinks, they’d’ve lost privileges long ago.)

“it took weeks for them to come around to the idea of each other.”

“what was the catalyst?

“me again.”

john hums. he watches her rest against the back of her seat, her arms crossing and tightening over her chest. compressing herself as much as she can. embarrassment rolls off her in waves. he doesn’t say a word, afraid he’ll cut what courage she’s mustered off at the knees.

she has her own idea.

“can we—are you finished?” 

his glass is two-thirds empty, and he polishes off the rest. a fist squeezes his heart when her lip twitches at his abruptness. she makes it difficult to be collected with his interest.

“where to?”

“where else.”

it’s a challenge, defending oneself from an insistent, bullying cat. cece shows no mercy.

“she likes beards.”

“does she see many beards?”

“just a theory.” she leans against the cushions, watching him and the cat, a glass of water held in both hands. “yours is the only one she’s tried.”

in the end, after negotiations, cece loafs between them. her purr a white noise.

“where were we?” her tone suggests she knows precisely where.

“the truce and you.”

her eyes find a spot past his head to rest. he’s tempted to tilt his head into her line of sight, assuming that nudging her on home turf’s a safer bet than in public. but the hesitant, almost imperceptible exhale that leaves her keeps him still.

“alright. so. me.” her chest expands with another sigh. “i was already struggling two terms into school. really struggling. when i applied, i had this clear vision, but then classes started, i met my peers, and suddenly it felt like everything i thought i knew just disappeared. nothing looked right, nothing felt right. i pulled constant all-nighters. sat through brutal critiques. i’m lucky i had thick skin from my job, otherwise, i might have dropped out to join a convent or the circus.”

immediately, his mind conjures the image of a tattooed nun, swiftly followed by a tattooed strongwoman. his lip quirks. he hastily buries what those do for him. later. 

their gazes meet briefly to share a smile.

she licks her lips after a drink and sets the glass aside.

“they realized their bickering wasn’t helping, so they put their heads together. kind of forced us to become the three musketeers. they helped me where they could, and things smoothed out between them in the process. he found her ceramics shows to exhibit. let her move her wheel into our joint space. we were in close quarters, and i needed it. i needed them.”

a couch width is suddenly too far a distance with how she crumples. something difficult passes over her face, and she excuses it with a shrug.

“despite their joint efforts, i barely scraped by that first year. i was burnt out, miserable, and i spent two weeks holed up alone, trying to not go off the rails.”

oh, sweetheart.

“where were they?”

“hannah was visiting family stateside, and ben was traveling for work.”

not that his schedule allows flexibility, not that he’s behaved the perfect partner in the past—but john knows instantly that he would not have left her. he’d’ve been there. the more he hears about ben, the more he wants to meet him. come to a violent understanding. impart a lesson or two on loyalty.

“when ben returned, he told me he decided to move here to ‘reconnect with the country’. something about ‘capturing and celebrating the bucolic’. he wanted long-distance, but i, uh, i said i’d rather quit and move with him. we fought and he called in reinforcements. at hannah and ben’s…encouragement, i finished out the term. and it nearly killed me. as you know, i withdrew.”

john often reads between the lines. a vital skill, interpreting indirect and unintended communication. what’s unsaid. shame pulls her inward again, a moment where she seems smaller. swallowed by the enormity of whatever she doesn’t say. can’t say.

“i know they were disappointed. they didn’t need to say anything. hannah felt abandoned, and ben burdened by my tagging along. i got this awful feeling the morning we left and i ignored it. i was convinced leaving school behind and taking a break from art would fix me.” 

cece stretches, stands, and allows herself to be scooped up. 

she holds the cat under its front legs, bringing their faces closer together. “but it’s like that saying or whatever. ‘wherever you go, there you are’. i got here. settled in. and i was still a loser.”

it’s instinct.

“you’re not–”

she bulldozes.

“i started working at the café. ben booked murals. he painted the big one a few streets over.”

he’s familiar. “the one with–?”

“yep.” she releases cece. “he tried to get me to paint. he begged me. but i couldn’t do it. things took a turn last summer when ben won a huge job in the city, which snowballed into an invitation to exhibit. hannah got busy with the final stretch of the program, and couldn’t visit much.”

“so you were alone again.”

“yeah.” her voice thins, then breaks. “alone again.” she digs the heels of her palms into her eyes before a single tear drops off her lashes. 

john’s beside her before doubt seeds itself in his mind. one arm gathers her to his side, his chin lifting then settling atop her head when she tucks closer. his other arm winds around her, and the slight tremors of her distress ripple through him. she’s quiet, not quite sobbing, but sucking in deep breaths. he rubs her back in a slow circle, murmuring nothings.

“what do you need?” he asks as she gradually stills.

she sniffs. 

“sleep.”

without thinking, he kisses the crown of her head. “okay.”

john only catches a glimpse as she hands him a quilt. but he sees them. blue hyacinths, pinned and drying above her bed.

“sorry. this is all i got. you set?”

he smiles at her sweet, tear swollen eyes. 

“yeah. i’ve got all i need.”

[ducktracy]

I'm curious, do you have a favorite classic Disney short? 👉👈

OFF THE TOP OF MY HEAD Hockey Homicide gets the crowning achievement for that! i've found all my favorite Disney shorts are the ones most (successfully) derivative of Warner cartoons. Clown of the Jungle fits the same niche... i also watched Little Toot for the first time recently and as a lifelong fan of the Andrews Sisters i LOVED IT. THE MUSICCCCC IS STUPIDLY GOOD and i could get lost in its spectacle.

i will say i just watched Duck Pimples for the first time the other day and LOVED IT. genuinely a little burned up it took me so long to see it. it's like... Who Killed Who meets Rooty Toot Toot meets The Great Piggy Bank Robbery. i never expected to see this sort of abstraction in a Disney short. Donald is unsurprisingly my favorite of the characters (well, technically the Aracuan bird is but he barely exists </3) and so i'm excited to see more of his filmography. i tend to prefer '30s Donald but this was very fun

I'M VERY HYPOCRITICAL WITH MY DISNEY TASTES.. i'm averse to the shorts because something about it feels very manufactured goody two-shoes wholesome, and yet i absolutely love the earlier Silly Symphonies, Dumbo and Snow White are my favorite Disney films and i've cried over both multiple times, etc... i really need to do more Disney research because it's been such a blindspot for me. i think i react most strongly to the spectacle and lushness of the art and just the historical magnitude of the studio, and all of that is mainly concentrated in the '30s. when they begin to shed that for their short films and instead try to imitate other studios or do their own attempts at comedy, i'm thinking "well, i could just be watching the Warner or MGM alternative of this instead". IUNNO. i'm at a very odd limbo with Disney. i articulated it a bit more concisely elsewhere (this is what i get for confining all my ramblings and essays on Discord..)

COMPLETELY RAMBLING. BUT YEAH! Hockey Homicide is probably my favorite as of right now, but i enjoy a lot of the '30s Silly Symphonies i've seen as well. i like Donald and want to see more of him--my uncle told me i'd probably like Uncle Scrooge and so i would definitely like to commit to reading Carl Barks' comics because my only real exposure to Barks is a LOONEY TUNES story he did for Dell with Porky and Bugs that is a bit... his ducks are more appealing. but there's some fun grandiosity in the staging you wouldn't get elsewhere. i'm not a huge adventure fan but i'm very curious to see what he has up his sleeves.

nevertheless, i've been liking more Disney the more i've been exposed to it and react most strongly to the '30s stuff. i think i'm more interested in its historical significance than the actual meat of the shorts themselves, which is why i should probably do my research about them. the most well known and easy to research animation studio is the one i know the least about (this is hyperbole but it is particularly egregious to me!)

[c-rowlesblogs]

im really glad the gollum game is not good. there is no timeline where that game should have been good. that is an obscure ps2 game that slipped through the cracks of time and accidentally got developed in 2023. it was meant to release on ps2 and have a hilarious but fun and dedicated speed run community and that was it. if it was good we would have had some quantum issues

I do think the jokes about it being a PS2 game that fell through time are funny, but I do wish the game had been good. I think it could have been wonderful as a smaller-scale game more focused on atmosphere and story rather than platforming and repetitive little quests. It actually makes me a little sad that the backlash to the game is SO gloating and hyperbolic, because it’s got lots of people insisting a game about a character like this could never be good, and who would want to play Gollum as a protagonist anyway, and it’s like… me! I’d want that! I’d love a videogame set in a world of grand epic battles and world-conquering evil plots and wise, powerful wizards and brave warriors where I’m playing as some weird little freak who just gets swept up in the middle of it all.

There is a universe where this point-and-click game studio made a smaller, moodier, more story-forward game that still of course would have its detractors (“ew, who wants to play as Gollum?”) but would be polished and satisfying enough to be a solid game for people who would like that sort of experience. And I do wish that universe was this one.

[that-left-turn]

Who ‘created’ Daryl’s arc for TBOC?

During the promo circuit, the showrunner and especially the actors will say a lot of things that aren’t necessarily true about the creative process. I’ve mentioned before that actors will always exaggerate their involvement and depending on the specific circumstances of the show and the authority the actor/character has vis-à-vis the audience, this is a marketing strategy that’s employed by the studio/network. Take whatever’s said about the BTS process with a grain of salt during an active promo campaign because chances are, it’s not exactly accurate.

(Critical thinking is everybody’s best friend 🙃)

I’ve mostly avoided talking about Norman on here. For a couple of reasons. One being that I don’t say everything I think, especially not in public and another is that I know how far the powers of a non-writing executive producer extends vs a studio executive. That’s not me absolving Norman of any wrongdoing. (He’s done plenty of that 🙄) It’s me pointing out that the puppet master isn’t the guy in front of the camera.

Real talk, though. Norman should obviously not have any creative influence over the story. Plotting requires attention to detail; you have all these bits and pieces, from all the characters’ arcs, which have to fit together and service the story engine. Individually, they might look like something completely different from what the final, big picture, version will be. Screenwriting has a different process from long-form fiction—it's not something you wing and you don't write sequentially. Norman doesn’t have the attention span or the vision for any of that.

When an actor says they came up with an arc—unless it’s all hyperbole, because that happens too—what it usually means is that the actor chatted with the showrunner and told them what they’d like for their character. It could be anything from a cool new weapon, a hairstyle or a big thematic arc. These are requests. The showrunner will do whatever they want in the end. If it fits the story and they can please their lead, great. If not 🤷‍♀️ C’est la vie.

[themousefromfantasyland]

As an Animation fan I must say, Animation fans are so annoying sometimes.

When DreamWorks suddenly had two hits in their hands, suddenly people were loudly declaring how amazing they were, how much better than Disney they were, how they were in their Revival Era, and would singlehandedly save Western Animation.

But now that DreamWorks unfortunately had some misfires, something that no studio is immune to, people are now turning against DreamWorks, calling their movies soulless, and saying they are already dead.

All that before a highly promising film even came out.

Can you guys please wait a little bit before spreading ridiculously hyperbolic statements? This tango is so annoying.

And DreamWorks deserves better than only being praised in order to bash Disney.

[matt0044]

The Showrunning Scapegoat: A Troubling Fandom Phenomenon

Knocking about from show to show, from fandom to fandom, you inevitably start to pick up on reoccurring patterns when it comes to the inevitably discourse to come.

One has been this weird sort of "Auteur Theory" that manifests as hate. Where all those pissed off by this season finale, by that episode or by that game installment are pinned on one or at least a few figureheads in the creative team.

Now I focus on television and movie franchises due in part to how with novels (from the ground up) or webcomics, you do have significantly less cooks in the kitchen with one or a few guys making the story decisions. While publishing companies will have a say, nine times out of ten we are seeing what the writer full intended.

But with TV shows, you will have multiple episode directors, multiple episode writers and multiple studio heads overseeing the whole shebang. Yes, there will be a guy or two in charge of the story unfolding and its production. Often the creator of an original show or somebody hired for an installment of a greater franchise.

Buuuuuuut to act like the flaws or features of the show in question start and stop with the one showrunner is... dumb. However, it's a kind of dumb that's depressingly not hard to parse out. A major factor in this is how many fan actually know that television involves many moving parts... and how overwhelming that all is for them to take in.

So fans gotta water it down to lionize/demonize one figurehead or a few. Especially when they have a prescense on Social Media and/or have made themselves known through various interviews. Executives or shareholders who are usually old fogies won't have a Twitter account and when their decisions influence a poorly received creative choice, they're spared.

Twitter often enables a person's impulse to be quick on the trigger and put their two cents before stopping to ask, "Do I have all the facts or am I just rushing things?" Either way, an angry fan often needs an outlet for their growing ire and see the creator as the party who should take responsibility.

It's very much a "The Customer Is Always Right" mentality that even the best of us have to grapple with. The creators and their team make it look so easy to write good, animate good, what have you but only because we don't see the back-breaking process they go through. As much as we don't have to like it, some vocal disagreements border on an angry mob.

To them, their harassment is heroic actually. They have been wronged by the thing and the one credited to the thing are their enemy. And with others feeling the same, they feel like part of the Avengers.

TL;DR - Fandom needs therapists. Like… that’s not even hyperbole.

[archer-kacey]

Joey Drew is Gay and there's no way around it (Pt 1)

I want to immediately preface this by saying I never want to assume that a character is gay, straight, bi, etc. Usually the creator will confirm this type of thing, or it will end up being confirmed or implied later down the line. Joey, however, has something unique in comparison to the rest of the cast- we have his autobiography. This paired with information found in the games themselves and additional novels already give us a pretty big library of information to draw from. We have most of his life story given to us on a silver platter, and in my opinion, the non-heteronormativity speaks for itself.

Let's start with Dark Revival, because it's an easy starting point to offshoot from.

Memory Joey tells Audrey this: for Joey Drew, a family was something he always wanted, but could never have. For most people, this probably translates as Joey being too absorbed in his work, himself, and the studio to raise a family. While Joey did have a big ego and undoubtedly had his hands full, I struggle to believe that this would prevent him outright from even trying.

First off, if Joey's end goal was "a family," then there are a million questions that immediately come up. What kind of "family" was Joey striving for? Dark Revival seems to at least confirm that he wanted a child of his own, and to be fair, solely having Audrey seemed to complete him.

When Joey was alive, there were some pretty easy ways to accomplish having a family. One would be the heterosexual route, marrying a woman and having a child, and arguably this would be the easiest. He could have also adopted, especially if he was Ace, or if there was a possibility he was just an infertile man.

Here's the thing, though- he didn't do either of those.

Now, I fully understand that if Joey were a mouse stuck in a maze, he would take the longest possible route to get to the cheese. He's a bit stubborn and childish, and developed his god complex faster than a Polaroid camera photo. BUT, his two brain cells kick in whenever there's something he truly wants.

Joey doesn't operate on brute force. He outsources absolutely everything. He'll wrap up an entire web of people into doing his dirty work, but he himself wants to take the path of least resistance. So, when dealing with a personal matter that can be very easily tended to...why the hell ignore the entire thing? Having a kid would have worked pretty smoothly with his self-interests.

The way Joey goes about actually "having" kids is very strange. Firstly, there's Bendy, born via Ink Machine. Secondly, there's Audrey, also born via Ink Machine.

Hey Joey, quick question...why are all your kids birthed via giant metal box?

Oh, I'm not kidding about Bendy being Joey's child, either.

In Illusion of Living, Joey states that he views Bendy as his son, and this is specified to not be a hyperbolic statement. Nathan also volunteers the information that Joey felt the same way about Bendy as he did about his own son (Nathan Jr.) Joey also describes Bendy as his muse and his messenger. Joey's philosophy, The Illusion of Living, is the belief that fiction and reality are the same thing, which feeds into a heavy insistence that Bendy is real, and he scoffs at the idea that people would dare think he isn't.

Illusion of Living was released in 1942. So, starting in at least 1942 (though I suspect earlier,) Joey was very protective of the image of this character, and convinced himself that this creation was his own son.

In short, he was already attempting to fill a childless void with a fictional substitute.

However, the sad fact is that Bendy was ultimately a filler child that still couldn't satisfy him. But when Audrey came into being, that was it. Joey wanted a human child, and Audrey was the closest thing to that, hence why she was his last attempt. So he settled down and raised her until his passing.

But we’re not done talking about Bendy yet. Joey's intense connection to Bendy has far-reaching implications.

PART 2>>

[ponett]

i am so concerned about the possible sonic generations remaster that i honestly can’t believe sega destroyed all community trust in re-releases of sonic games in a matter of just two collections

I haven't heard anything about a Generations remaster rumor, but I'd take anything like that with a grain of salt. We've had a ton of Sonic remake/remaster rumors over the years that fizzled out. The alleged Sonic Adventure 1 and 2 remakes. The big "leak" from Zippo where he said we'd be seeing a collection that could include games like the Advance trilogy or Pocket Adventure for the 30th anniversary. These are a dime a dozen

I also think the idea that Sega can't do decent Sonic rereleases anymore is hyperbolic. Origins is perfectly fine. Colors Ultimate is the only one that really sucks, but that was outsourced to a port studio that had never even worked on Sonic before, and who knows if Sega would go to them again. (Blind Squirrel hasn't even released any new remasters since Colors Ultimate in 2021. They did some sort of rebrand, and might be shifting towards original games.)

Basically, just. Don't worry about it. Who cares. We don't know if this is even happening. If it's announced and looks great, cool. If it looks like shit, oh well. Don't buy it. The original still exists