#Scene1

[dresandro]

Sunday Kinda Love

DRAFTS

Scene 1:

A girl is crying in her room. She’s upset about something that happened to her during the day. 

Later that night a guy comes into her room - not a boyfriend but a companion she can be herself around, he accepts her for her and nothing else. He doesn’t expect her to overcompensate, he holds her down and sets her free.

He comes into the room and comforts her in bed. He cusps her from behind with his body. He caresses her open back with his hand and gives her soft kisses on the shoulder. He whispers sweet things to soothe her. 

He asks what’s wrong once the tears have slightly subsided. She thinks about telling him but she just wants a distraction. She starts kissing him and asks him to have sex with her.

He looks at her in disbelief and uncertainty. He wants to but he knows this isn’t right. He does not want to be a part of the problem.

“Are you sure?” He says to her.

“Yes.” She pursues kissing him. 

While they kiss, his body seems uncomfortable. 

“I can’t. I’m gonna head out.” He says.

“Please don’t go.” She says.

“I’ll call you in the morning to see how you’re doing.” He says.

He walks out and shuts the door. 

She is wallowing in her bed, waiting for her fears to consume her…. 

Then she hears a knock on the door. She gets up and opens it. 

It’s him on the other side and he launches himself at her. Kissing, hands groping each other. Bodies pressed against one another. They land on the bed, taking off each other's clothes: shirts, and underwear. 

When they finished, they were on top of each other, steamy, sweaty, and panting with relief. A few seconds set in and the man is filled with regret. He jolts up and says, 

“I gotta go.”

“¿enserio?” She says. She sits up a bit with her elbow pressed upon the mattress.

“Yes. I’m sorry I just can’t be here right now.” He puts on his clothes in a rush and leaves like someone is chasing him.

She lays back down in disbelief. Not able to process her emotions.

Scene fades out.

[unoneunounum]

[andygomez3dart]

Wouldn't be nice would it? "This Train Is For Home" #scene1 #observationaldrawing #digitalart #digitaldrawing #scotrail #train #4 #home #ipad #stylus #pen #ag3dart #andygomez3dart #ag3dart (at Edinburgh, United Kingdom) https://www.instagram.com/p/CmeA2U1tQkr/?igshid=NGJjMDIxMWI=

[stochastique-blog]

Weird

Amal and Juan are identical twins. Their mom only carries one baby photo in her wallet. Because if you’ve seen Juan you’ve seen Amal.

[animatedglittergraphics-n-more]

[braelynn-rae]

[bxbyv3nom]Bedroom/Laundry Scene1

Free/Patreon

Rendered in cycles

LED lights; Change to your liking

Made in Blender 3.6

FileSize 395.5MiB

T.O.U

Do NOT claim as your own

Do NOT use as a base

Do NOT re-upload

NOT made for the game

If you have any issues or questions, please let me know; Enjoy!

[quibbs]

So, I've got kinda a comic making question I was hoping you coukd give some insight to. I've been planning on making a webcomic and I wanted to know how you go about outlining a chapter? You see, I have scriptwriting experience for comics, but I was doing it in the way you might for an issue of a typical western comic book, so I had a cap of 22 pages. And since webcomics don't have that cap, I was wondering how you handled how many pages each chapter would be? Is it just as many as you deem fit for the beats of the chapter to flow well? Or do you have a page count you aim for per chapter and adjust as you see fit? I know there aren't any like. Rules for doing this, but it's just something I've had on my mind lol

hmmm unfortunately for the most part my process is oops all vibes: I definitely tend to work under "as many as I deem fit for the beats of the chapter to flow well," but i think there's probably at least a few things about my process that I can elucidate that might help.

i tend to organize my written outline by ACT [ general idea for what takes place and what conflict is taking place in the character,] and then underneath that would fit CHAPTER [what ideas i am trying to establish] , and then underneath that would fit SCENE (written dialogue, setting descriptions, stage directions). I like to start with the biggest overlying connective tissue between scenes and then get smaller and nitty grittier as i write.

this is very quickly made and generalized, but for example if i was telling a story about someone going to the grocery store:

ACT ONE: the discovery of the secret

a girl goes to a the grocery store and discovers the secrets of the sinister, hidden, dark grocery store underground. character should be set up to be so driven by hunger that she just might do anything to satiate it.

CHAPTER 1: (set up)

how does she get to the grocery store? how do i succinctly establish the character of this story? what is she lacking that she should grow to be able to receive by the end of the story?)

scene1 (girl wakes up from violent nightmares with a dark pit in her stomach. she reluctantly gets out of bed).

scene2 (girl goes to pour her cereal and notices that she is completely out of coco puffs. her previous gut feelings that the day would go poorly are confirmed)

scene3 (girl drives to grocery store, for aforementioned coco puffs. another dark feeling tugs at her and is yet again rewarded for it's honesty by a cheerful grocery store employee slipping her a note simply reading "help."

CHAPTER 2 (building tension)

how does the character respond to the call of action and what does that say about her? what are the red flags i should establish now that will foreshadow just how wrong and disturbed this work culture is? what am I trying to SAY by writing it like this- what will the viewer take away, inadvertently or not, by framing the grocery store underbelly like this?

scene1 (girl is alarmed but calmly walks down the aisle. this is not her problem. she is so hungry. she walks toward the coco puffs. her heart sinks: they are out of stock)

scene2 (her heart lifts again when another employee calls out to her, holding the coveted puffs. the girl accepts them, grateful that she will finally have breakfast, when suddenly she notices another note has been slipped to her under the box. "i know who you are. meet me in the bathroom in 5 minutes and change everybody's life here forever."

scene3 (she's had enough. she races to the check out line with the puffs and in her hurry, she notices the box isn't making any noise as it shakes by her side. not like coco puffs in a box often do. she realizes with a heavy heart that it's empty. she sighs and turns around. she reluctantly walks toward the bathroom... almost like she's done this before.

ACT 2: doing something about the secret.

character is officially thrust into this underground network of grocery store vigilantes against her will...she is not happy... she swore she left her days of fighting middle management crime behind her and yet..... these embittered employees are stoking old fires in her heart she had once thought unstokable. we learn about her relationship to this lifestyle and how it led to the person she is today.

etc, etc, etc, and so on, and so forth.

Basically, I don't plan out how many pages I'm going to have. i usually only find out by the time i'm finished sketching it all; and usually by drawing it all out you end up having more ideas, which adds more scenes, etc, etc, etc, webcomicing never ends and never will

My general rule of thumb is to always use as few pages as you can possibly afford without taking away from the story. make it as short as you possibly can while still letting it be as long as it needs to be.

Pacing is everything. the page count truly does not matter as long as the flow is flowing; it entirely depends on your story! your chapter could be 2 pages long if it made sense in the story for it to be 2 pages long (side note: desperately been trying to find a place for a 2 page long chapter for years now but it's never reached fruition. one day. you wait).

IK this is coming from a girl who writes 200 page long chapters, haha. I like to think that I'm getting better at being briefer, but somehow, i never end up briefer than 200. your story could be different! most are. it should be. don't do what i do.

that being said, my overall advice is to always prioritize pacing and writing over an arbitrary page count quota. if the length feels good for the story, then do it. I hope this helps! mwa.

[industrial-horror]

Demented Are Go! is a Welsh psychobilly band that formed around 1982 near Cardiff, Wales. They were pioneers in blending punk rock with rockabilly, making them highly influential in the psychobilly scene1. Their name is said to be a play on “Thunderbirds are go!” from the TV series, adapted to "Demon teds are go!".

Their debut album, In Sickness & In Health (1986), was recorded in less than 24 hours and featured interpretations of early rock ‘n’ roll songs along with a cover of The Osmonds’ "Crazy Horses". The band’s style combines psychobilly, punk rock, and rude rock and roll, appealing to a diverse fan base of gothics, punk rockers, and psychobilly enthusiasts. If you’re into hard-hitting, aggressive music, Demented Are Go! is definitely worth checking out!

[alice-hazelwood]

Triple the Trouble

Ok so I came up with this idea a while ago and figured I might as well post it. 

Talia is a good mother; Ras is a grandfather. (That’s the best were going to get from him.) 

 So, in this story Marinette Danny and Damian are triplets. Damian is the oldest he looks exactly like Bruce with Talia's coloring then Danny who looks exactly like Bruce and then Mari looks like Talia with Bruce's coloring. Damian likes to draw, Danny likes to read, Mari likes to design clothes; All three of them like animals and learn to play music together Damian the violin, Danny the piano, Mari the harp.

Danny got his powers because Talia got dunked into the Lazarus pit before she found out she was pregnant, and it had side effects. And Mari has magic as a side effect of the Lazarus pit because the Lazarus pit was created by tiki and plagg during a wish when the earrings and ring were united.

All three of them cause a lot of trouble on a normal basis. Depending on the trouble depends on how they get out of it. If they get attacked or anything Damians the best at combat, if they're trying to hide from someone Dannys is amazing at espionage, if they need a plan or a quick fix Mari’s your girl.

They regularly play pranks depending on the way the story goes it could be around the league and as long as they're not caught, they will not be punished. (They were caught once after that they made sure they were never caught again.) Ra’s thought of it as an amusing lesson in espionage and deception. 

Scene1= Ra’s lets Talia keep the triplets (she is of course ecstatic but weary) the triplets grew up in the league until they were seven when Talia found out that Ra’s was planning to take over one of the boy's bodies and then marrying Mari keeping the bloodline pure in the process. After she found out she made plans to make it seem as if the triplets were kidnapped (or just disappeared) instead she sent them to Jason Todd to care for them.

Scene2= When Jason finds them, he originally tries to take them to Bruce but they all deny wanting to go. He tries to take them anyway so instead they run away Jason eventually finds them again surrounded by league minions, so he kills them all and decides to take care of them himself since they didn’t want to go to Bruce.

Scene3= Jason calls the three of them devils one time and Mari bursts into tears (fake) and grabs on to Damian crying about how Jason had called her evil, Damian and Danny catching on to her prank Danny starts to sniffle but not full-on cry like Mari. Damian acts like an overprotective brother (even though he is one) and glares at Jason while patting his siblings back; Jason just freezes and just kind of panics because now he has two crying kids and one who looks like he going to stab him (again) in the end he ends up apologizing and giving them ice cream to eat. He never called them demons or devils ever again.

Scene4= When the triplets turn ten Ra’s is killed and Jason and Talia decide it's best that the triplets live with Bruce now with Jason acting as their bodyguard since Deathstroke is now after them since they are technically the heirs to the League. In the end, both Talia and Jason have to drag the triplets there because they don't want to go so badly.

Scene5= The triplets don't want to go to Bruce because they think Batman is going to eat them. Jason finds it funny Bruce is concerned and confused (and secretly sad) and Talia is just exasperated and wants to know who told them that story.

All three of them are terrified of Bruce because he's Batman and Batman is known to not like Meta’s (what Danny is classified as) or magic (which Mari has) and Damian is super overprotective and afraid he will take his siblings away.

[evilpenguinrika]

So the other day my gremlin brain decided we were making a short film using pixel art

I'm already onto scene1 part2, but along the way I've come to really love drawing clouds

That is all.

[hiroyukill]

punpun test scene1

[unoneunounum]

[leviathancries]

FAKEVOX

[Plus-Tech Squeeze Box] (2000)

Plus-Tech are a Japanese Picopop trio (They are a trio, not a duo. Wikipedia is WRONG!!!) who are known for their off the wall music and lively sound.

Plus-Tech Squeeze Box's first album, released in 2000. 'FAKEVOX' is all over the place, It's a kid who cant sit still. Full of wonder and life. High-pitched sounds and upbeat melodies are the backbone of this album. If this Album was food it would be a strawberry sundae. It's hyper sweet, cute and feels like a sugar rush.

(also on a side note. I have noticed that Plus-Tech have been featured a lot in British stuff, for example they have been on the BBC quite a few times and featured in a British Coca-Cola ad. Just thought that was interesting....) anyway on with the review.

Track 1: Channel No.17

"What time is it?!"

Plus-Tech really sets the tone of the album with this intro track. You are hit with all sorts of sounds from VOX samples to bowling balls and carnival sounds. It's fast and alive.

Track 2: early RISER

"Bouncy!"

Track 2 is quintessential 2000's hyper J-pop. This song reminds me so much of the Jet-Set Radio OST and I love it. Plus-Tech create super catchy ear worm songs that play on loop in your mind all day. It's so upbeat you can't even be annoyed at it.

Track 3: A Day In The Radio

"I'm a plus-tech girl friend!"

Track three is more vocal based letting Kamada sing. This is another cute song you can't possibly feel mad when listening to.

Track 4: Test Room

"1,2,3,4. Plus-Tech!"

Test Room is a super bright song. It's fast, lively and experimental. The vocal chop in this song carry it a long way. It's just so satisfyingly to listen to lol.

Track 5: rocket coaster

"Rocket coaster! la, la, la, la-la."

Track 5 is Plus-Tech's most popular track for a reason. It's definitely their most accessible song by far for a normal audience. It's got a nice duet going on, a catchy chorus and a light rock instrumental. Really sweet and cute song.

Track 6: Scene1 - launch a spaceship into space →

Track six is an interlude following the space theme of the album.

Track 7: ☆

"Have you ever met a great astronaut?"

Track six takes us right back into the cutesy vibe with an instrumental that wouldn't be out of place on a Frenesi album, especially with those tom drums and pluck-y melody.

Track 8: White Drops 

"fantastic..."

Man, White Drops. This song will always have a special place in my heart. I really do love this song. It's so nostalgic to me. It's so simple yet so affective, It's upbeat, endearing and... idk cozy?

Track 9: MILK TEA

"しまうのさー”

Milk tea is an other nostalgic song for me as I used to listen to it a lot. It's got guitar, synths, vocals and bleeps n bloops. what more can you ask for in a song to be honest?

Track 10: Scene2 - citybilly lived happily after

"BEEEWOOP! FUNNY GUITAR!"

Lots of sounds and a guitar. This song is like if you were at a fair on many, many substances.

Track 11: Sneaker Song!

"Why don't you tell me? hey! you're little rascal!"

Sneaker song goes right back to the hyper sound that the rest of the album follows. Lots of bleeps and gated sounds. This song has more of a pop-rock guitar lean though.

Track 12: ​clover

"いつのまにか降り止んだ雨"

Clover is a great outro because it changes the vibe of the album completely. It is the complete opposite of the rest of the album taking on a more melancholy down-tempo tone. A lot less vocal processing and FX. But the a happy sounding melody comes in creating a bitter sweet end to the album. This song reminds me of looking through old photos. Sad it's over, glad it happened.

Overview: FAKEVOX

FAKEVOX is a great introduction to hyper J-pop and Picopop, if any of this sounds interesting to you I highly recommend this album. It's sugary sweet with a lot of life to it.

Rating: 7.5/10

If there’s any typos or inconsistencies in this review it’s because I can’t be bothered to proof read it.

[icherys]

I've been so gloomy and deadly serious lately that I need some crappy lame jokes including Matthew Goode in my system to counter-balance (sorry, I'm not sorry). So once I'd stumbled upon this archive https://www.zimbio.com/photos/Matthew+Goode/A19075L0aE_/Trivia%20Games I just can't stop imagining the most ridiculous dialogs happened there. It's pure fiction, and it never happened (just in case, and sarcasm is solely mine).

3 seasons of them really. Beware. And I'm sorry, again

Season 1 - the battleship

Scene1: Ridley Scott: - So I need you to move from here to that mark, we'll focus on that tulips - blooming lovely, then zooming to you. Take your time but be potent and move with purpose. I need you to stride like a battleship in the ices of a north pole heaving a gay-cruise onboard.

Matthew Goode: - Battleship in the ices. Damn, how can anybody portray a battleship? In the freakin ice? Dressed like that?

Sc2: Matthew: The battleship, what do we know about battleships? Does the rowboat can be considered a battleship facing the enemy's rowboat? Hey - psst, do you have some battleship's knowledge?

Ridley: so flowing from there to the astonishing tulips when to this two.

Rebecca: Tulips you say? Me selling a hooker's attire a few sizes short as a dutchess on the gravel?

Camera men: she'll gonna end you in your sleep.

Italian men: Magnifico! The Rome!

Sc3: Matthew: Well, it' doesn't looks like he's a pro in the battleships. Or bomber-pullover combo.

Rebecca: These tulips are down the second we'd done filming.

Camera-men: this is me, capturing the very last day of the Ridley Scott...

Italian men - Rome, Milano - the very essence of Italy...

S4:

RS - Can you please fix that? Him being frozen and leaden?

RF - We'll need a trolley.

MG: Screw him. I'm doing Frollo.

[ebaedotcom]

Base colouring for the mother (Scene1)

Group member: Esther

[bobthedragon2]

going over thumbs today and scene1 isn't as bad as I remember, but Also I have a raging headache bc dr ryan morningstar put a curse on me for my homosexuality I assume