#I still have the visual static thing

[pikacrafter101]

As someone with a severe enough astigmatism in their right eye, many of these (mostly just 1 through 5) also hold true for people born with poor sight in just one eye even if it's attended to by age 8(ish). Neuroplasticity is really cool, but means that having very bad sight in just one eye means that your body will naturally stop trying to use that eye. Thankfully mine hasn't gone lazy and I still had a little bit of sight from it, but it's "staticky" at best and acts mostly as peripheral vision. Since astigmatism can be concurrent with Sensory-Processing Disorders (like ASD), feel free to keep these in mind with character creation or whatever.

writing advice for characters with a missing eye: dear God does losing an eyes function fuck up your neck. Ever since mine crapped out I've been slowly and unconsciously shifting towards holding my head at an angle to put the good eye closer to the center. and human necks. are not meant to accommodate that sorta thing.

[lemongogo]

can i ask.how u guys practice ur creativity <3 how u practice ur imagination or like.. how u experiment with ur art, how u come to ideas and how u develop them.<3 pretty please <3

[anulithots]

magic masking on studio resolve is not free.

I am sad.

THis would've helped a lot with masking out my hand for Anuli videos.

(I'm having the urge to do the whole 'Anuli puppetry videos' again because it's just easier to see them in the environment <-- how big they are and how they move. Plus, there's something charming about how you can kind of tell what expressions they have based on their body language. If I took Anuli outside, it would also help with the whole 'lighting' situation....

but the problem is...

hands.

If Anuli was fully posable, I'd just take pictures and be done with this. But ANuli's floppy. Therefore I want videos.

There is no easy way to get my hands out of the video. Magic masking -where AI does the masking for you- is on the paid version of my editing platform and the regular masking is manual and tedious and not sustainable.

I have no idea how to make a rigging system.... and I'm not changing anything about the doll itself.

I may try a bunch of skewers and wires... then I'll see if I can mask that out. That may be easier.

Otherwise I'll just have to keep my hands in. )

Here's a messy little video where I try a bunch of things out. Feedback on what to do with this whole dilemma would be much appreciated. I want minimal post-production and a decent final product, for the visuals... I would much rather work on doing fancy things with the sound design.

ALso also, this very very bad masking out of hands is after an hour of fiddling... I cannot do that for a four minute video. I refuse.

I'll see if I can find some long skewers and I'll work something out.

@osbob-the-existent

skip to 11:40 for some attempts with the visuals

.... maybe I just want an excuse to play with dolls outside.

[savanir]

A sister's love

The justice league hurriedly responds to a call for backup at a little in the middle of nowhere place by the name of Amity Park. 

The situation had seemed so simple. 

A Star Sapphire had suddenly shown up on Earth which isn’t immediately cause for concern but she was unidentified, so a lantern was definitely going to have to look into it if only just to make sure that nothing bad was going on. There are two planet side green lanterns, Simon and Jessica. So they responded to handle the potential situation. 

Things rapidly spun out of control when they realized it wasn't just a Star Sapphire. 

"I hate to say this but we're gonna need backup" Simon tells Cyborg, "the Star Sapphire has brought something with her. My first guess was a white martian but..." The other one can do some manner of density shifting, and he can go invisible, but they know ways around that. Whatever this one is doing isn’t that though.

"Why isn't this working!?!" Comes Jessica's slightly panicked voice in the distance, "he keeps just going through my creations! dammit, think think Jess" She tried to contain him with a flamethrower construct but he just ignored it, like he’s seemingly ignoring everything else she’s throwing at him.

"Our constructs have zero effect on the other one, the alien, meta? man I don’t know he’s human shaped" 

"What is the situation other than the two hostiles?"

"Uh we got some government agents who are retreating because of the Star Sapphire wrecking their stuff. And the civilian people here seem to be falling under her influence, so she must be human. She's from here, she needs emotional connection to pull that stuff off."

The people are furious, the violet glow around them clearly indicates that the girl is using her ring to amp them up but if Simon didn’t know any better he’d say this was red lantern stuff.

Well there are more ways to whip people up into a frenzy, by hurting their loved ones for example.

There is a brief moment where it can be heard that Simon and Jessica try to get into a more advantageous position. 

Simon grunts, "dammit, those agents seemed to have weapons that actually worked on the other guy but the Star Sapphire used her violet constructs to shield him and destroy their guns and we've been struggling since" this whole situation stinks, he has a weird feeling about all of it.

"Simon this is really really bad, i can't keep restraining all these civilians, we're running out of energy fast!"

Cyborg tries to get a visual on the situation from his position in the Watchtower while he’s notifying any league affiliated heroes who are nearby and available. 

But all of a sudden he realizes there is just nothing, just a big lap of void where the two lanterns are supposed to be, there is no cctv footage, no cell towers, no internet connection. Just what the hell is going on here.

Then the audio transmission starts to violently crackle.

A new voice laced with static can suddenly be heard, "There you two are"

"Shit"

"Is the justice league coming yet? Are they finally going to do something?" the staticy voice continues.

"Stay back you-"

"Or maybe they still need more of a reason to act" 

The audio cuts out. 

"Jessica! Simon! Come in!" ... "Shit!" 

Cyborg finally gets a clear picture with the satellite cameras and now sees the entirety of Amity Park has been covered with a crystalized violet dome. It’s then that he remembers the story Hal told quite some time ago now about a Star Sapphire who managed to put a whole planet into love stasis.

They are gonna need more help with this one he thinks.

Meanwhile Jazz is still shakily trying to figure out how her new pink powers work, now that all the fighting is over (for now), the GIW forcefully expelled from Amity, and the two Justice league people captured and restrained.

Everything happened so fast, one moment the GIW had knocked out her brother and were forcefully taking him away and while she saw them drive off (she was pretty sure she was screaming) a pink thing just froze her in place, She was pretty sure someone said something about “great love in her heart” and then she was… well she was flying and- and there wasn’t really any time to question things then so she may have kinda gone and ripped into the van that had Danny.

She’s pretty sure she healed him, and then things just completely spiraled out of control from that point on. and now she’s here.

She’s pretty sure this is crazy villain behavior, she’s going to get put on some sort of watchlist and then she’ll never get to be a psychologist but it’s fine.

Her little brother is safe, that’s all that matters. And she will keep it that way.

[jaewritesfic]

Melon!AU

Actual writing now, based on this post:

“What,” Tim breathes out faintly, “the fuck is that?”

Language, Bruce thinks faintly, though he doesn't manage to get it past his lips.

He is a man who prides himself on being ready for anything, but he most certainly didn't expect something like this when responding to the Batsignal tonight.

“That is a Pit Demon,” Damian's voice asserts through comms, grave in a way that betrays his collected mask. He's unnerved. “There is nothing else that could be.”

Bruce is unnerved too, though he refuses to show it.

Gordon had half the block cordoned off so no civilians would come through by the time Bruce and Tim - the closest at the time - had arrived on scene. The alley itself is blocked in by police cruisers, though the officers are staying very firmly behind the line and not approaching.

It's no wonder why.

The…thing backed into a dead end alley looks like it's made of smoke and shadow, all long sinuous lines and dangerous angles.

It's vaguely Humanoid in the sense that it has a long torso, arms and a head. The arms are too long, the fingers curved and wickedly sharp. The face is a well of deep shadow, a smooth slate broken only when it opens its jagged mouth to show off a full arsenal of fangs.

The only other facial features are the solid, glowing Lazarus green eyes. Wide and lamp-like, they give the distinct feeling that the creature's sights will not miss anything.

There are no legs. Just the sinuous curves and overlaps of a long smokey tail. It whips about with agitation.

Floating like mist on the water is a head of white hair, edges fuzzy and undefined like it can't decide whether it's a solid or a gas.

The creature lays with its chest nearly flat to the ground, propped up only by those horrifically sharp hands and poised like a predator ready to push off into a sprint.

Glowing Lazarus water seems to pool slowly beneath it, streaked here and there as evidence of past movement.

Bruce finally finds his tongue to question Damian. He can see his youngest standing on the opposite roof of he and Tim, the two buildings that form the alley their perch.

“You've seen something like this before?”

Damian hesitates. “...no. But there are stories of things coming out of the Pits. I doubt I need to explain why this seems to be one of them.”

With that color green shining out of its face and streaked across the alley? No. No, he doesn't.

“Do your stories have any clues on what to do when one shows up?” Tim asks, unable to tear his eyes away from the creature.

Damian scoffs. “Close your eyes and hope your end is quick.”

“Lovely,” Tim bites out, voice a little higher pitched than normal.

“We won't be doing that,” Bruce responds dryly, two taps coming through the comms notifying them of Black Bat's arrival.

Bruce looks up and has to search for her for a few seconds before he can make her out in the shadows of Damian's rooftop.

“I'm still five minutes out,” Dick comms in. “What exactly are we looking at here? Can Oracle give a visual with any cams?”

“I wish,” Oracle chimes in. “Even through the mask footage I have no idea what they're seeing. The feed is corrupted to hell and back whenever it's in frame.”

“Really? In person it looks like-”

Tim is cut off when the officers below make some kind of movement the monster clearly takes issue with, the snarl that almost physically ricochets off the brick walls making everyone wince.

It's like TV static and the crackle of lightning striking a tree, like glaciers cracking and shifting underwater all rolled into one.

The hair on the back of Bruce's neck stands on end.

“Fuck. It's like a living shadow, but all sharp and wrong and angry-”

“No,” Cass cuts in quietly, silencing everyone.

“...Black Bat?” Bruce questions lowly.

“Not angry,” she responds, as sure as ever when assessing a target - no matter what kind of target.

“Scared, hurt. Guarding chest, trying to hide it. Wants to scare us away, but making no move to attack. Posturing.”

The thing about Cass is that they trust her reads implicitly - her reads of people.

She wouldn't speak up if she wasn't certain, and she wouldn't be certain if she didn't see something painfully human in the creature below.

“...what do you suggest?” Bruce asks after a moment of tense silence, trying to reassess the creature and see what she sees.

He at the very least wants her opinion, so they can weigh it in formulating a plan here.

Cass keeps looking for a long moment, before she looks across the gap at him. “Needs help. Reach out - at least try.”

Masterpost

[artilite]

fuck you *lethal companies your in stars and time*

(long) exposition under cut (spoilers for ISAT + lethal company logs)

This au takes place around the time of sigurd's logs/before them (i haven't decided if Sigurd's crew exists here or not yet)!

Siffrin was someone who used to live on the Golden Planet before it got eaten. They may not remember anything beyond being found in an escape pod, but they're still paralyzed by fear when getting close to the selling window. He's always first in the facilities, making jumps, braving traps, and heading as deep as he can for scrap.

Mirabelle and Isabeau are the medic and fighter respectively, who both came from the same moon colony. They were both pressured into taking jobs by a work-based society, and applied for the company under the impression that it was a short, high-paying internship with nebulous risks.

Odile is their resident ship manager. She keeps a watchful eye over everyone and relays information about monsters, scrap, etc. In absolutely dire situations, she may come help with scrap. Despite claiming to be a first-timer, her badge says Leader??

Nille and Bonnie ended up with the crew after taking a chance to run away from their parents. Seeing a high-paying job that provided everything and would take them far away sounded too good to pass up. Nille lied about Bonnie's age to take them with her. After seeing the reality of this job, though, she regrets not finding another way out. Bonnie is permanently on ship-duty; they mainly type in whatever numbers Odile tells them. Nille is also a fighter, though she prefers the weighty stop sign as opposed to Isabeau's shovel.

Loop, after hundreds upon thousands of quotas, dying every possible death, learning everything they could- even the real identity of The Company- realizes there was one thing they've never done before. They've never died to The Company. Desperate for a way out, and haunted by the whispers and screams beyond the wall, they give themselves up. Maybe that would finally satisfy the monster- to have devoured every last piece of the Golden Planet. Maybe their crew could finally rest easy that way. Well, they didn't loop back. But through the dark and damp, there's static on the walkie talkie. Loop picks up, and hears their own voice just beyond the wall.

(Loop's design is the most different by far, since instead of consuming a star, they themselves are slowly getting digested. They're inspired by the visual of red crying faces from the logs :D)

[wileycap]

So, uh, Netflix Avatar, huh? Yeah. I guess I'll make a really long post about it because ATLA brainrot has is a cornerstone of my personality at this point.

So.

It's okay. B, maybe a C+.

That's it.

Now for the spoilers:

The biggest issue with the Netflix version is the pacing. Scenes come out of nowhere and many of the episodes are disjointed. Example: Aang escaping from Zuko's ship. We see him getting the key and going "aha!", and in the next scene he's in Zuko's room. And then he just runs out, no fun acrobatics or fights, and immediately they go to the Southern Air Temple where he sees Gyatso's corpse, goes into the Avatar state, and then sees Gyatso being really cheesy, comes out of it, and resolves that conflict. Nothing seems to lead into anything. The characters don't get to breathe.

The show's worst mistake (aside from Iroh fucking murdering Zhao) is its' first one: they start in the past. Instead of immediately introducing us to our main characters and dropping us into a world where we have a perfect dynamic where Aang doesn't know the current state of the world and Katara and Sokka don't know about the past, thus allowing for seamless and organic worldbuilding and exposition, they just... tell us. "Hey, this is what happened, ok, time for Aang!" There's no mystery, no intrigue, just a stream of information being shoved down the audience's throats and then onto the next set piece.

The visuals are for the most part great, but like with most Netflix productions, they just don't have great art direction. It feels like a video game cinematic, where everything is meant to be Maximum Cool - and none of the environments get to breathe. It's like they have tight indoor sets (with some great set design) and then they have a bunch of trailer shots. It's oozing with a kind of very superficial love.

Netflix still doesn't know how to do lighting, and with how disjointed the scenes are, the locations end up feeling like a parade of sets rather than actual cities or forests or temples. As for the costumes, Netflix still doesn't know how to do costumes that look like they're meant to be actually worn, so many of the characters seem weirdly uncomfortable, like they're afraid of creasing their pristine costumes.

The acting is decent to good, for the most part. I can't tell if the weaker moments come down to the actors or the direction and editing, but if I had to guess, I'd say the latter. Iroh and Katara are the weakest, Sokka is the most consistent, Zuko hits the mark most of the time, and Aang is okay. I liked Suki (though... she was weirdly horny? Like?) but Yue just fell kind of flat.

The tight fight choreography of the original is replaced with a bunch of spinny moves and Marvel fighting, though there are some moments of good choreography, like the Agni Kai between Ozai and Zuko (there's a million things I could say about how bad it was thematically, but this post is overly long already.) There's an actually hilarious moment in the first episode when Zuko is shooting down Aang, and he does jazz hands to charge up his attack.

Then there's the characters. Everybody feels very static - Zuko especially gets to have very little agency. A great example of that is the scene in which Iroh tells Lieutenant Jee the story of Zuko's scar.

In the original, it's a very intimate affair, and he doesn't lead the crew into any conclusions. Here, Iroh straight up tells the crew "you are the 41st, he saved your lives" and then the crew shows Zuko some love. A nice moment, but it feels unearned, when contrasted with the perfection of The Storm. In The Storm, Zuko's words and actions directly contradict each other, and Iroh's story gives the crew (and the audience) context as to why, which makes Zuko a compelling character. We get to piece it out along with them. Here - Iroh just flat out says it. He just says it, multiple times, to hammer in the point that hey, Zuko is Good Actually.

And then there's Iroh. You remember the kindly but powerful man who you can see gently nudging Zuko to his own conclusions? No, he's a pretty insecure dude who just tells Zuko that his daddy doesn't love him a lot and then he kills Zhao. Yeah. Iroh just plain kills Zhao dead. Why?

Iroh's characterization also makes Zuko come off as dumb - not just clueless and deluded, no, actually stupid. He constantly gets told that Iroh loves him and his dad doesn't, and he doesn't have any good answers for that, so he just... keeps on keeping on, I guess? This version of Zuko isn't conflicted and willfully ignorant like the OG, he's just... kind of stupid. He's not very compelling.

In the original, Zuko is well aware of Azula's status as the golden child. It motivates him - he twists it around to mean that he, through constant struggle, can become even stronger than her, than anyone. Here, Zhao tells him that "no, ur dad likes her better tee hee" and it's presented as some kind of a revelation. And then Iroh kills Zhao. I'm sorry I keep bringing that up, but it's just such an unforgiveable thematic fuckup that I have to. In the original, Zhao falls victim to his hubris, and Zuko gets to demonstrate his underlying compassion and nobility when he offers his hand to Zhao. Then we get some ambiguity in Zhao: does he refuse Zuko's hand because of his pride, or is it his final honorable action to not drag Zuko down with him? A mix of both? It's a great ending to his character. Here, he tries to backstab Zuko and then Iroh, who just sort of stood off to the side for five minutes, goes "oh well, it's murderin' time :)"

They mess with the worldbuilding in ways that didn't really need to be messed with. The Ice Moon "brings the spirit world and the mortal world closer together"? Give me a break. That's something you made up, as opposed to the millenia of cultural relevance that the Solstice has. That's bad, guys. You replaced something real with something you just hastily made up. There's a lot of that. We DID NOT need any backstory for Koh, for one. And Katara and Sokka certainly didn't need to be captured by Koh. I could go on and on, but again, this post is already way too long.

It's, um, very disappointing. A lot of telling and not very much showing, and I feel like all of the characters just... sort of end up in the same place they started out in. I feel like we don't see any of the characters grow: they're just told over and over again how they need to grow and what they need to do.

To sum it up: Netflix Avatar is a mile wide, but an inch deep.

[ad-caelestia]

harnessing and using external energies

one of the mistakes i made as a beginner witch is using my own energy to power spells, which is exhausting. a good way to combat that involves channeling energy from an external source - i will use the moon as an example.

no, it's not to say that channeling energy is easier or not exhausting in itself - it's to say that you have options at your disposal to keep yourself from quickly and constantly burning out.

channeling energy - gather energy from an external source such as the moon. i like to imagine a silver string that connects us together, a tether if you will. typically i visualize this energy as a ball of light forming in my core or my hands.

direct - once you've gathered your energy, where do you want it to go? directly into a spell? saved for a rainy day? into a physical object of sorts? or maybe keep it within yourself?

charging - using that energy to power spells, enchantments, items, etc.

battery - store energy for later use - i like using quartz towers - then you can use that to power objects without having to channel energy every. single. time.

you can easily compare this concept to charging electronics.

there's a couple ways to charge a phone - you can either plug it straight into the wall, or charge up your power bank first and use that to charge your phone - channeling and charging in magic follows the same process.

the phone in this example is the vessel that holds energy.

electricity from wall outlet = moon aka energy source

charging cord = tether to the moon for channeling

phone = the thing you're transferring energy to aka charging

the intent to plug your phone in to charge = directing energy

actually plugging your phone in = charging

power bank = energy you gathered and stored away

choosing the outlet vs the power bank = immediate use of lunar energy vs storage for later use

once your phone is charged, what are you gonna do with it? open tumblr? send a text? now you get to decide where that energy is going to be sent and what it'll be used for (storage, spells, enchantments, etc.).

tips & advice

keep in mind that your phone isn't going to charge if it's dead and you only leave it plugged in for like 5 minutes. take your time to sit with the moon, have a conversation, meditate alongside one another, and get to know each other before asking for help.

i don't advise channeling energy directly into yourself to save for later use. it will eventually burn out, drain you, and then you're back to square one.

stored energies still need to be maintained and recharged, just like a battery.

what to do afterwards

sever the tie that connects you to the moon - be nice and give thanks.

if you've used energy to cast a spell immediately after channeling, close out your spell however you want (like, taking down a circle if you've cast one).

if you chose to store that energy away instead, set the vessel aside for later use.

ground yourself to shake off any lingering static, so to speak.

as with anything, your mileage may vary - do what works for you and with whatever energy you choose. good luck!

♡ luna

© 2025 ad-caelestia

[transformers-spike]

I cannot be the only one who wants to bang peepaw Alpha Trion plEASE TELL ME IM NOT ALONE 😭

I will never stop being an old man enjoyer. Give us your spike, peepaw

“I’m relieved we aren’t the only ones in this universe.” The words echo in his processor like sand in the desert wind. Fading in and out of consciousness under the rubble, he clings onto the softness of your voice, the faded edges of your smile burnt into his memory. He cannot make sense of your shape anymore, it’s a blotch of ink in his vision, something he recalls but cannot fully visualize. His mind reaches out to you, so close yet so far away. With every step he takes, you grow smaller, and still, you patiently wait for him with your arms outstretched. Like old times. You are dead. This he knows. Unequivocally dead. His digits twitch, warnings encapsulate his vision, reminding him each and every nanoclik of wakefulness that the next in-vent could be his last. He can’t help himself. Duty has led his life for so long, bestowed upon him by his creator, and he cannot fall back now and forgo his promise to protect Cybertron. But he is weak; pain receptors growing numb from the boulders crushing his frame, limbs quivering from a battle long lost. Primus forgive him, allow him this final comfort. Cycles ago, your crew had first established contact with Cybertron. It was a message sent across space, a simple signal that would tie your fates forever. The Council debated answering, fearing you could pose a threat to their planet, but there were only three ships with only a handful of members each. They chose fraternization over static silence. Communication was difficult, but somehow, someway, you understood each other just enough to arrive on their planet. Surprise struck him when he saw your kind, small, frail and soft to the touch. Your people were just as startled as them, but in your optics he saw something greater; a delight in meeting fellow sentient beings. They took in your crew and treated them like brothers and sisters, communicating through gestures and drawings. You could not speak their language, but they could learn yours. Knowledge was shared among you, tales of your worlds, their history, your technology, your people… Perhaps your place among your own was what drew him to you. Standing on the sidelines, you watched and took notes, occasionally serving as a sketch artist to exchange information. The others were mingling with the Council, asking questions, telling stories, showing what machinery brought you to them. But you kept your distance, politely nodding along and busying yourself with your notebooks. When he approached you, taking slow careful steps, you nearly dropped your pen in shock. His size was already intimidating by Cybertronian standards, but for a human? He could barely imagine the primal fear you felt when met with someone of his stature. You recovered quickly despite it, uneasy but maintaining your composure. Having knelt down to your level, he offered you servo, the sand within it shaping into a miniature version of your ship. You blinked, clutching your notebook to your chassis. Then, after a drawn out silence, you smiled, optics gleaming with wonder. That was the start of your companionship. You would sit in his servo, looking up at the night sky, speaking words he could barely understand but tried his hardest to learn. He recalls bits and pieces, meanings he managed to grasp through what you taught him. It wasn’t long until your time together grew intimate. As a prime, he was so focused on his duties that he barely got the chance to relax, much less interface. Things were… difficult due to the size difference, but there were workarounds. Charge runs through his fuel lines at the memory. How you would brush your digits against his valve, testing the waters so to say, before slipping your servo inside of it. There was no true relief in the interface, no way for you to properly satisfy each other. But you were both content, savoring every moment of your companionship. You would press your lips to his spike, working your servo in and out of his gushing valve. It made his frame shudder and his optics glitch.

He touched you much the same way, digits rubbing at the sensitive nerves between your thighs, gazing down at you lovingly as you grit your denta and arched your optical ridge in pleasure.

[krystella-shifts]

All things˚˖𓍢ִ໋🌟₊˚ʚ 🌸 ₊˚ Visualisation˚˖𓍢ִ໋₊˚ʚ₊˚

Visualisation whether you're using it for shifting , manifesting, or to distract yourself while inducing the void state. It doesn't matter if you're manifesting LOVE, MONEY, FAME. or wtv This post will help ya

This will make visualisation much more effortless and fun instead of stressful and forceful

Struggling with visualisation? Here's why:

If you're the perfectionist type of person, you're probably overthinking it, trying to make it perfect, "this exactly greenish-blue curtain with white flowers pattern is spread 57% beside my window", visualising EVERY detail, like your subconscious will get it wrong if you don't or something. is someone holding a gun to your head 😭 like calm down, You're supposed to relax, let yourself, your mind freely play around with it! YOUR MIND KNOWS EXACTLY WHAT YOU WANT. Trust yourself.

When you let your mind be free, let it play around you might even get ideas and clarity! For example, like when I let my mind wander I got a better idea of how I want one of my DR bedroom to be, i didn't thought about curtains and plants but my mind suddenly showed my the image and it was SO PERFECT AJAJSH like yes bish that's exactly what I want! So I got this idea because I wasn't forcing anything, any picture. So your mind knows even better.

⟡☾How to make your visualization better☽⟡

So, you’re trying to visualize your dream life, but the image keeps going blurry like a bad WiFi connection? Don’t worry, bestie I got you. 😔💅🏻 Here’s how to level up your visualization game so your manifestations hit different.

• Details?

It's definitely better to visualise in details like for shifting, the colour of the walls, the feel of the sheets. and for manifesting, if you're manifesting df let's say, visualising looking in the mirror, your lips shape, etc. But you don't have to cuz there's no right or wrong way. You should do what works for you the best. Don't put pressure on yourself.

If someone has trouble seeing the image with details, it's okay to not worry about the details, you can use other senses, like how it feels, smells. That brings me to our next pointtt

• Engage all your senses (Because Your Brain is Dramatic Like That)

If you can’t see the image clearly, FEEL it, get THE FEELS. Hear it. Smell it. Taste it (only if applicable, pls🫢😭).

Don’t just see it—feel the emotions, hear the sounds, smell the scents, and touch the textures, that it feels SUPER real.

Example: If manifesting money, imagine holding crisp bills, hearing them rustle, and feeling the excitement. (I can smell it rn 😤💸 all this bread so yummy yeah)

• Can't hold the image?

use motion not just still images. (cuz I wanna see it in 3d, in motion), It used to happen to me too, i picture something and it start to fade or get blurry. But in that case i realised it's easier to hold it if it's a moving scene, like a scenario. Instead of holding a still image, visualise a small scene. Static images fade, but movement keeps them alive. Movement makes it real. ✨

• Embody the Feeling NOW

Don’t just think about it—feel like it’s already yours. (Spoiler alert: it is). 🥚🥚ample, If u r manifesting confidence, being a pretty little risky baddie, visualize yourself walking tall, speaking smoothly, and radiating certainty. 🤌🏻✨

• Repeat & Reinforce

Wonder why sats work so well? Visualization is most effective when done consistently. Try visualizing for a few minutes every morning or before bed when your mind is most receptive. so like my girl says it, DON'T STOP AND JUST REPLAY, REPLAY-AY - iykyk,iyk,lmk cuz Lee know >:)

I feel i ATE with this one. I hope this helps you pookie!!~ (⁠*⁠˘⁠︶⁠˘⁠*⁠)⁠.⁠｡⁠*⁠♡ lmk and remember ALL THE GIRLS ARE GIRLING GIRLING (the amount of kpop refrences in this post MUHAHAH) if you get all the references ily

[chaos0pikachu]

4 Minutes and the Cinematography of Nipples

I said before that I thought 4 Minutes was pretty instantaneously the best looking BL on the market for 2024 after one episode. Which, not gonna lie, is a pretty big fucking claim. There’s been a lot of BL that’s come out that’s looked good, and I do think there’s been a steady improvement overall in the market in the last few years. Personally I think Japanese and Korean BL have a stronger production quality over a majority of Thai BL but like, if that’s a hot take I guess I prefer my food spicy. 

The point being~ if I’m gonna make such a hyperbolic statement, well I better back it up right? 

So I’m gonna break down a few scenes from the first episode, what I liked about them, why they worked for me, and why on a technical level I think 4 Minutes has just got it going on.

For better readability you can also check out this essay here.

Sidenote: my google docs kept trying to autocorrect “Bible” to “the Bible” and idk how to teach google I mean the hot Thai actor and not the book of Jesus. 

To start, I’m going to break down this scene featuring Great and his nepo baby cat: 

I thought starting with this scene would be good because it’s such a low-key scene and honestly making these simplistic scenes visually interesting is very difficult! But if you have the basics down, the foundations of cinematography and film making, these simpler scenes can be really memorable. 

Like yeah we’re all gonna remember this scene because shirtless Bible and oh my god Akira!? - I have only recently learned who Akira is; why is this cat getting a bigger bag than me? - but beyond that, what makes it cool to watch? What makes it interesting? What information does it showcase to the audience? 

One thing I added to the video was a grid for the rule of thirds. 

Rule of thirds is a shot composition technique applied to both film and photography. It’s the grid you see if you film a homevideo and helps a Director and Cinematographer figure out where to place the subject or subjects of the shot. The idea is the gridlines show you where you “should” place the subject(s) of said shot. 

Like everything, the rule of thirds is a guideline in filmmaking, not a hard and fast unbreakable rule. Filmmakers like Wes Anderson like to play more with central composition shots, rather than ROT. 

Anyway on to the opening shot, right after our credits and we’re moving into the shot. 

To start, the first thing I notice is the scene’s color grading. Color grading in film is the manipulation of raw film footage to create specific color tones throughout a project. Sometimes this grading is more pointed and obvious, think The Matrix, while in other films it’s not as obvious but still very prominent, think Killers of the Flower Moon. 

It’s not that the before credits scene looks entirely, jarringly different from the opening scene, but the hospital scene is surrounded by whites and blue tones, it’s darker, and only a single source of light exists. It gives the entire scene a much more frantic, uneasy aesthetic but it’s not so far off from the darker muted tones of the next scene that it feels jarring or out of place. 

The second big thing I noticed in the episode is the use of aspect ratio. I’m not 100% sure what aspect ratio the production used exactly, but the use of widescreen as opposed to full screen in my opinion, gives the episode a more cinematic feel to it in comparison to other Thai BLs. 

Example, if you look at Century of Love (2024) it appears to be filmed in the standard full screen - which I believe is 16:9? - while 4 Minutes is widescreen (thus the black bars at the top and bottom). Widescreen can give a show a more “movie like” quality to it which is part of the vibes I get from 4 Minutes. 

(source)

Onto Great’s actual introduction scene.

We’re not starting the shot with static movement, but with a camera panning right. I’ve talked about camera panning and such in BL before and it’s something I’ve found doesn’t happen as often as it should. Which is a shame! It’s such a simple technique but it adds so much. 

Imagine if we entered the frame with a static center shot, and then a cut to Great sleeping and turning off his alarm clock, and then another cut to above the bed. Think about how much more boring that could be visually. 

Instead, we enter the scene with movement, panning over and creating some interesting visual framing. 

So here’s our opening shot, do you notice anything interesting? To start, what I like about this shot other than the panning movement in, is that we don’t see Great’s face yet. In fact we don’t see his face in full until about 30 seconds into the scene. This builds anticipation, yeah we all know what Bible looks like, but for the audience who doesn’t this helps build anticipation. 

Who is this character? What does he look like? What’s his deal? 

It also engages the audience more, if you notice part of the composition of the shot has Great in the mid-ground slightly blurred out, while the foreground emphasizes the things on his desk. He’s distant from us, the audience, sleeping off his hangover not yet ready to “join” the world yet. 

Here’s another two more things I like about this shot:

Lines. 

Using lines and shapes can make a scene more visually interesting and invoke different feelings to the viewer. In this shot, I get a sense of symmetry, the camera panning right, lightly drags across the screen alongside the lines below and above Great, almost creating a frame within a frame effect. As if Great is boxed into a clock in and of itself. 

You can also see the use of balance in the scene as well, connecting back to that visual theme of symmetry as well as blocking our view of Great’s face. The lava lamb and champagne bottle are almost the same height, which helps create balance in the shot. The champagne bottle informs us Great has been drinking or does drink since it’s positioned so close to his bed, whilst also continuing to hide his face away from the viewer. 

I also like that the lava lamp is a bright spot of color. The tone of the scene is mostly muted greens, and gray, but the bright orange lava lamp and even the pink champagne bottle draw our attention but don’t overwhelm us either. It provides the scene with some warmth but doesn’t offset the overall tone of the color grading. 

And then, the last bit of this shot:

We have Great knocking over the champagne bottom, and turning off his alarm clock. Notice that the alarm clock and the champagne bottle hit those ROT dots almost exactly. There’s also the use of lines by the length of Great’s arm - I just forgot to add a line I’m a failure, a fake, fml - we see him knock over the bottle, and then we follow the line of his arm directly to the alarm clock which is also a shape, a circle. 

I like that they used a clock with a specific notable shape, since by the end of this scene the clock is relevant to the story as a whole. Using a shape makes the clock more visually noticeable and memorable to the audience. 

So in the next cut we’re above Great - just like Great’s gonna be above Tyme, fuckin hell I’m corny - in a medium-full shot and there’s a couple things I really like here. 

I really like the use of lines here with the bed going in one direction but Great’s body going another. It’s disconcerting, and off kilter a bit. 

The use of patterns plus the opposing symmetry, whereas in the previous shot the lava lamp and champagne bottle were providing balance, here one side of the bed is patterned, while the other isn’t. This creates a sense of imbalance and makes the shot more visually interesting.

This medium-full shot at a high angle makes Great smaller, and continues to showcase his dishevelment, keeping him distant from the world itself. Also notice the lack of color here as well. 

What could this say about Great as a character? Or his story? 

So this next cut is the one that actually inspired me to write this essay to begin with and know what I’ma eat some crow here. I originally said it was a great ROT shot but I was wrooooooong. It’s definitely a center composition shot. 

Notice as well, the bed itself is its own shape - rectangle - center in the frame, and yet the shot almost looks unbalanced again because of that singular patterned rug. It’s the only pattern in the entire shot, not even Great’s pillows have noticeable patterns on them. 

The above view camera angle in a full shot creates almost an omnipresent feel, as if the audience - or something else? - were looking down upon Great. Whose face we still haven’t seen! It makes him smaller, less powerful, and almost vulnerable. Shots like this are often used in horror films like James Wan’s Malignant (2021) where the horror spector will be looking down above the would-be victim. 

Another thing I like about this scene though is we have Great moving. It would be simpler and easier to have his phone just by his alarm clock, or under his pillow, but think about how much more visually interesting it is that he has to move down the bed and reach for his phone. It creates action in an actionless low stakes scene. 

And now, 30 whole seconds in and we’ve finally seen Great’s face! 

Fun fact, with the ROT grid the gridlines fall right across Bible’s nipples. That’s not a film analysis, just something I noticed entirely intentionally. Thanks Madam Director Ning Bhanbhassa Dhubthien.

The actual shot is in center composition again, as Great rolls over and reveals his face the camera begins to zoom in. 

This creates movement in the scene instead of leaving the camera to statically observe it’s now, finally, inviting the audience to meet Great. Pulling us in towards him whereas before we were kept at a distance. Great’s awake and, well as ready to meet the world as somebody with a raging hangover can be. 

I also like how Bible is moving constantly in this scene; he rubs his eyes and nose, he twitches his fingers, titles his head back and forth, etc it’s nothing revolutionary but it’s appreciated. 

When the scene cuts, we get this shot: 

I didn’t put the red dot on his nipple, it just landed there. This is all Madam Director Ning chepie. 

But you can see how Great’s body is landing on all those gridlines pretty solidly. Also in the background we see his alarm clock again, a bright blurred circle in the distance. I also like the angle of this shot, as it creates depth in the frame, with Great’s head being in the foreground his lower body in the mid-ground and the background blurred out. 

What follows is Akira appearing in frame. Which was really difficult to capture so I don’t have a screenshot. But what I really like is Akira entering the frame out of focus. They could have just cut to Akira, but instead they opted for Akira to enter the frame which is more interesting. 

When we do cut, Akira is firmly on one of those dots so we don’t miss them in the frame. I think it’s also interesting that we’ve pulled out again, into a mid-full shot, hanging above Great, and we see that clear symmetry line again between the patterned rug and the regular carpet. 

I also really love that when we got to Great sweet-talking Akira and feeding them we’re not just doing a cut, we’re panning downwards which continues to add movement to the scene. And we get that moneyed sponsor shot! 

Durex can’t pay for everything okay?

So in the final bit of this scene we get focus on Great, who’s in focus, before he gets up and leaves the frame where the camera then focuses on the clock behind him. 

See how in the first frame the background is all blurred out, but once Great walks out of the frame - again, great that he walks out, movement!! Y’all don’t understand how boring 1000 Stars was for me to watch because of the lack of this stuff okay? - and then the focus shifts to the clock. Which is round. 

God I know that sounds so dumb, but imagine the clock without that ring light bit on it, it’s just a tiny little rectangle. Not as fun or interesting to look at right? Or as noticeable especially from a distance? 

This shift in focus also tells us “this is important” whatever “this” is. The subject of the shot goes from Great to the alarm clock but they are positioned as equally important. We’re meant to pay attention to this seemingly innocuous item, which we learn later in the episode is time. We’re meant to remember and note that time will be important to the story - I know with a title like 4 Minutes you’d fucking hope time would be important but have y’all ever read Youtube comments? It’s rough out there for visual comprehension okay? 

So all in all this scene is only 1 minute and 40 seconds give or take. It’s very short, but I don’t think it was boring at all. I think it’s a really solid introduction to a main character. Think, Korn didn’t get this much time to showcase his introduction, his scene is shorter - though also well done - which showcases which character is more of a story priority. 

This scene eases the audience into the story, inviting us to wake up into the world like Great is. It uses techniques like lines, shapes, symmetry, color and focus to make what could be a very boring scene into an interesting one. 

There’s so so much I probably and certainly missed, I’m far from an expert, but I hope I was able to articulate what I liked about this scene, and why I think it looks good. 

Stay tuned for more if I can manage to focus long enough to breakdown more scenes lol

Also red dots on Bible’s nipples are just funny to me it be what it be. 

Further Reading: 

Composition in Cinematography / THE LAST OF US

Center-Framing vs Chaos-Cinema: Mad Max vs Transformers

Camera Framing: Shot Composition & Cinematography Techniques Explained [The Shot List, Ep 2]

The Ultimate Guide to Camera Shots (50+ Types of Shots and Angles in Film)

Color Grading 101 - Everything You Need to Know

Mixing Film And Digital Footage: Killers Of The Flower Moon

In Praise of Subtle Cinematography

[teaboot]

Can I ask about the ocular migraines? When you go blind, is it a darkness kind of blind or a staticky kind of blind? I experienced a staticky kind of blind for about twenty minutes and threw up during it (fortunately I knew my way to the bathroom), and I’ve always wanted to know what it was, since I’ve never heard of something like that happening before

Okay, phase 1: "Oh hey there's a smudge in my vision, I wonder why"

Phase 2: Oh I can't read because the letters are falling sideways, time to call in sick

Phase 3: (denial)

Phase 4: Everything is still *there*, visually, but its like your brain isn't translating what the shapes and colours mean. Is that rectangle a leg? Is that a helmet or a shoulder? Why is there static? Are those my hands or someone else's? Can probably still walk but will trip and bump into things and wobble and be confused

Phase 5: Hurt

Phase 6: Vision Comes Back But So Has A Million Toothaches That Live In My Skull (5-7 hours, personally)

Phase 7: Try to be unconscious. Maybe yartz a lil. Probably pass out in a bathtub, which is stupid, but cold water feel good

Phase 8: Pain go bye bye

Phase 9: Be a lil out of it for a day or two, then bounce back

Not a doctor obviously but from personal experience it sounds like you may have had one, yeah

[lovebugism]

ooooo what abt for blurbcember being alone on Christmas Eve w Steve x reader & once one of them realizes they are alone when they called they speed over and spend the night together, maybe confess some feelings too👀

hope you like it!! — you call steve when you end up alone on christmas eve and he comes over without thinking twice, 'cause that's what best friends are for, right? (friends in love, hurt/comfort, 1.4k)

blurbcember ˚ ༘ ೀ⋆｡˚

Just a moment ago, Steve Harrington was on his couch. He had an arm around his girlfriend and a scruffy cheek on her hair as they watched A Christmas Story for the third time that evening. His dad was snoring over it from his spot on the recliner while mom watched on from the kitchen, where she’d just popped in another batch of cookies. 

Everything smelled like vanilla. Like home and the holiday season.

Then the phone rang. His mother picked it up, hiding her wine-drunk slurs as she answered. It was for him, of course, because it was you. “Feel like spending Christmas Eve getting drunk with me, Harrington?” you’d ask through the static of the receiver.

It’s like he blinked and he was in your childhood bedroom, splitting a bottle of your dad’s expensive liquor with you in your twin-sized bed.

The too-big house down the street was dark and empty, with you abandoned inside of it. The entire mansion was horribly clean — too clean — like no one actually lived there. The only Christmas decoration in the whole place was the tiny Christmas tree on your dresser. It basks the two of you in a golden hue while you laugh together in similar colors.

“So your parents just… left you here?” Steve presses, lying on his side at the edge of your mattress, propping his weight on his elbow.

You nod and take a swig from the glass bottle. Your lips shine with the amber liquid until you swipe your tongue against your buzzing bottom lip. “Holiday party at the Carmichael’s. No kids allowed,” you answer. You manage to smile as you say it — ‘cause you haven’t been a kid for a while — but it’s still slightly forced. 

Steve can see right through it.

“Still,” he insists with a furrow to his brow as he takes the bottle from you. “That’s really shitty.”

“Well, my parents are basically the king and queen of being shitty, so…”

Steve scoffs an emotionless laugh and raises the whiskey to his lips. The thing glugs when he tips it back. He takes a small sip, just enough to coat his tongue, because he knows he’ll have to go back home eventually. He licks at his shining rosy lips, just to feel how numb they are. 

“Your parents are shitty, and mine are… total fakes,” he concludes with a lopsided, sorrowful grin.

“Drunk enough to vent yet?” you tease, smiling down at him with your cheek tilted to your shoulder.

“No— I mean, there’s… there’s nothing to vent about, you know? They’re just, like, putting on happy faces for everyone at the party like they weren’t totally falling apart two days ago. Now it’s just like… nothing ever happened.”

You figure by “nothing to vent about,” he means that there’s a world of shit to vent about but that he doesn’t really feel like getting into any of it. You don’t blame him. He’s not the one who called his best friend on the very brink of falling apart, anyway.

“Is that what you were doing when I called?”

He nods, blinking slow and smiling soft. “Thanks for saving me, by the way.”

“Bet you’re missing loads of fun right now, Harrington.”

“Yeah, right,” he scoffs and passes the whiskey off to you. “Right now, my dad’s passed out in his Laz-E-Boy, and my mom’s watching the same Christmas movie over and over and over again.”

The visual makes you laugh.

Steve laughs because you are.

“Yeah. I mean, Nancy’s into it, I guess, but that’s just because she’s way too nice to—”

“Nancy’s there?” you blurt before you mean to, gaping with a shock you couldn’t hide if you wanted to. You thought he might’ve been as lonely as you were. You figured that’s why he dropped everything for you without thinking twice.

Your confusion makes his face screw up. He’s too oblivious to understand. “…Yeah?”

“You said you weren’t doing anything important!”

“It wasn’t important!” he exclaims, right before realizing how insensitive he sounds. He cowers, as though Nancy could somehow hear an entire block away. “Well— Not that she isn’t important— It’s just that—”

He stammers hopelessly. ‘Cause he doesn’t know how to say “you’re more important to me” without sounding like a total douchebag.

“I just wanted to make sure you were okay,” he settles on, suddenly shy about the whole thing. His eyes fall to your comforter because it’s easier than meeting your eyes. His fidgeting hands pluck at the tiny pills of cotton.

“Steve…” you whisper in an airy sigh because you don’t know what else to say.

He can’t tell if that’s good or bad, but his name sounds like honey spilling from your lips, anyway.

“Her brother’s there, though! And all his little shithead friends— so it isn’t like she’s totally alone,” he assures you in a single breath. You can’t tell if he’s saying it more for him or for you. “Plus, you said you were here by yourself, so I… I wanted to make sure you weren’t alone.”

“And they say chivalry’s dead,” you tease despite the distinct warmth swirling in your chest.

Steve flashes you a crooked grin to hide his similarly hidden feelings. “Well, whoever said that has never met me. Obviously.”

“You should really go back home, though,” you tell him. It’s not like you want him to leave. You’d rather him be here all the time. You’d rather it always be Steve and never anybody else. But it can’t be like that. It can’t ever be that way.

“What? No!” Steve shouts with his face screwed up in offense. The lights from your Christmas tree leave harsh shadows on his chiseled features, making them that much sharper. 

“Your girlfriend’s there, Steve. And all of your friends—”

“Not you, though. And you’re, like, the most important friend I have.”

“Steve,” you groan.

“I’m serious,” he insists, even though he’s laughing at your dramatics. “I’d much rather be here with you than pretending to be happy with everyone else.”

Your chest aches — a dull, hot, and empty ache. It’s like his words are a knife, and he’s just pierced your sternum with it. “You’re not happy?” you ask him in a fragile, broken whisper.

“I mean, I am, I’m just…” he trails off when he can’t find the words to say. He sighs and lays back completely, relaxing for the first time all night beside the warmth of you. His honey eyes concentrate on the shadows on your ceiling until he’s brave enough to speak.

“I don’t know… I love Nancy and everything— you know that. But… I never felt like I had to stop pretending around her, you know? It’s like I’m still trying to impress her. All the time. And with you, it’s just like…” 

He loses the words again. Your relationship is much harder for him to describe. The way he feels about you can’t be put into words. He’s not sure that there’s any that even come close. 

“I don’t know— It’s just easier,” he concludes with a heavy sigh. “Don’t read into that too much, alright? I’m just tipsy.”

He’s only had a couple sips of alcohol. He’s not even close to being tipsy. He’s content, at best, but you’re probably more to blame than the whiskey.

You know all of this, too, but decide not to press it too much.

“Noted,” you nod, huffing as you lie on your back beside him. His fuzzy Christmas sweater scratches you when it rubs against the skin of your shoulder. You can smell his deep, woodsy cologne and the hot chocolate on his breath. You shouldn’t get as lost in it as you do.

You wonder if he ever has the same problem with you — if the smell of your perfume, or your hair, or your strawberry lipgloss drives him crazy — or if it’s all in your head.

It might be better kept up there, either way. 

Saying anything out loud might change things too much.

“But, you know, just for the record or whatever,” you start in a gentle whisper and with a teasing glint in your eye. 

Steve’s already smiling when he turns to look at you. He falters slightly when he realizes how close you are — enough to feel your whiskey-coated breath fan against his chin. He doesn’t know why it makes his heart race. 

“I’m glad I make it easier on you,” you confess, so suddenly soft, as your sparkling eyes flit between both of his. “‘Cause being with you is easier for me, too.”

Steve’s rosy lips curl into a quiet smile. 

His chest sparkles with a foreign emotion, and he isn’t completely sure why. Your words feel almost like a proclamation of love, but maybe he shouldn’t read into any of it too much. Not how gentle your words sound or how you’re looking at him right now. 

You’re just tipsy, after all.

[p0rk-guts]

"Pork you literally posted Charlie a few days ago why are you so Hazbin obsessed rn-" ssshhhhshhsshhs.h........ anyway

VAGGIE REDESIGN! And I changed her name also bc I'm jus like everyone else fr. Meet Verbena :)

BREAKDOWN BELOW!👇🏾+ Exorcist uniform redesign :3

Starting with her name this time. Back when she was still a sinner apparently she was Salvadorian and since she's (apparently?) not a former human at all I decided to take a small creative liberty with her decent and made her Venezualan instead. SOUTH AMERICUH❗❗✊🏾 I'm pretty sure Verbena flowers are native to South America so that's where the name comes from.

Onto the design! I don't have much to say abt her design honestly. It's not egregious, but it doesn't really speak to me either. It looks like simple formal wear or uniform with some strange meaningless accessories attached. And those weird itty bitty shoes that look like they're part of her thigh highs... I'm starting to think all the characters's shoes were a last minute afterthought. All and all it tells us nothing about her character. The hair wings are cool tho so I did steal those

Also the whole deal with her eye is strange to me. Why Is the floating X there??? It's a real physical part of the world, other people can see it. Do pink X's always float over angel wounds? If her arm got chopped off would an X float over it? Was it like. A fucking curse visual placed by Lute as a constant reminder of her disloyalty? Why did Carmilla point out it was an obvious marker for her being an angel???? My brain can't fathom why it's canonically attached to her wound. If she was a sinner I'd kinda understand but. Yeah idk. Weird

Also her missing eye does not look like an empty socket it looks like a purple circle was sticker pasted on to her face. It's very flat. How did we go from this

to this

(IT'S EVEN OVERLAPPING ONTO HER NOSE IN THIS SCREENSHOT WHAT IS THAT THING.)

Anyway. I made her hair resemble Polyphemus moth wings because 1. They have eye looking spots and angels are all eyes and 2. Well. Polyphemus has 1 eye. So . 💀

Her overall coloring however is inspired by a Promethea moth. I could say it's because Prometheus defied the gods and Verbena did a similar thing but the real reason is I made a spelling error while initially looking for a Polyphemus moth reference 💀 but hey they both have eye spots! And Iike their coloring for her way better

I also redesigned the exorcist uniform for her redesign bc I wanted her outfit to have reminiscent elements from it.

I gave way less time to the uniform designs, but I still had some main details I wanted to adress. I don't like how they have no armor save for their helmets. Their arm and leg pieces are made of some flexible material that tears easily. It's not giving soldier it's giving soldier costume from party city. The devil like horns are also confusing to see on an angel and the paradoxical design is never addressed. They can be evil and look imposing, but the horns just seem kinda nonsensically on the nose to show how evil they are. At least to me.

In my designs I gave them actual metal armor on their bodies so you can easily tell they're soldiers and it makes sense for them to battle in armor anyway. I also gave them more light "angelic" colors with gold details bc I wanna use gold as a symbol of angelic nature in my rewrite. I wanted their masks to show completely static expressions with wide grins to show how unnerving they are and to allude to the idea that everyone is happy in heaven, and they're all happy to do what they do.

Verbena's belt and shoulder pads draw visual similarities to the pauldrons and mid section pieces in my new exorcist uniforms to draw a connection between her and her past. The Blazer draping behind her back is also supposed to mimic the visual of folded wings. I also tried to do this with all the gold details in her design. The big hoops and belt we're 80's inspired because I decided to follow how in one of her old designs she died in the 60's (even had the big hoops and everything). In my rewrite exorcists are all former humans but I'll get into that later. Also she's got an eye patch now! Just. A normal one.

Charlie is still taller than Verbena just like in the original and idk how tall Vaggie Is exactly but Verbena is like 5'5 while Charlie is 5'11. Verbena's also got more muscle on her bc unless their muscle mass is hidden magically or they don't gain muscle for stupid dumb idiot lore reasons all the exorcists look way too slim to be military grade soldiers but what do I know

I combined a lot of pointy shapes with boxy shapes bc— more similarly to her pilot self— she can be volatile and fierce but also grounded and impassive. I added the slits to her skirt so she can be a sexy formal lady who can still comfortably throw a few kicks, and the heels— well. Idk I feel like she could slay in heels! She definitely doesn't wear em all the time but yeah. Chunky heels. I like them they're cute. Also she's got her little name tag on bc she takes Charlie's job for her SERIOUSLY! she's uh. Idk what is she. A bellhop? General security/protection? Either way she's locked in.

I imagine she had white irises like Adam and Lute along with brighter more saturated and heavenly colors in her hair (color picked from the Polyphemus moth) that turned darker and more harsh after the fall (color picked from the Promethea moth). Really visualizing her emo phase /j

Also I think the little eyes in her hair can emote with her. In the final design the line kinda makes an eyelid and it'd match her eyelid's movements. Sillay

Alright that's a wrap on my Vaggie redesign! No bonus sketches this time bc they're within the texts! Who knows what I'll do next. Who I will deface. I sure don't. I think I might rename Charlie so there's that. Anywhozies hope you like her <3

[knight-a3]

Hazbin Masterpost

Heavenbound Masterpost

Vox, the noisy video box

So Vox may not be my favorite character, but he is probably my favorite redesign. I laugh every time I look at him now. He looks like a weird mix of Spongebob, Kraang(TMNT), and Mr. Electric(Sharkboy and Lavagirl). He absolutely hates it.

Notes under the cut

There's too many twinks in this show. So when I was trying to decide which characters I could change, for body diversity, Vox was an obvious one. He needed more bulk so his body could conceivably support the old TV models. Those things could get heavy. The change also had the side effect of making him shorter, which just worked better proportionately.

I liked the idea that Vox could never get rid of his original bulky 50s TV, but also wanted him to be able to upgrade. So I decided his true body is the 50s TV, and he adds an upgraded monitor for a head as technology improves. He's hates that he's stuck as an old fashioned TV, so he hides that under his suit. Since the monitor is just an addition, it can be swapped out easily. It can be damaged and he's technically unharmed. But he can't see through his suit without the monitor, unless he wants to use a security camera and direct himself 3rd person style.

I didn't like that basically everyone has sharp teeth. It reduces the impact for characters like Alastor or Rosie. So I've been having the default be just sharp canines. But with Vox being a TV, there are so many possibilities. I gave Vox "regular" teeth, which helps him look more trustworthy. It fits the corrupt businessman vibe. But the appearance can change with his mood too.

Color TV became available in the 50s, so Vox always had color vision. But I think it'd be funny if, early on, he had a tendency to glitch out by going into black and white vision when he gets worked up. He's mostly grown out of that glitch, but he can't seem to shake the static or TV color bars, and developed new ones as he integrated computer and internet tech into himself as well. Now he gets the Blue Screen of Death, system errors, and city wide power surges.

Messing around with his face is so fun. When he's bored or tired a Voxtech logo will bounce around like the DVD logo, or display a screensaver. His face can get too big for the screen when he's excited, or be small when he's feeling embarrassed. I need to put a troll face on him at some point. It may be an old meme, but man, it feels right.

His left eye turns red when it's hypnotic, to reference those blue and red 3D glasses.

Of the three Vees, he is absolutely the most powerful. Val and Vel are the content creators, but Vox is the platform. The other two, while still powerful in their own right, would never have gotten to the level they're at if it weren't for Vox. He controls the mainstream media.

--TV set--

So we've got some interesting implications with how he functions. He's a TV, but he blue screens like a computer, and he shorts out the power grid. I think it's safe to say he is more than just a TV, he's a multimedia entertainment center. That, and TVs are starting to really blend with computers these days. He's mainstream media.

At some point, I realized that a TV set was a "set" because it wasn't just a single device. A television set was a collection of components, which boils down to a radio hooked up and synchronized to a visual display. I bring this up mostly because I am a sucker for one-sided radiostatic. It's so funny to me. Vox is obsessed.

But I'm going to refrain from too much theorizing about their relationship. Alastor is absolutely not interested in romance. Nor a QPR. He's not even interested in friendship. Alastor is too invested in power dynamics to really consider anyone a friend. Mimzy is probably the closest he has to a friend, and even that has manipulative elements on both sides. But I'm supposed to be talking about Vox!

--Human Vox!--

He is not tall, haha. But his proportions are a bit taller than his demon form. I wanted to go for square glasses, but I didn't see many examples of that in the 50s photos I found. Oh well! My goal was a sleazy business man. He probably had a variety of jobs, but they primarily involved TV. Commercials, PR, interviews, news, game shows, talk shows, screenwriting, etc. Whatever he could do to get more influence. He found himself favoring the business end of things. Making deals and pulling strings. He decided what would go on the air. He's one of those network executive types.

I see lots of people give him heterochromia, but I don't really see a point to that. He hypnotizes people with his left eye, sure, but it's not a different color. It's not disfigured in any way either. Maybe he just had a tendency to wink at people, I dunno.

I think his death involved some sort of severe skull fracture focused around his left eye. Maybe a car accident, maybe he was shot, idk. Maybe seizures were involved. But he was somewhere in his mid 40s to early 50s. I ended up writing 45, but I'm not super committed to that or anything.

For a human name, I see lots of people calling him Vincent and that's sorta grown on me. So I might go with "Vincent Cox".

And because I fell into another research rabbit hole...

--TV evolution--

(below) 50s-60s CRT TV: TV sets were treated as furniture and there could be some very interesting cabinet designs. Color TV was introduced in the 50s, but wasn't quite profitable until the late 60s.

(below) 70s-80s CRT TV: Color TV became more affordable and commonplace.

(below) 90s CRT TV

(below) 2000s CRT to Plasma and LCD TVs: The three display technologies competed, but LCD won out in the end. Plasma and early LCD didn't look substantially different. Plasma was a little bulkier, but was still slimmer than CRT.

2010s and on: LCD improved with LED backlighting. But then OLED removed the need for backlighting entirely, which mixed the benefits of plasma and LCD. (Didn't bother to find a picture example. It's so close to modern at this point)

--Display technology-- (These overviews are very simplified)

CRT(Cathode Ray Tube)--Used through the 1900s to approx 2010. Monochromatic until Color TV developed aroung the 1950s. Worked via vacuum tubes and electron gun that lit up the pixels. They were bulky, heavy, and used a whole lot of power. Widely considered obsolete and no longer made. Video games made while these were in use tend to look better in CRT, since the graphics accounted for the image quality.

Flat screens-

PDP (Plasma Display Panel): Used from early 2000s to approx 2015. Used gas cells that light up pixels when electrically charged. Good image quality and good contrast, but expensive, heavy, and used a lot of power. Considered obsolete and no longer made, despite still having a desirable image quality.

Plasma and LCD competed in the 2000s to early 2010s as CRT popularity waned. LCD eventually won out due to weight and overall cost(including market price and energy efficiency).

LCD (Liquid Crystal Display): Introduced for TV around the same time as Plasma. Works via a liquid crystal layer with a backlight. Slim, decent image quality, energy efficient. Viewing angle matters because image colors are warped at wide angles. Cheaper than plasma. There are two main backlighting types:

--CCFL(Cold Cathode Fluorescent Light): Used fluorescent lighting for the backlight. Image quality was decent, but didn't have good contrast. (the blacks were never truly dark because of the backlight)

--LED(Light Emitting Diode): An LCD that uses LEDs instead of CCFL for the backlighting. Better contrast and efficiency than using CCFL.

OLED(Organic LED): Mixes strengths of plasma and LCD. Self emitting LEDs. No backlight or LCD panel needed, which improves contrast(about as good as plasma was, which is why plasma is basically obsolete now).

--QD-OLED(Quantum Dot- OLED) Adds a layer of Quantum dots to an OLED to improve color gamut. I think. I can't let myself fall too far into this rabbit hole, so I'm not double checking anymore.

((Feb 12, 2025-updated tags)

[kkpaaw]

I got another headcanon on the og4 and their elements cuz fun

Kinda a continuation of this post but also kinda not. I vaguely mentioned a bond they had that was unrelated to the main headcanon, but it's not a necessary read but I still encourage it cuz the overall headcanon is fun

The og 4 are connected on a much deeper scale. A much deeper scale that none of em like but cannot do a damn thing about

Because they have the elements of creation, they originally came from the FSM and as such used to all be together. So when they were seperated into the 4 seperate elements we know today, that "bond" from once being "one" didn't leave and instead traveled into the future wielders

This means that Kai, Cole Jay and Zane all have an inherent bond with eachother that they don't have with anyone else that is directly tied to their elements. Think soulbond essentially

The urge to be around eachother, the feeling of distress and loss and dread when they aren't, that all stems from their elements seeking to be near eachtother

The bond isn't harmful physically but the emotional distress do be there

The further away they are the bigger those feelings of distress and loss etc become. The longer they r away from eachother causes those same feelings

The first time they had to be seperated for longer than a few minutes didn't go well. At all.

That was when Sensei Wu told them about the bond they share snd are unfortunately stuck with as there is no way to be rid of it. Their elements desire to be near eachother and as such act out(and therefore causes the user to act out) when they aren't.

Sensei then had to put them through another series of training sessions to get then used to not being around eachother often. He taught them many methods of calming themselves down and clearing their mind which they still use to help today

They have a much better grasp of their bond now and as such don't freak out as visibly or as bad as they used to. The urge and discomfort is always there but they have better control to not act in those urges recklessly.

Each of the ninja respond differently to being seperated as well

For Kai his temper becomes shorter and shorter. He becomes more snappish and willing to fight. Explosive essentially

Jay's anxiety gets worse and he becomes more paranoid. He's more jumpy and easy to panic. Static shock is common when he's in this state

Cole becomes clingy to an unhealthy degree. He's the one most likely to stop whatever he's doing and leave to seek out the others no matter the situation.

Zane becomes more distant. Like it seems as if he isn't fully there if that makes sense. His emotions take a huge backseat and he seems like a husk

Lloyd is lucky to not have to deal with this. Due to him having all four elements he doesn't have to worry about that feeling of dread or loss when he's separated from the others (though a part of him wishes he did so he could understand what they going through more, but at the same time hes glad he doesn't cuz hes seen how it affects them and he wants none of it)

I wanna make a diagram to show the bond on a visual scale bit that will have to wait till i feel like it LOL

This headcanon also isn't meant to be inherently romantic tho it definitely could be (Especially since I am a Polyninja(or Lifeship) fan) but the concept of the hc is not to imply a romantic bond LOL

There i go making paragraphs again bro no one cares-