#Inspire Software Co.

[tofupixel]

Do you have any advice on how to get into pixeling larger scenes, or how you go about the process? I dabble in pixel art occasionally and am interested in pursuing it more, but whenever I try large scenes I always tend to fall flat

Love your art, by the way!

thank you!

my first step i always go get a ton of references. i think if you are struggling with pixel scenes it can help you to get some pixel art references too. for example if you arent sure how to render a tree, look it up on pixeljoint hall of fame im sure you can find something that inspires you.

this is the moodboard for my current knight crowley/statue azi piece im working on (software is called pureref btw. i have a dedicated monitor just for this but you can do transparency and overlay it if you lack space)

i think this is mostly preference but i always begin working with large areas of value/colour rather than an actual line sketch

i usually only save the wip process if im sending it to clients, so here is an example of how i worked through a commission

at this point im just going for the vibes. colour is more important and shape/size and having random pixels everywhere doesnt matter cos u can just remove them later !!

its kind of an anomaly/doomsday thing so i wanted the red sky and chaos all over

i work really quickly at this point and try for energy

just beginning to work my way through and detail things up. im still changing things around and adding more stuff in different places. its digital art so you can change things however you like, just keep moving forward

final ver sent to client after some revisions. pixel art is 99% rendering so you just need to keep pushing forward

i also want to say i did like 3+ years of sporadic studies. mostly studio ghibli and shishkin. if you have someone who inspires you you can study their work and figure out how they do it.

it cant be overstated how many of these i have done lol and im still not even close to where i want to be (its a process)

anyway sorry for the long post but you really should go for it. ive done the same concept like 3 times over my career (so far) cos i enjoyed it and want to come back to it now that im a little better. so u dont have to make it perfect the first time but doing it is better than not doing it!

sorry for the long post but i kinda got carried away anyway lmk if u want more specific tips i like talking about pixel art :--3 GL with your art

[kit-williams]

Modern!Space Marine AU

Blame @pluvio-tea because I've been reading her interpretations of what Titus and the gang would be doing in the modern day and I got enough people encouraging me... so...

@bispecsual @egrets-not-regrets @moodymisty @bleedingichorhearts @liar-anubiass-blog

@thevoidscreams @barn-anon @gallifreyianrosearkytiorsusan @squishyowl @ms--lobotomy

@nekotaetae @sleepyfan-blog @remembrancer-of-heresy @felinisnoctis @solspina

@the-californicationist

lets begin

Note: a lot of them will be ex military though in honesty you could make them all ex military just if I mention they are ex military its more so they are a recent ex military

The Dark Angel; Azazel: In a modern setting I see him as still being active military but now behind a desk and more so working for the Intelligence community and interrogations but he tells people that he still does work as a military therapist which isn't exactly a lie. The excitable young woman that works with him is a nice distraction...

The Emperor's Children; Palion: Is a Tailor and a Costume Designer he loves to make fancy outfits that glitter in the light and is inspired by a tragic Muse...

The Iron Warrior; Harram: Military Contractor (still very much as a Dad bod in this universe) with a focus on construction so like infrastructure and building. He's recently moved and there is a nice widow right new door...

The White Scar; Nogai: Racing (he's a white scar) with a focus on motocross on both bikes and ATVs. However he also likes to do rally races with his navigator Honey... he may or might not enjoy the steadfast and commanding tone she takes when she’s in the co-driver seat and in the zone as they race a little too much...

The Space Wolf; Arkyn: Another Ex military (given that he was a captain) so at the moment he is learning how to transition back to being a civvie but he's recently learned he enjoys helping at the local wildlife rehabilitation center. The other retired military woman who works there helps sooth his wild soul...

The Imperial Fist; Astel: Black market Doctor and Chemist operating without a license. He makes house calls and is good for what he does but sometimes he likes to take on cases "out of the goodness of his heart" for way less money... such cute little mouse for him to work on...

The Night Lords; Ghosk: Actor but not just any actor he is a monster actor; aka the guy who is in full prosthetics moving like a cryptid even if he's under like 20 pounds of makeup and props and prosthetics. When he's not assigned to a movie role he likes to be a scare actor at one of those parks where he can touch the attendants... he likes watching the rabbits run...

Anrir: he is in the nitty gritty and dirty business of Organ Transplants like proper handling (just don't ask where he got those 30 kidneys)

The Blood Angel; Sirus: He is someone's Art muse. He get's so much money and time to make his pottery. He also is good at making memorial pieces like incorporating human ashes into a piece... that's because for his grand pieces he's already doing that. Sirus is also a Serial Killer with a pinch of cannibalism, he incorporates blood into the hues... human ash mixes nicely with his clay. He's hoping to ask his Moonlight muse for a photoshoot soon...

The Iron Hand; Marlos Vauth: Software Engineer. He focuses on programming for prosthetics but he's been moonlighting as a hacker as well and getting rather good at it. He's been bothering the IT girl recently...

The World Eater; Zul: Retired. He heavily insists that he is retired but he's still jacked and simply says he made smart investments so his money makes money. But how can he be retired he's young (40s) and scarred to hell and back. But he will get aggressive if you keep asking questions. He can often be found with a sickly young woman on his arm too...

The Ultramarine; Tulio: He is a high salaried investor who could retire if he wanted but he just hasn't done so yet... He has to make sure that the new girl is going to be fine...

The Death Guard; Solos: Unemployed. He is the guy in town who you never see at the same job twice and never for very long, yet he somehow has money all the time. His spats with his lady are legendary as they seem to break up and get back together all the time, even if she could do so much better than Solos, but people who intervene with his love life have a habit of going "missing" and Solos always has an alibi...

The Thousand Son; Nakht: He is a professor that deals with historical documentation as well as document repair. Though a few people have noticed that a lot of what he deals with is occult materials given how his main field of study has nothing to do at all with esoteric occultism...

The Black Legion; Zhur: Professional Dom... he's got his eyes on a particular client but he's got to pay the bills and his baritone voice can easily get anyone to obey him.

The Word Bearer; Jihias: Preacher (is anyone surprised?) well in fact the Preacher bit is a ruse as he is in fact a full blown cult leader. Such passion and fervor his preaching tend to be but if you think more and more of what he says... and by the time you realize the grotesque nature of his preaches get it's far too late... the shepherd loves you and wont ever abandon you...

The Salamander; Nubin: Master Blacksmith. Run's his own shop and also does free classes for the high school when they cut their shop classes so he just offered free courses and is trying to get some deal for the time spent in the shop to count towards credit hours.

The Raven Guards; Sor, Kazi, and Moremo: Private security guards though they have come under scrutiny for getting rather close to their latest client

The Alpha Legion; Omegon: Lawyer and a damn good one as some people say he hires professional investigators to look over a scene again he's never really lost a case.

The Black Templars; Roland: Retired Military and does stuff with guns either selling them, helping people train with them, also runs a Youtube Channel with Backerin called "Guns & Buns" which has their own niche because it will be Roland helping out with his wife's bakery/a slight vlog showing off his journey with retirement

Arnault: Retired Military turned erotica writer/author. Started writing when he was bored out of his mind during a recovery and found out he enjoys writing erotica.

The Carcharodon; Tyberos: Mafioso. (Rather he is either the head of the Carcharodons or an enforcer) but right now he's helping run a front which is a coffee shop but it's become a nice little community get together since it has decent food and good coffee and its great for people trying to sell stuff

[apollos-boyfriend]

(inspired by @/proudfreakmetarusonniku's poll here)

[3ofpents]

Fresno Nightcrawler Houndstooth // Fabric Design for @shapeshiftersvt and The Cryptid Collection

Remember way back a few weeks ago when I posted the Squonk poster and I said that once I'd designed the fabric to go along with it I'd start posting the fabric designs here? Well guess what! It's time!

For those who don't remember or who didn't know, I am the co-owner, site manager, and graphic designer for @shapeshiftersvt. 2024 marks our 10th anniversary and we wanted to do something big and special and new to mark the occasion and my partner, co-owner, head tailor, fashion designer, and founder, Eli, pitched a fashion line themed around cryptids. We call it The Cryptid Collection and it features six of our and the internet's favorite cryptids: The Fresno Nightcrawler, Mothman, the Jackalope, the Jersey Devil, Champ, and the Squonk.

My parts of the collection were designing the posters, and creating fabric designs for our very own, truly Shapeshifters designed chest binders and sports bras. But since we utilized Spoonflower to have those fabrics printed, they're also available through the Spoonflower marketplace for anyone to buy for their own sewing projects.

And now that all of the fabric designs are done and uploaded and proofed and listed, I, as promised, am posting them here to talk a bit more in-depth about them, the thoughts and inspirations behind them, and the design process.

Starting with the Fresno Nightcrawler.

Part of the reason I'm starting with the Fresno Nightcrawler is because this was the very first design that I finished. When we were planning out the fabrics, it was the most solid design concept I had that wasn't just adapting the poster design to fabric (mostly because ... I hadn't done the poster yet). It was the first one I really came up with, the one I was most excited about, and the one that pretty much stayed the same from concept to execution.

I love houndstooth. Which is weird to say when I don't think I've ever owned a single garment or accessory in with a houndstooth pattern? But I do, I love it. I love the teeny tiny classic version of the pattern; I love a blown-up graphic version of the pattern; I love plays and variations on it. So when I was trying to brainstorm what kind of fabric pattern I could make inspired by a creature with such a simple shape whose only colors were white and black, the idea came pretty quickly: A houndstooth. Or a Nightcrawlertooth, if you will. It was a trick, though, and a real learning experience, especially with this being my first design.

Getting a pattern to repeat smoothly is a skill unto itself. Basically you have what's called a tile, and the tile contains the part of the pattern that you want to repeat. Then, when your pattern is created, the original tile just gets essentially copy-pasted over and over so 1) you don't have to draw the whole yard of fabric, and 2)all of the repeated parts of the design are identical. But by doing it this way, you have seams you need to take into consideration. If you think of putting the pattern together, it's sort of like making a basic quilt: You start with one square (or rectangle), then attach four more squares to each side, and then just keep doing that. Each one of those seams (top, bottom, left, right) is a place where the pattern might not match up, which means when it's applied to a yard of fabric, it's not going to look like a smooth, seamless pattern.

Of course there's ways to avoid this altogether. If you're doing a simple stripe, using the line tool in your drawing software will keep your stripe a consistent thickness, and holding SHIFT while you draw it will keep the line straight. Or, even easier, you can create a pattern where the part that repeats doesn't straddle a seam; like a polkadot pattern, where the dot(s) can be centered on the tile and seams only cut through a solid background.

The trouble with a houndstooth, though, is that not only does the tile need to repeat, it's made up of repeating figures that interlock. I can't just center the white Nightcrawler on the tile and call it a day, because then the black Nightcrawler straddles the seam. On top of that, they needed to be shaped in such a way that the negative space between the white Nightcrawlers left a shape that was also recognizable as a Nightcrawler and similar enough to the white one that the pattern is mostly seamless.

I fully admit that I was not able to do this on my own. Enter: Eli. Eli is, among other things, a math nerd who enjoys an excuse to break out the graph paper. They found a tutorial online and got to graphing and shaping and, in just a couple of hours, had gotten the shapes down. I took that tile, illustrated it, cleaned up the seams (shoutout to Eli for also finding an easier way to do this than just manually copy-pasting), and voila! A Fresno Nightcrawler houndstooth.

Now, you might look at that image up there and say, "Well that's all well and good, Pents, but they're kind of blobby and the lines are wobbly and it's all a little uneven." To which I say ... yeah, that's true. It's also kind of intentional. Like, I'm not gonna sit here and claim I got the basic pattern done and wasn't exhausted. But also I could've left it and come back to it the next day to clean up the lines and shapes a bit more, make everything really smooth and even. But, like. Look at this guy.

He's just a weird kinda blobby little dude. So I left the pattern kinda weird and blobby.

Even if I'd cleaned it, it's such a blobby little shape that's so at odds with the classic houndstooth that's all straight lines and sharp angles. So I made a deliberate choice to not polish it up. To kind of lean into the kodama vibes:

I am really so so proud of and pleased with this design. It came out almost exactly how I pictured it; it was really the most true design collaboration between Eli and I; and I'm just so pleased, after a lifetime of being a houndstooth lover, to now also have designed a houndstooth.

If you'd like a custom-sized, handmade, made-to-order binder or sports bra in this houndstooth like the one in the photos, you can find those listings (as well as the poster listing) here, on the Shapeshifters website. There are three pattern size options, the classic teeny tiny version; a somewhat bigger medium size; and a super graphic large size. Our binders are the most comfortable and effective on the market thanks to our finely graded internal sizing system. Because we're a small operation that makes every garment to order, both our binders and sports bras are highly customizable, and can be made to ALL measurements with flat pricing across sizes.

If you'd like to purchase the fabric yourself for your own sewing projects, you can order it through our Spoonflower shop, where we have it listed in the same three pattern sizes.

[delyth-thomas-art]

Tired Webcomic Creator Noises

Gags … ah yes lets make art into mindless content spat out by Ai cos we've been literally killing creators with inhumane workloads to spit out as many episodes as possible for mindless consumption.

I make my comics with passion and love of the craft! I have a degree in Comics, I spent years...years learning, practising, experimenting, adapting. I recall the days where you may get a page a week, or a few at the start of the month back in the 2000s era of self hosted webcomics and smackjeeves. (Rant below)

I've had to learn how the whole scrolling format worked to adapt to where all the readers had gone to, having been taught the traditional print page formats. And now cos its suddenly a massive money maker for these few hosts and they've pushed creators to the brink with the sheer volume they want pumped out that of course they want to use AI.

But it will speed up colouring! I have multiple tools available by the software I use and made by the wonderful people who love creating that colouring isn't that much of a chore, Its my fav part honestly. And its also a job sector within comics, colourists are skilled artists and this is another way to trim the fat, to pocket more money and keep churning out the 5th millionth villainess story.

Yes I am in most views a tiny creator, I haven't even broken their 1000 sub goal to even try applying for ad rev in the near 5 ish years on webtoon. But what I make I love, I spend hours researching folklore, scripting, drafting the whole kabudle like many other creators. And other than the kind supporters on my Patreon and Ko-fi I don't make much from the hours, days, weeks I pour into what I make. But at least I know its made with my own hands. That its made with love as corny as that sounds.

Ai is creeping its tentacles into everything, now ethically trained ai tools to help smaller creators would be fine. Most creators already rely on 3d tools to speed up things like backgrounds for webcomics. But when we don't know what its trained on, and is marketed wholesale as something anyone can use to make "content" is where it gets insidious. I am all for anyone with the desire to create and tell a story to go out there and do so, whether a beginner or a master. Part of the joy of a long running webcomic is seeing the artist grow both artistically and literary. But with ai it will be all one homogenous style, a copy of what ever is the hot thing. We already have amazon stuffed to the teeth with ai generated books, videos, merch and more all to be sold in some get rich quick manner. (need I point at the Willy's Wonderland incident). Youtube videos being spat out by faceless accounts stealing and regurgitating content at the speed no human video making team can easily match without cutting out quality or fact checking.

It is tiring. Creatives as a whole are treated poorly for decades, and now with the rapid late stage capitalism, website /social media enshitification and the blind headlong rush into the next big money making thing (watches the nft crash). I can't deny Covid sped this up, as everyone was locked inside and turned to what we creators made for comfort. But that content eating boom, lead to more demand, faster output and tighter budgets. We are seeing journalists being cut, game designers in their thousands and recently Dreamworks cutting a bunch and pushing to make their Robot film come out sooner due to public demands.

Skilled creatives are being treated like disposable fast food restaurant employees. Used til they burn out, get injured and even die! And then are simply replaced.

I've never been a creator with huge ambitions to work at places like DC, Marvel or Top Cow. I simply wished to create and share stories with the world, to bring smiles, to create art that evokes emotions, inspires others to look around themselves and create too.

Art is for everyone. You just need to take that scary jump, there is a whole array of welcoming communities willing to teach and share. I wouldn't have improved so much without the kindness of the webcomic groups I've discovered and learnt from. Everyone is always learning, and there no shame in not knowing how to do a thing. Even I started with the cheesy how to draw books as a kid and made my own pokemon and digimon.

Don't let the world treat your art as content. It is "ART" as much as what's kept in the louvre is seen as art, so is that little stick man doodle on a postit.

So Try something new, try a new material, a new style.

And support the artists you enjoy, tip their Ko-Fi, pledge to their Patreon, buy a sticker or print. Share their posts and tell them what you love about what they make.

Don't let machines steal away the art in HEART.

[easternmind]

Last year in classic games

For motives I cannot expand on with much glee, I found a little more time than usual this year to reduce my seemingly endless backlog of classics. Despite all the fine new releases 2023 has greeted us with, I was able to finally dive into this eclectic handful of games I gathered over time. It is perhaps no coincidence that I reached out for more direct game experiences than story-driven ones. I find myself increasingly drawn to games designs that are mindful of the player's time as a commodity not to be carelessly squandered.

One note, if I may: I would like to inspire my readers to progressively discard the use of the word retro this year. We are all of advancing years and wisdom, I trust. The introduction of the term retro to the videogame vernacular was a gross mistake furthering the abhorrent notion that games were as ephemeral in their nature as fashion. It is a purely commercial designation by which to profitably repackage old software as a category of its own, originating from the same minds that considered games as mere novelty trinkets of limited marketable lifespan.

It is up to the player to individually decide on an older game's appeal, whether they may be discovering it for the first time or revisiting it for the umpteenth one. This is not only an appeal for those of you who write about games in any capacity, rather to anyone who takes videogames as a serious interest and communicates with others about this the object of their predilection. Thank you.

This loose cart came with a Famicom bundle auction I won in 2009, if memory serves. I turned on the Famicom and tested it merely to verify if it was still in working condition and found myself engrossed in that trademark Pajitnov/Pokhilko elegant approach to game design. As per the cassette's label, Hatris was originally a concept developed in collaboration with ParaGraph, a Russian studio that went on to develop specialized professional software, a year before the Bullet-Proof Software licensing deal. They produced a few games in the turn of the decade that were rather unusual and, some would say, even visionary. I recommend that you look up their story, if you're curious.

The only entry from the group that isn't of Japanese provenance - though it is a Japanese edition - I played it for purely nostalgic motives, perhaps a yearning for a certain pixel, palette and parallax that resoundingly evoke a time I was fortunate enough to experience, first-hand. If I may be honest, I purchased the game for the visual value of its unique cover art, which I deem superior to the US edition's. In saying that, I must highlight that the original Amiga game box art was quite accomplished.

In the Summer of 93 while on holiday at the beach, there was a French Nintendo magazine for sale whose purchase I could not resist. It was very common to find Spanish, English and French publications at the time in Portugal. This edition had a striking four page preview of this Jaleco gem, Ikari no Yōsai, or Operation Logic Bomb as it was named in the West. For years I searched the PAL version in vain, then ultimately decided to import it on account of - you'd never guess! - the superior box art. Playing it this year at long last, I was instantly reminded of an old Game Boy favourite, Fortified Zone, which I now know to be its prequel. Most top-down shooters are best played in co-op. Ikari no Yōsai is strictly and single-player affair and not once did I miss the absence of a friendly companion.

Keio Flying Squadron 2 first came to my attention via an infamous Saturn demo disc, which came into my hands through circumstances I have since forgotten about. I use the word infamous because the entire game code was available in the disc and the level select cheat code enabled me to unscrupulously play the entirety of the game for no additional expense - at only the cost of missing out on the colourful Studio Pierrot anime FMV interludes.

Having played the sequel first, I was somewhat disenchanted to learn the original game did not feature any platforming segments, it being a pure scrolling shooter in the same whimsical vein as Parodius or, say, an AirZonk. Still, a jolly good time with the old three buttons.

For reasons that will not be immediately apparent to younger reading audiences, I pride myself in having completed most Shinobi games, The Revenge Of and GG being my preferred ones. Shin Shinobi Den, or Shinobi X in Europe, was a game not readily available from my usual game dealers. I eventually borrowed the PAL version once, though not nearly long enough to master it. I finally saw it through this year, mere days before SEGA announced a new episode. While the live action clips looked a tad maladroit in the 1990s, they came to acquire that nice patina I now look for in classic games.

Omega Force was known to take the sporadic breather from producing some of KOEI's most cherished and profitable series. I distinctly remember enjoying Destrega quite a bit in its day, a game quite unlike any other. What their 1998 Enigma lacks in consistency and originality, it more than amply makes up for with its own bizarre concepts, extravagant characters and unexpected genre fusions. Of all the titles in this post, this was the one whose pace felt the most sluggish, and needlessly so.

Microsoft Game Studio Japan release schedule plans were not at all kind on this, their first production, Magatama. Earlier this year I praised this era for its highly inspired H&S action adventure titles and even spent a few days delighting myself with the likes of Blood Will Tell, Nightshade, Bujingai, or Chaos Legion. This most unusual creation, developed by the aptly-named Team Breakout - a group composed of many talented ex-Square employees - is one among the finest of the era. Sadly, it did not do enough to persuade players at the time that it was a better purchase than Otogi or its sequel. Playing it with my mind and heart set back in time to 2003, I can say that this misguided consideration may not have withstood a second thought.

I've long wanted to write an extensive article on Japanese firefighting games. In fact, I have the structure laid out for a Japanofiles entry gathering moss in my Tumblr drafts for over a decade now. For a brief period this year I convinced myself I could finally fulfil this aspiration and resumed Sakurazaka Shouboutai as research. Developed by Racdym - later Racjin - for Irem, it is every bit as good as Firefighter F.D.18 or Hard Luck, and in many ways more inventive from a conceptual standpoint. While Konami and Spike found a way to have their games released in the west, Sakurazaka's poor regional sales performance clearly accounts for Irem's reluctance to bear the cost of an overseas ticket.

[jcmarchi]

Ganesh Shankar, CEO & Co-Founder of Responsive – Interview Series

New Post has been published on https://thedigitalinsider.com/ganesh-shankar-ceo-co-founder-of-responsive-interview-series/

Ganesh Shankar, CEO & Co-Founder of Responsive – Interview Series

Ganesh Shankar, CEO and Co-Founder of Responsive, is an experienced product manager with a background in leading product development and software implementations for Fortune 500 enterprises. During his time in product management, he observed inefficiencies in the Request for Proposal (RFP) process—formal documents organizations use to solicit bids from vendors, often requiring extensive, detailed responses. Managing RFPs traditionally involves multiple stakeholders and repetitive tasks, making the process time-consuming and complex.

Founded in 2015 as RFPIO, Responsive was created to streamline RFP management through more efficient software solutions. The company introduced an automated approach to enhance collaboration, reduce manual effort, and improve efficiency. Over time, its technology expanded to support other complex information requests, including Requests for Information (RFIs), Due Diligence Questionnaires (DDQs), and security questionnaires.

Today, as Responsive, the company provides solutions for strategic response management, helping organizations accelerate growth, mitigate risk, and optimize their proposal and information request processes.

What inspired you to start Responsive, and how did you identify the gap in the market for response management software?

My co-founders and I founded Responsive in 2015 after facing our own struggles with the RFP response process at the software company we were working for at the time. Although not central to our job functions, we dedicated considerable time assisting the sales team with requests for proposals (RFPs), often feeling underappreciated despite our vital role in securing deals. Frustrated with the lack of technology to make the RFP process more efficient, we decided to build a better solution.  Fast forward nine years, and we’ve grown to nearly 500 employees, serve over 2,000 customers—including 25 Fortune 100 companies—and support nearly 400,000 users worldwide.

How did your background in product management and your previous roles influence the creation of Responsive?

As a product manager, I was constantly pulled by the Sales team into the RFP response process, spending almost a third of my time supporting sales instead of focusing on my core product management responsibilities. My two co-founders experienced a similar issue in their technology and implementation roles. We recognized this was a widespread problem with no existing technology solution, so we leveraged our almost 50 years of combined experience to create Responsive. We saw an opportunity to fundamentally transform how organizations share information, starting with managing and responding to complex proposal requests.

Responsive has evolved significantly since its founding in 2015. How do you maintain the balance between staying true to your original vision and adapting to market changes?

First, we’re meticulous about finding and nurturing talent that embodies our passion – essentially cloning our founding spirit across the organization. As we’ve scaled, it’s become critical to hire managers and team members who can authentically represent our core cultural values and commitment.

At the same time, we remain laser-focused on customer feedback. We document every piece of input, regardless of its size, recognizing that these insights create patterns that help us navigate product development, market positioning, and any uncertainty in the industry. Our approach isn’t about acting on every suggestion, but creating a comprehensive understanding of emerging trends across a variety of sources.

We also push ourselves to think beyond our immediate industry and to stay curious about adjacent spaces. Whether in healthcare, technology, or other sectors, we continually find inspiration for innovation. This outside-in perspective allows us to continually raise the bar, inspiring ideas from unexpected places and keeping our product dynamic and forward-thinking.

What metrics or success indicators are most important to you when evaluating the platform’s impact on customers?

When evaluating Responsive’s impact, our primary metric is how we drive customer revenue. We focus on two key success indicators: top-line revenue generation and operational efficiency. On the efficiency front, we aim to significantly reduce RFP response time – for many, we reduce it by 40%. This efficiency enables our customers to pursue more opportunities, ultimately accelerating their revenue generation potential.

How does Responsive leverage AI and machine learning to provide a competitive edge in the response management software market?

We leverage AI and machine learning to streamline response management in three key ways. First, our generative AI creates comprehensive proposal drafts in minutes, saving time and effort. Second, our Ask solution provides instant access to vetted organizational knowledge, enabling faster, more accurate responses. Third, our Profile Center helps InfoSec teams quickly find and manage security content.

With over $600 billion in proposals managed through the Responsive platform and four million Q&A pairs processed, our AI delivers intelligent recommendations and deep insights into response patterns. By automating complex tasks while keeping humans in control, we help organizations grow revenue, reduce risk, and respond more efficiently.

What differentiates Responsive’s platform from other solutions in the industry, particularly in terms of AI capabilities and integrations?

Since 2015, AI has been at the core of Responsive, powering a platform trusted by over 2,000 global customers. Our solution supports a wide range of RFx use cases, enabling seamless collaboration, workflow automation, content management, and project management across teams and stakeholders.

With key AI capabilities—like smart recommendations, an AI assistant, grammar checks, language translation, and built-in prompts—teams can deliver high-quality RFPs quickly and accurately.

Responsive also offers unmatched native integrations with leading apps, including CRM, cloud storage, productivity tools, and sales enablement. Our customer value programs include APMP-certified consultants, Responsive Academy courses, and a vibrant community of 1,500+ customers sharing insights and best practices.

Can you share insights into the development process behind Responsive’s core features, such as the AI recommendation engine and automated RFP responses?

Responsive AI is built on the foundation of accurate, up-to-date content, which is critical to the effectiveness of our AI recommendation engine and automated RFP responses. AI alone cannot resolve conflicting or incomplete data, so we’ve prioritized tools like hierarchical tags and robust content management to help users organize and maintain their information. By combining generative AI with this reliable data, our platform empowers teams to generate fast, high-quality responses while preserving credibility. AI serves as an assistive tool, with human oversight ensuring accuracy and authenticity, while features like the Ask product enable seamless access to trusted knowledge for tackling complex projects.

How have advancements in cloud computing and digitization influenced the way organizations approach RFPs and strategic response management?

Advancements in cloud computing have enabled greater efficiency, collaboration, and scalability. Cloud-based platforms allow teams to centralize content, streamline workflows, and collaborate in real time, regardless of location. This ensures faster turnaround times and more accurate, consistent responses.

Digitization has also enhanced how organizations manage and access their data, making it easier to leverage AI-powered tools like recommendation engines and automated responses. With these advancements, companies can focus more on strategy and personalization, responding to RFPs with greater speed and precision while driving better outcomes.

Responsive has been instrumental in helping companies like Microsoft and GEODIS streamline their RFP processes. Can you share a specific success story that highlights the impact of your platform?

Responsive has played a key role in supporting Microsoft’s sales staff by managing and curating 20,000 pieces of proposal content through its Proposal Resource Library, powered by Responsive AI. This technology enabled Microsoft’s proposal team to contribute $10.4 billion in revenue last fiscal year. Additionally, by implementing Responsive, Microsoft saved its sellers 93,000 hours—equivalent to over $17 million—that could be redirected toward fostering stronger customer relationships.

As another example of  Responsive providing measurable impact, our customer Netsmart significantly improved their response time and efficiency by implementing Responsive’s AI capabilities. They achieved a 10X faster response time, increased proposal submissions by 67%, and saw a 540% growth in user adoption. Key features such as AI Assistant, Requirements Analysis, and Auto Respond played crucial roles in these improvements. The integration with Salesforce and the establishment of a centralized Content Library further streamlined their processes, resulting in a 93% go-forward rate for RFPs and a 43% reduction in outdated content. Overall, Netsmart’s use of Responsive’s AI-driven platform led to substantial time savings, enhanced content accuracy, and increased productivity across their proposal management operations.

JAGGAER, another Responsive customer, achieved a double-digit win-rate increase and 15X ROI by using Responsive’s AI for content moderation, response creation, and Requirements Analysis, which improved decision-making and efficiency. User adoption tripled, and the platform streamlined collaboration and content management across multiple teams.

Where do you see the response management industry heading in the next five years, and how is Responsive positioned to lead in this space?

In the next five years, I see the response management industry being transformed by AI agents, with a focus on keeping humans in the loop. While we anticipate around 80 million jobs being replaced, we’ll simultaneously see 180 million new jobs created—a net positive for our industry.

Responsive is uniquely positioned to lead this transformation. We’ve processed over $600 billion in proposals and built a database of almost 4 million Q&A pairs. Our massive dataset allows us to understand complex patterns and develop AI solutions that go beyond simple automation.

Our approach is to embrace AI’s potential, finding opportunities for positive outcomes rather than fearing disruption. Companies with robust market intelligence, comprehensive data, and proven usage will emerge as leaders, and Responsive is at the forefront of that wave. The key is not just implementing AI, but doing so strategically with rich, contextual data that enables meaningful insights and efficiency.

Thank you for the great interview, readers who wish to learn more should visit Responsive,

[the-flat-pack-kitchen-co]

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[folk-enjoyer]

Song of the day

(do you want the history of your favorite folk song? dm me or submit an ask, and I'll do a full rundown like here)

"Don't Think Twice, It's Alright" Bob Dylan, 1963

"Don't Think Twice, It's Alright " was first written in 1962 and was first released in 1963. It's based on Paul Clayton's song, "Who's gonna buy you Ribbons ?(When I'm Gone)" released 1960

in Dylan: A Biography by Bob Spitz, he writes,

"Some time before the song appeared, he [bob dylan] ran into Clayton, Van Ronk, and Barry Kornfeld, another Village folksinger, at which time he said, 'Hey, man—I really dig ‘Who’s Gonna Buy Your Ribbon Saw.’ I’m gonna use that.' No one gave it a second thought. Clayton himself had copied it from an old music-hall number called 'Who’s Gonna Buy Your Chickens When I’m Gone.' The guys figured, 'Fair enough—Bob’ll probably do a nifty variation on the theme.' Unfortunately, 'Don’t Think Twice' is a dead ringer for 'Ribbon Saw'" (p.200)

and the lyrics, despite both songs being short, are very similar.

Stephen Wilson, Paul Claytons Roomate says

"[Paul Clayton] had taken two different ideas. I know this from Clayton’s own lips. He slightly changed the tune to ‘Call Me Old Black Dog.’ The words were a song he’d picked up a sheet copy of in the University of Virginia library, called ‘Who’s Gonna Buy You Chickens When I’m Gone.’ He liked the idea of it" Paul Clayton and the Folksong Revival by Bob Coltman, 2008 p. 132

Despite multiple accounts in Spitz's biography of Bob Dylan of "Who's Gonna Buy Your Chickens When I'm Gone" being a popular traditional folk song that Cynthia Gooding claimed to perform twice, there exists no recorcing or publishing of its lyrics in this Time period. The closest thing i could find was the song "Whos Goñ Bring You Chickens?" from "Eight Negro Songs (From Bedford co. Virginia)" collected and published by Francis H. Abbott in 1923

since there were no recordings available for this song, i also digitally reproduced the sheet music and recorded the song using sheetmusic reader software

here's just the vocal melody

the other song mentioned, "Call me Old black dog," is a traditional folk song with many different variations, including possibly "Salty dog." from what i could tell it was first recorded in 1929 by Dick Justice

and in 1930, by Bayless Rose

these two versions of "Black Dog Blues," the chicken version of the song, and Paul Clayton's version all remind me very very heavily of the song, "Goin' Down the Road Feeling Bad"

specifically this one by elizabeth cotten (1958)

and this one by Woody guthrie (1938-1940)

"Goin' Down that road feeling bad" was first recorded in 1923 by Henry Whitter as "Lonesome Road blues"

i don't know where else to put this but i also think Phil Ochs' "When I'm Gone" (1966) could have been inspired by one of these songs (in my opinion Paul Clayton's, as it sounds similar to the others to me)

Based on the biography interviews, it seems that Bob Dylan was widely criticized by other folk singers not for covering and changing a traditional folk song (that's a commonplace practice in folk music) but for copyrighting both the lyrics and the melody to this song, rather than just crediting the melody as "traditional" or just mentioning paul clayton at all. While Paul Clayton was struggling to make money, "Don't Think twice, it's Alright," made a lot. Either way, "Don't Think Twice, Its Alright" is a staple of the genre and has defined folk for a generation.

[adarkrainbow]

Lost media quest: H&G Epic Tales (part 3)

Last time I ended my post while exploring the defunct epictales.com website. There was one page of this website (preserved in the Wayback Machine) that I did not add in this post: the About page.

The About page not only describes the Epic Tales line, but also lists the full staff that worked on this project. Here is what the website contains:

EPIC TALES™ is a developer and publisher of interactive storybooks for the iOS platform. EPIC TALES presents its own unique interactive adaptation of the imaginative and magical stories found in fairytales, folklore and world mythology.

All of our tales are narrated by our central storyteller, a most likeable dwarf named Silvertongue who used his magic to let our books and stories come to life. Each storybook offers stunning hand-drawn animations, a revamped storyline, original music scores, and spellbinding interactive environments that are sure to draw readers deep into the story.

EPIC TALES allows you to not only enjoy magical worlds and enchanting tales, but to experience them more closely than ever before.

We, the people at EPIC TALES, are always inspired by stories that fuel our ideas and imagination. We are storytellers, animators, and composers that gladly indulge ourselves in folklore, mythology, and the many tales and stories that have captured our imagination for generations. The result is a talented team of people driven to create original storybooks that are filled with whimsical characters, spellbinding environments, and interactive surprises. By combining creativity with technology, and talent with expertise, we hope to constantly produce exciting tales that bring every page to life. EPIC TALES is a joint venture between Cloud Castle Interactive and Anikey studios.

EPIC TALES Paul Hanraets, Founder of EPIC TALES and producer

Albert ‘t Hooft, Partner and creative director

Paco Vink, Partner and lead artist, animator

TEAM MEMBERS Lou Attia, Narrator and voice actor

Martin van Spanje, Software engineer

Joost van den Broek, Music composer

Arjen Schut, Sound designer

Sjan Weijers, Background clean-up artist

David Muchtar, Animator

Jelle Brunt, Animator

Ruben Zaalberg, Animator

The website also briefly offers descriptions/curriculum of the staff members:

Paul Hanraets Paul Hanraets has been a creative entrepreneur since 2002 when he co-founded Red Road Media, a media agency specialized in video games. Successful projects undertaken by Red Road include: Benelux largest annual game event Gamexpo, the tv show GAME FACTS broadcasted by TMF/MTV and the freely distributed game magazine Games Guide. In 2008 Paul founded Cloud Castle Interactive and was involved in the development of smaller game projects which further awakened his passion for the creative industry. As an immediate result Paul founded EPIC TALES, a developer of interactive storybooks for IOS and GAMBITIOUS an equity based crowdfunding platform dedicated to the games industry.

Albert ‘t Hooft & Paco Vink Albert 't Hooft and Paco Vink both studied traditional animation at the Willem de Kooning Art Academy in Rotterdam before they founded Anikey Studios in 2007. Anikey is an award winning animation studio which specialises in hand drawn 2D digital animation. Anikey creates independent and commissioned animations for television, films and games which have an emphasis on story, characters and fun. Anikey's first two independent films 'Paul & the Dragon' and 'Little Quentin' won several awards at international film festivals. In addition on working on the new EPIC TALES titles, Anikey is developing the first hand drawn animated feature film in the Netherlands since 30 years.

Lou Attia Working with the likes of Disney and Sesame Street, Lou Attia has been a professional voice-over artist for over 15 years. After studying professional vocals in London, England, Lou landed a radio host position at 104.2 Nile FM in Cairo, Egypt where he became Creative Director and then Program Director of the station. Throughout his seven years on the air, during which his morning show went on to be the No.1 listened to radio show in a city of 16 million, Lou continued to do voice-overs for numerous commercials, shows and features. In 2010 Lou moved to Toronto, Canada where he is currently a full time voice-over artist, writer and TV show host.

Martin van Spanje Currently co-owner of LayerGloss Digital Publishing, Martin used to program and design on 8-bit Sinclair machines in the eighties. Then came Macs, digital audio, ten years of IT-projects and finally, iOS. Nowadays he lives his life surrounded by Objective-C code, and he sometimes thinks cornflakes look a bit like people. Oh, and he doesn't do Twitter.

Joost van den Broek Joost van den Broek is a producer, composer, arranger and keyboardplayer based in Tilburg, The Netherlands. Starting out as a keyboardplayer for several metalbands like After Forever touring all over the world, he finished his conservatory with honour in musicproduction, keyboards and classical arrangement. Since then he been working as a freelancer in his own studio on several productions, compositions and arrangements, for acts/events like: Ellen ten Damme, Symphonica in Rosso, Wende Snijders, Games in Concert, Ben Saunders, Qlimax. Epic moviescores and/or/in combination with (pop/alternative)rock is what defines his style the most.

Arjen Schut Arjen Schut is a sound designer based in Hilversum, The Netherlands. As a freelancer Arjen has worked on numerous projects, both on location and in his own studio. Arjen is involved in sound effect creation for all sorts of media, but has a strong focus on interactive and animation projects. International blockbuster Killzone 3 being one of the larger projects.

I have taken upon myself to contact some of these artists, just in case they were open about talking or sharing information about the animation they worked onto. Is it a bad idea, or a good one? I don't know but that's the most straightforward direction one can take. I will warn you if I ever receive any response, positive or negative.

I forgot to link before the official page, on the Anikey Animation website, for their work on Hansel and Gretel - Epic Tales. Not only does it contain large, high-quality screenshots of the artwork, but their "Production" page also has one concept art for the storybook. They also list the credits of the app as such:

Title: Epic Tales - Hansel & Gretel

Release: 2012

Directed by: Albert 't Hooft & Paco Vink

Animation by: Jelle Brunt, David Muchtar & Ruben Zaalberg

Backgrounds by: Paco Vink & Sjan Weijers

Music by: Joost van den Broek

Sounddesign by: Arjen van der Schut

Producer(s): Paul Hanraets for Cloud Castle Interactive

AppAdvice still has a page dedicated to the application. There is also a review by the MacTrast website that is quite interesting because, while today the pictures contained within it are "dead files", in the Wayback Machine you can fetch them back, and they are pretty rare screenshots of the game! Here's an additional Dutch article I forgot to add earlier. Again, not much to add since they all basically just announce the game's release and rephrase the storybook's commercial description.

I also don't think I have added this to my previous posts, but Cartoon Brew also had a page for the app's launching, which contained this text:

The Hague, the Netherlands — April 24, 2012 — Hansel and Gretel – Epic Tales animated storybook is the first in a series of tales as told by Silvertongue, the likeable dwarf and storyteller, and is now available on the Appstore for IPad and IPhone.

Hansel and Gretel – Epic Tales animated storybook offers a world filled with whimsical characters ranging from pesky gnomes to witty dwarfs; from brave children to wicked stepmothers and cunning witches.

“But we are not just another fairytale App,” says Paul Hanraets, founder and producer. “What sets Epic Tales apart from other storybooks are the incredible production values. Each of Epic Tales storybooks are digitally hand-drawn by our award winning animators, and offer stunning 2d animations, professional voice acting, original music scores and ambient sounds by game industry veterans. These elements combined offer spellbinding interactive environments that are sure to draw readers even deeper into the story.”

“Of course, our alternating witty and wacky humour and the high quality of our animations are amongst the things that separates Hansel and Gretel from other storybooks,” says creative director Albert ‘t Hooft.”However, what ultimately distinguishes Epic Tales is the implementation of our central storyteller, Silvertongue the dwarf.” Using the magic of pesky gnomes, Silvertongue brings the stories to life and narrates them.”Silvertongue used to be quite the adventurer, travelling the world in search of the most intriguing tales and stories, and now looks after your storybook collection in his humble bookstore. He is a truly gifted storyteller who can take an audience from a gasp of fright to a roar of laughter in just the twist of a phrase.”

Epic Tales is a series of high quality, interactive fairytales that allows you to not only enjoy enchanting tales, but to experience their magical worlds more closely than ever before. Children will love the sense of wonder and discovery,while adults will certainly appreciate the clever and wacky humor.

A final piece to add to the dossier so far is Muchtar Productions' page for Hansel and Gretel - Epic Tales. Muchtar Production is the WordPress website of David Muchtar, a 2D animator and illustrator who worked on the Epic Tales animation as a (I quote) "Rough and Clean-up animator". He notably put within his portfolio an important number of concept art for the game's character designs. But, as with last time, I will keep it for the NEXT post!

Or... an almost final piece. I wanted to keep this for a much later post, but I ultimately decided to share it here. I vaguely described before one unofficial source for content about "Hansel and Gretel - Epic Tales". And that is an online review, a Youtube video, by a Youtuber named "Crazy Mike" specializing in app reviews. Here is the video, and the reason why this video is important (beyond it being the last remaining video review - unless I manage to get back the one from the defunct website) is because so far it is the only visual recording we have of the app outside of the trailers. Not only that, but at one point Crazy Mike opens the list of chapters within the app - which gives us a full glimpse of the story's main episodes, with thumbnails of each "tableau". Mind you, it is tiny details at the bottom of the screen so we can't get much of it... But with all the additional material I gathered, it will be a key element in my reconstruction of what the storybook looked like and was about.

[artichow]

Hi, how are you doing?

My sister seems interested in doing commission work, and she's asking me for help with it, but I don't know anything about it. Could you help me help her?

How does the process of commissions work?

There any tips/recommendations you could give her?

Hello!

I'm definitely not an expert and definitely winging it as I go and taking what i see other artists do into consideration, so bear that in mind and take what i say with a grain of salt! I also assumed while writing this that this is about art commissions? If it's not sorry I kind of went on a tangent at the end about it but most of the advice still apply!

I'm guessing your sister has a product in mind they want to sell. Most people make a little website either pointing to the platforms they use to sell or to google forms they have for clients to fill out. I use carrd, there's a free option that lets you have a lot of creative freedom and enough elements to make a good website, and boom! Now onto selling commissions. To sell those you can either use a platform for selling stuff online, i use ko-fi because it's the most practical option, there's also v-gen, which i haven't tried but heard good things of. With that option it's easier to have fixed prices, so if something seems to hard to draw for that price it's harder to ask for more but most clients are okay with tipping an additional fee through that same platform. You can also just have a google form available where you ask the potential client to describe what they want, leave their email adress and you can get back to them and offer an accurate price for their commission idea. If they want to purchase that commission you then can send them a paypal invoice and they can pay it.

Most people I know use paypal, I saw people using Stripe or Venmo too. Ko-fi only allows you to link a Paypal or a Stripe account though. While using Paypal i would advise you to find a website that tells you how much Paypal will take from the commission, because they have a fee, and it usually stings. That way you can take that into account and raise your prices according to that so you still get the amount of money you need by selling your service. However I gotta say that Paypal always takes more than what those paypal fees conversion websites say it will, idk why.

Another website i use a lot to do pricing is calculpourcentage.com (sorry it's in french but i'm sure there are varients in other languages). It's pretty handy to calculate pricings along with the good old trusty phone calculator.

A very, very important part of selling commissions online is to have a solid Terms of Services written and available for clients to read through. It's like when you download a software or game and you have to check the litte box that says you agree with their terms of services. I know we pretty much all just scroll down and tick the box without reading but commission clients should never do that. Read the TOS!!! In your TOS you should put anything you need to make sure the client knows what their getting, any behavior or commission inquiry you will not accept, your rights to decline any commission for any reasons, your rights over the finished product, etc. I know it sounds daunting said like that but don't worry too much, it takes some time to put together but most people take whatever they need from other artists' TOS, you can frankenstein them and tadaa! perfect TOS for your needs and what you offer. You can and should absolutely update it whenever you want or need to. Here is a link to my TOS for inspiration if your sister needs some, but again, I think it's best to look for other artists TOS to maybe find some points I didn't write in mine.

Finally, to talk about the action itself of doing commissions for people, I have some advice as well. Firstly if you can, only offer things you feel up to doing. This might seem like a given but anything that makes the process less stressful and puts less pressure on yourself, you should do it. Commissions should be fun, especially if you're starting out. I know not everyone has the luxury or privilege to be able to, but if a commission inquiry makes you uncomfortable for any reason, don't accept it. I've had mostly good experiences with clients so far but there are stories going around online about scammers or people who ghost commissioners or clients, so my advice is to stay informed about possible scams, stay honest and communicate with your clients about possible delays and stuff like that.

And very important point that I almost forgot, commissioning art is a luxury, and any work needs good pay, no matter your skill level. I think every commission artist starts out by underselling themselves, and you probably will too, and it's okay. My advice is still to try and look at the price you settled on for a commission and add a little more. Keep in mind how much time you're taking to draw, gather references and so on. You will probably have to adjust your prices as times goes on. Everything I listed so far are things that can and probably will change with experience, it's how most of us learn and adjust the way we work.

Another thing is that for the majority of artists, commissions we do get are very sparce and for artists who can make it their job it's an immense workload and very hard to manage. I know it's easier said than done but my advice is to try and not let your commissions order number get you down or reflect your art's worth in your head. In my opinion art is priceless and deserves all our love and time regardless of if it's "good" or "bad", but it's pretty antithetical with literally putting a price tag on my work :') Anyway, commissions can feel demotivating or have a negative impact on your health in many ways, so if you can feel free to close them anytime you want to and try to keep time to yourself for your personal art too!

I think that's all I can come up with right now, I hope it helps you or your sister, and good luck to them if they do try out offering commissions!!

[kingy9898]

Major Project - Why bands are disappearing (Research)

“Starting a band is hugely expensive,” says Joff Oddie, guitarist with Wolf Alice. “You need an immense amount of equipment and a lot of space. I spent most of my student loan on rehearsal space. Travelling is expensive. Anything that can be done to make being in a band tenable for young artists is good, because the fear is that we’ll lose that tradition. I think it would be a disaster if it’s only open to middle-class kids.”

“We’re fanatical about bands and being in a band,” says Wolf Alice’s Joff Oddie. “A good band creates a community. They have an ecosystem that, as a fan, you feel like you want to be part of. Despite all that’s been said about individualism, there is still a hunger for that collective feeling.” Perhaps you just have to squeeze it all into a phone screen.

One theory is that major labels avoid bands because solo artists are cheaper and easier to handle. Not so, says Jamie Oborne, whose Dirty Hit label has found success with bands (the 1975, Wolf Alice) and solo artists (Beabadoobee, Rina Sawayama). “We’re actively trying to sign bands,” he says. “I’m desperate to find a really young band that I can help develop.”

The problem is, he says, there aren’t that many around. “It’s more likely now that a kid will make music in isolation because of technology. When I first met the 1975, they were all friends meeting in a room to make noise. So much is done in bedrooms these days, so you’re more likely to be by yourself.”

Ben Mortimer, co-president of Polydor Records, says that cost is more of an issue for artists than for labels. “If you’re young and inspired to become a musician, you face a choice. If you go the band route, you need to find bandmates with a similar vision, you need expensive instruments and equipment, and you need to get out on the road to hone your craft. On the other hand, you could download Ableton [production software], shut your bedroom door and get creating straight away. Culture is shaped by technology.”

Very interesting article which includes two of my favourite bands - The 1975 and Wolf Alice. Labels are still wanting new bands to develop but it is very expensive for young people of working class to afford equipment and rehersal space. It is also difficult to find people who have a similar vision, especially when you can make songs in your own bedroom using software.

[angrybatart]

Re: Fun video games that (probably) won't fry your laptop. These are all on Steam.

-Factorio - Strategy/puzzle game about automating an enormous factory while siphoning natural resources from an infinite alien landscape. Highly moddable. Still receives occasional updates. Includes in-game tutorial, and peaceful mode if you don't want to fight the planet's giant cockroaches. Allegedly indirectly teaches you about software engineering.

-Killing Floor - Co-op first-person shooter survival horror. Work alone or with friends (difficulty scales with player count) to fend off waves of increasingly deadly mutants in locations ranging from West London to secret underground labs to Santa's workshop, before squaring off against their mad scientist creator. Already sequeled twice and receives no further updates (don't expect a huge player base), and many weapons (and cosmetic skins) are locked in DLCs.

-DEFCON - Real-time strategy about global thermonuclear war, inspired by the 1980s movie Wargames. Take control of one or more territories and try to eradicate as much of the population of up to fixe enemy territories while minimizing your own losses. Highly moddable, and often goes on sale for really cheap. Includes in-game tutorial. Was once the focus of an actual for real scientific study.

-DUSK - First-person episodic Boomer Shooter. Take on the role of Dusk Dude as he runs and guns his way through more than 30 levels of Pennsylvania backwoods, corrupted cityscapes, and places beyond the understanding of men. Fight your way through legions of cultists and nameless terrors, and finally, the cult's leader, Jakob. Somewhat moddable, and offers an arena-style multiplayer. Features a kickass thrash/industrial metal soundtrack by Andrew Hulshult. HD version also recently released (as a free add-on to the original game).

-Tom Clancy's Splinter Cell: Chaos Theory - The third (and arguably best) iteration of the classic tactical stealth game, though almost totally separate from the stories of the first two. Play as Sam Fisher, a spy for the NSA as you use gadgets, cunning, and state-sponsored gymnastic skills to unravel the latest plot to push the world toward all-out war. Includes in-game video tutorials. Features co-op and versus modes (though I've never tried them).

-Hotline Miami and Hotline Miami 2: Wrong Number - Top-down arcade-style mass murder simulator drenched in blood, neon colors, and '80s aesthetics. Play as a nameless protagonist (fan named "Jacket") receiving orders from mysterious phone calls, and bludgeon, slash, and shoot your way through buildings crawling with Russian Mafia, wearing rubber animal masks that give you different abilities. In the second game, the story expands as you play as several other characters in the aftermath of Jacket's actions, each with their own motivations, yet inexorably bound together. Features many synth-pop tracks from various artists, available on a neon magenta vinyl record. Go for the high score and show off to your friends how amazing and handsome you are at a critically-acclaimed indie game. Second game also comes with a short virtual comic book!

-FAItH: The Unholy Trinity - 8-bit style religious horror game with rotoscoped cutscenes, developed b Airdorf Games. Play as Fr. John Ward in 1987 Connecticut as your quest to right your wrongs and complete an interrupted exorcism spiral into madness and the true depths of the Satanic Panic of the 1980s. Features multiple endings, game modes, an arcade mode, and an in-game tutorial.

-Bloodrayne: Terminal Cut - A PC port of the cult-favorite third-person hack-and-slash. Play as Rayne, a dhampir hired by the mysterious Brimstone Society to handle situations too otherworldly or dangerous for mere humans; Which mostly involves slaughtering thousands of Nazis before they can get their hands on otherworldly artifacts. Includes a bunch of special codes that can be inputted to make the game easier, harder, or to activate "Juggy Mode." Game doesn't have any actual nudity but definitely enjoys its jiggle physics. One sequel (not as good IMO but also on Steam), a spinoff game, and also spawned at least 1 movie and some comic books IRL.

-CARRION - Metroidvania-style reverse horror game. Play as an unfathomable lump of runaway teeth, tentacles, and God-knows-what as you tear your way through Relith Labs, on a mission to escape and consume anyone who gets in your way. Evolve as the game progresses, growing larger and acquiring new abilities. Includes a small Christmas-themed free DLC that is essentially more of the same.

-Gone Home - Short, narrative-driven game about returning from Europe to your parents' new home, and discovering your sister is gone. Explore the house, discovering notes, clues, and secrets as a story of growing up and self-discovery unfolds. I don't want to spoil any of it, just take my word for it that it's a good game, and not violent or anything like other games on this list.

-Omen Exitio: Plague - Visual novel RPG where you take on the role of a doctor during an outbreak of a mysterious, deadly disease. Unravel the mystery bit by bit as you are hounded by madness and mysterious figures with ill intention, and make decisions that may alter the course of history.

-Hacknet - DOS-style programming game apparently inspired by hacking scenes in various movies. Delve into the world of professional hackers, complete jobs for clients, bypass security to break into servers, and discover the fate of your late benefactor, as his/her automated failsafe leads you toward the truth. "Labyrinths" DLC also available, and can be accessed and completed at any time before, during, or after the main game. In-game tutorial provided. Features an amazing techno soundtrack by various artists. Should not be confused with real-world cybersecurity activities - Those are much more difficult.

I have more, but this alone has taken me an hour to write. Let me know your thoughts.

Definitely been meaning to check out FAItH, and I've heard of Gone Home. If I remember what I saw in the trailer correctly, it sorta reminds me of that Edith Finch game.

As for that Plague game....do I get to actually be a plague doctor??????

[regina-del-cielo]

Fic 20 questions

I was tagged by @bewires, thank you!

1 - How many works do you have on AO3?

13, lucky number.

2 - What's your total AO3 count?

67,881 words. Not bad.

3 - What fandoms do you write for?

Right now, only for The Old Guard (2020). I'm a "one hyperfixation at a time" type of person.

4 - What are your top five fics by kudos?

Celebrated for Their Frankness (P&P)

Kissing a Stranger (P&P)

Galeotto Fu'l Cane (P&P)

hand in hand, we stumble and we fall (then we stand, once and for all) (TOG)

seems like happiness is just a thing called Joe (TOG)

5 - Do you respond to comments?

99.9% of the time, yes, even if it's just to write "thank you for reading" thirty times in a row

6 - What is the fic you wrote with the angstiest ending?

Uuuuuh I don't actually write angsty endings? Even the sadder ones always have a vision of hope in the end

7 - What's the fic you wrote with the happiest ending?

Again, difficult to say. Probably c'est lui pour moi, moi pour lui (dans la vie) because it's Reunion and Fluff Galore. Or A Marriage of True Minds, because of Wedding Fluff and Feelings.

8 - Do you get hate on fics?

Thankfully not, and I hope it never happens

9 - Do you write smut? If so, what kind?

No, not really. Love reading it, but I don't think I'll go that far myself.

10 - Do you write crossovers? What's the craziest one you've written?

No I don't. The thought never really crossed my mind

11 - Have you ever had a fic stolen?

Never, thank goodness

12 - Have you ever had a fic translated?

No - although one could say that I already am doing my own mental translation since English is not my first language lol - but if someone wanted to I wouldn't mind, as long as they asked me first

13 - Have you ever co-written a fic before?

No, never happened

14 - What's your all time favourite ship?

Why are you asking me to rank my children?! Darcy/Elizabeth has been around longer, but Joe/Nicky really Hit Different. So I say it's a tie.

15 - What's a WIP you want to finish but doubt you ever will?

All of them? There's a reason I don't post WIPs - inspiration is flighty and cruel. I never say 'never', but knowing myself if I haven't worked on something for longer than a year it's unlikely I'll ever start again

16 - What are your writing strengths?

I'm the wrong person to ask this - Maybe plot coherency and world building? I tend to take a lot of time to make sure that the plot flows well and that things are as accurate I can get them. Also, clearly, writing soft and fluffy things.

17 - What are your writing weaknesses?

I always have the feeling of my writing being clunky and too detail-filled, because I want the readers to see the scene as I see it in my mind. And I've never been able to stay within the number of words I expected to - my one-shots get stupidly long.

18 - Thoughts on writing dialogue in another language in fic?

I literally make Nicky speak in Italian as much as I can get away with it all the time. But also, if it's a language you don't know well and unless you have a human who speaks it that can check it, I wouldn't just trust a translation software. I have seen enough of glaring Italian errors in fic to make me want to go "please just say that they spoke in another language in the dialogue tag I beg of you."

19 - First fandom you wrote for?

Winx Club, a long long time ago, and not in English

20 - Favourite fic you've written?

I think it's a tie between hand in hand and We're Meant to Find Each Other - they're more team-focused than the others; hand in hand was the first I wrote for TOG fandom and a true stroke of inspiration. Meant to Find Each Other is the only multi-chaptered fic I ever managed to finish, it spans through multiple time periods, and the AU it's set in is very close to my heart.

I don't know who has already done this, but I'll tag @ellynneversweet @raedear @gallifreyburning @nicolos @nicolodigenovas and anyone else who feels like it!

[vocalsynthbdays]

happy birthday to flower(vocaloid 3) and fuiro(vocaloid 6) !!!!!!!!! [may 9]

flower

fuiro

flower is a japanese synth developed by YAMAHA in collaboration with Gynoid co for vocaloid, the later liscenced out to INCS Toenter Co., Ltd. and Techno-Speech for her cevio ai version . her v3 illustration was drawn by Yamako, and her v4 and gynoid talk by △○□×/miwasiba,  her character design was done by Rocoru. her v4 design was based off of "shota" fanart of flower drawn by miwasiba i guess ??? (???????), her cevio was illustratited and designed by Oguchi.  rocoru and yamako are both part of honeyworks ("a circle consisting mainly of the composers Gom and shito, and the illustrator Yamako, along with many support members"*).  her design inspired that of the meika twins. 

 she was initially released in 2014 just for download,  then got a physical release on 16 july 2014.  she later got a v4 bank on 16 july 2015.  her addition to gyndoid talk was announced on 26 july 2019,  on twitter her design was released on 11 feb 2020, and the bank itself was released on 3 apr 2020.  she is also has a vocaloid neo release which came out on the same day as her initial v3.  after great delay, her cevio bank released on 10 mar 2023. she was initially supposed to get here cevio bank in autumn to winter of 2022, then around new years, then it released in march. she also has a vocaloid mobile editor bank, called "v for flower". 

 "flower" is the name of the character mascot, while "vflower" and "ciflower" are the names of the software itself.  in vocaloid, she was said to have an androgynous voice which is designed to specialise in rock music. her voice provider has never been revealed and she has no canon age. 

 due to the general lack of androgyny (and purple), as well as the move towards the design and voice of a more generic anime girl, ciflower was negatively received by a large number of fans.

Chinozo's song "Goodbye Declaration" featuring flower surpassed 100 million views on youtube in july 2021, making it the most viewed song in vocaloid history and the most viewed song sung by a vocal synth in history. 

 the honeyworks song called "inokori sensei"/ "detained teacher" (with Gom doing music and lyrics, Oji guitar, Rocuro the illustration, Yamako the illustration, video, and encoding, and drm the bass) released on 17 apr 2014. this song features flower and was used as a debut demo for her. at this time the character rights for flower belonged to gynoid co, despite the company not being fully established until aug 2014.

fuiro is an ai bank who released on 9 may 2023 (today). they themself are designed by ORIHARA, but their logo is designed by iga_kitty. their vp is philo, who is the winner of a contest which was held on nana (?) (a music sharing platform (?)) in 2022

*straight from vocaloid fandom wiki (edited)