#Visual Basic Editor

[martyrbat]

[ID: an uncoloured drawing for a panel next to the publicized version. They're both from the comic Batman: Legends of the Dark Knight #194. In them, Batman is shown from the waist up. He's looking at Jim Gordon, who's off panel, with a penitent expression after being accused of something he secretly did do. He has his palm pressed against his chest and is blocking the bat emblem as his other hand is clasped ontop of it. In the initial drawing, there's a halo floating above his head as well as several tiny hearts mixed in with the lights that surround him. In the publicized panel, the hearts and halo has been removed and two speech bubbles have been added. He's in front of a terra rose background and is starting to say, “Jim, I don't even know what you're...” But Jim cuts him off, saying, “Stop it. I'm tired of this.”

The third photo is a description of the drawing from the artist's (Seth Fisher) website. It reads: This is another page that the DC editors changed: no halos or hearts around Batman, no matter how (disingenuously) contrite he is. In the final edition, the halo and heart in the center bottom frame have been excised.]

[zvaigzdelasas]

Geopolitics app is starting to come along pretty nicely - working on standardizing the interface of each widget & preparing it so you can easily customize where the data comes from & what widgets are shown...so like a customizable (& resizeable/rearrangeable) dashboard for whatever specific purpose you want

[reasonsforhope]

By the way, you can improve your executive function. You can literally build it like a muscle.

Yes, even if you're neurodivergent. I don't have ADHD, but it is allegedly a thing with ADHD as well. And I am autistic, and after a bunch of nerve damage (severe enough that I was basically housebound for 6 months), I had to completely rebuild my ability to get my brain to Do Things from what felt like nearly scratch.

This is specifically from ADDitude magazine, so written specifically for ADHD (and while focused in large part on kids, also definitely includes adults and adult activities):

Here's a link on this for autism (though as an editor wow did that title need an editor lol):

Resources on this aren't great because they're mainly aimed at neurotypical therapists or parents of neurdivergent children. There's worksheets you can do that help a lot too or thought work you can do to sort of build the neuro-infrastructure for tasks.

But a lot of the stuff is just like. fun. Pulling from both the first article and my own experience:

Play games or video games where you have to make a lot of decisions. Literally go make a ton of picrews or do online dress-up dolls if you like. It helped me.

Art, especially forms of art that require patience, planning ahead, or in contrast improvisation

Listening to longform storytelling without visuals, e.g. just listening regularly to audiobooks or narrative podcasts, etc.

Meditation

Martial arts

Sports in general

Board games like chess or Catan (I actually found a big list of what board games are good for building what executive functioning skills here)

Woodworking

Cooking

If you're bad at time management play games or video games with a bunch of timers

Things can be easier. You might always have a disability around this (I certainly always will), but it can be easier. You do not have to be this stuck forever.

[wifelinkmtg]

TUMBLR POST EDITOR WON'T LET ME TITLE THIS POST ANYMORE SO I GUESS THIS IS THE TITLE NOW. WEBBED SITE INNIT

So let's say you grew up in the nineties and that The Lion King was an important movie to you. Let's say that the character of Scar - snarling, ambitious, condescending, effeminate Scar - stirred feelings in you which you had no words for as a child. And then let's say, many years later, you're talking about it with a college friend, and you say something like, "oh man, I think Scar was some sort of gay awakening for me," and she fixes you with this level stare and says, "Scar was a fascist. What's the matter with you?"

The immediate feeling is not unlike missing a step: hang on, what's happening, what did I miss? You knew there were goose-stepping hyenas in "Be Prepared," but you didn't think it mattered that much. He's the bad guy, after all, and the movie's just pointing it out. Your friend says it's more than that: the visuals of the song are directly referencing the Nuremberg rallies. They're practically an homage to Riefenstahl. This was your sexual awakening? Is this why you're so into peaked caps and leather, then? Subliminal nazi kink, perhaps?

And then one of your other friends cuts in. "Hold up," he says, "let's think about what Scar actually did in the movie. He organized a group of racialized outcasts and led them against a predatory monarchy. Why are you so keen to defend their hereditary rule? Scar's the good guy here." The conversation immediately descends into a verbal slap fight about who the real bad guy is, whether Scar's regime was actually responsible for the ecological devastation of the Pride Lands, whether the hyenas actually count as "racialized" because James Earl Jones voiced Mufasa after all. Your Catholic friend starts saying some strange and frankly concerning shit about Natural Law. Someone brings The Lion King 2 into it. You leave the conversation feeling a little bit lost and a little bit anxious. What were we even talking about?

INTRODUCING: THE DITCH

There is a way of reading texts which I'm afraid is pervasive, which has as its most classical expression the smug obsession with trivia and minutiae you find in a certain vein of comic book fan. "Who was the first Green Lantern? What was his weakness? Do you even know the Green Lantern Oath?" It eschews the subjective in favor of definitively knowable fact. You can't argue with this guy that, say, Alan Scott shouldn't really count as the first Green Lantern because his whole deal is so radically different from the Hal Jordan/John Stewart/Guy Gardner Corps-era Lanterns, because this guy will simply say "but he's called Green Lantern. Says so right on the cover. Checkmate." This approach to reading a text is fundamentally 1) emotionally detached (there's a reason the joke goes, oh you like X band? name three of their songs - and not, which of their songs means the most to you? which of them came into your life at exactly the right moment to tell you exactly what you needed to hear just then?) and 2) defensive. It's a stance that is designed not to lose arguments. It says so right on the cover. Checkmate.

And then you get the guys who are like "well obviously Bruce Wayne could do far more as a billionaire to solve societal problems by using his tremendous wealth to address systemic issues instead of dressing up as a bat and punching mental patients in the head," and these guys have half a point but they're basically in the same ditch butting heads with the "well, actually" guys, and can we not simply extricate ourselves from the ditch entirely?

So, okay, let's return to our initial example. Scar is portrayed using Nazi iconography - the goose-stepping, the monumentality, the Nuremberg Lichtdom. He is also flamboyant and effete. He unifies and leads a group of downtrodden exiles to overthrow an absolute monarch. He's also a self-serving despot on whose rule Heaven Itself turns its back. You can't reconcile these things from within the ditch - or if you can, the attempt is likely to be ad-hoc supposition and duct tape.

Instead, let's ask ourselves what perspective The Lion King is coming from. What does it say is true about the world? What are its precepts, its axioms?

There is a natural hierarchical order to the world. This is just and righteous and the way of things, and attempts to overthrow this order will be punished severely by the world itself.

Fascism is what happens when evil men attempt to usurp this natural order with the aid of a group or groups of people who refuse to accept their place in the order.

There exists an alternative to defending and adhering to one's place in the natural order - it consists only of selfish spineless apathy.

Manliness is an essential quality of a just ruler. Unmanliness renders a person unfit for rule, and often resentful and dangerous as well.

And isn't that interesting, laid out like that? It renders the entire argument about the movie irrelevant (except for whatever your Catholic friend was on about, since his understanding of the world seems to line up with the above precepts weirdly well.) It's meaningless to argue about whether Scar was a secret hero or a fascist, when the movie doesn't understand fascism and has a damn-near alien view of what good and evil are.

There's always gonna be someone who, having read this far, wants to reply, "so, what? The Lion King is a bad movie and the people who made it were homophobes and also American monarchists, somehow? And anyone who likes it is also some sort of gay-bashing crypto-authoritarian?" To which I have to reply, man, c'mon, get out of the ditch. You're no good to anyone in there. Take my hand. I'm going to pull on three. One... two...

SO PHYREXIA [PAUSE FOR APPLAUSE, GROANS]

We're talking about everyone's favorite ichor-drooling surgery monsters again because there was a bit in my ~*~seminal~*~ essay Transformation, Horror, Eros, Phyrexia which seemed to give a number of readers quite a bit of trouble: namely, the idea that while Phyrexia is textually fascist, their aesthetic is incompatible with real-world fascism, and further, that this aesthetic incompatibility in some way outweighs the ways in which they act like a fascist nation in terms of how we think of them. I'll take responsibility here: I don't think that point is at all clear or well-argued in that essay. What I was trying to articulate was that the text of Magic: the Gathering very much wants Phyrexia to be supremely evil and dangerous fascists, because that makes for effective antagonists, but in the process of constructing that, it's accidentally encoded a whole bunch of fascinating presuppositions that end up working at cross-purposes with its apparent aim. That's... not that much clearer, is it? Hmm. Why don't I just show you what I mean?

Atraxa, Grand Unifier (art by Marta Nael)

In "Beneath Eyes Unblinking," one of the March of the Machine stories by K. Arsenault Rivera, there's a fascinating and I think revealing passage in which Atraxa (big-deal Phyrexianized angel and Elesh Norn's lieutenant) has a run-in with an art museum in New Capenna. The first thing I want to talk about is that, in this passage, Atraxa has no understanding of the concept of "beauty". A great deal of space in such a rushed storyline is devoted to her trying to puzzle out what beauty means and interrogating the minds of her recently-compleated Capennan aesthetes to try and understand it. In the end, she is unable to conceive of beauty except as "wrongness," as anathema.

So my first question is, why doesn't Atraxa have any idea of beauty? This is nonsense, right? We could point to a previous story, "A Garden of Flesh," by Lora Gray, in which Elesh Norn explicitly thinks in terms of beauty, but that's a little bit ditchbound, isn't it? The better argument is to simply look at Phyrexian bodies, at the Phyrexian landscape, all of which looks the way it does on purpose, all of which has been shaped in accordance with the very real aesthetic preferences of Phyrexians. How you could look at the Fair Basilica and not understand that Phyrexians most definitely have an idea of beauty, even if you personally disagree with it, is baffling. This is a lot like the canonical assertion that Phyrexians lack souls, which is both contradicted elsewhere in canon and essentially meaningless, given Magic's unwillingness or inability to articulate what a soul is in its setting, and as with this, it seems the goal is simply to dehumanize Phyrexians, to render them alien, even at the cost of incoherence or internal contradiction.

Atraxa's progress through the museum is fascinating. It evokes the 1937 Nazi exhibit on "degenerate art" in Munich, but not at all cleanly. The first exhibit, which is of representational art, she angrily destroys for being too individualistic (a point of dissonance with the European fascist movements of the 20th century, which formed in direct antagonism to communism.) The second exhibit, filled with abstract paintings and sculptures, she destroys even more angrily for having no conceivable use (this is much more in line with the Nazi idea of "degenerate art", so well done there.) The third exhibit is filled with war trophies and reconstructions from a failed Phyrexian invasion of Capenna many years prior, which she is angriest of all with (and fair enough, I suppose.) But then, after she's done completely trashing the place, she spots a number of angel statues on the cathedral across the plaza, and she goes apeshit. In a fugue of white-hot rage, she pulverizes the angel heads, and here is where I have to ask my second question:

Why angels? If you are trying to invoke fascist attitudes toward art, big statues of angels are precisely the wrong thing for your fascist analogues to hate. Fascists love monumental, heroic representations of superhuman perfection. It's practically their whole aesthetic deal. I understand that we're foreshadowing the imminent defeat of Phyrexia at the hands of legions of angels and a multiversal proliferation of angel juice, but that just leads to the exact same question: why angels? To the best of my knowledge, the Phyrexian weakness to New Capennan angel juice is something invented for this storyline. They have, after all, been happily compleating angels since 1997. We could talk about the in-universe justification for why Halo specifically is so potent, but I don't remember what that justification is, and also don't care. Let's not jump back in the ditch, please. The point is, someone decided that this time, Phyrexia would be defeated by an angelic host, and what does that mean? What is the text trying to say? What are its precepts and axioms?

Let me ask you a question: how many physically disabled angels are there in Magic: the Gathering? How about transsexual angels? How many angels are there, on all of the cards that have ever been printed for Magic: the Gathering, that are even just a bit ugly? Do you get it yet? Or do you need me to spell it out for you?

SPELLING IT OUT FOR YOU

There is a kind of body which is bad. It is bad because it has been significantly altered from its natural state, and it is bad because it is repellent to our aesthetic sensibilities.

The bad kind of body is contagious. It spreads through contact. Sometimes people we love are infected, and then they become the bad kind of body too.

There is a kind of body which is good. It is good because it is pleasing to our aesthetic sensibilities, and it is good because it is unaltered from its (super)natural state.

A happy ending is when all the good bodies destroy or drive into hiding all of the bad bodies. A happy ending is when the bad bodies of the people we love are forcibly returned to being the good kind of body.

Do you get it now?

ENDNOTES

It's worth noting that the ditch is very similar to the white American Evangelical hermeneutics of "the Bible says it. I believe it. That settles it," the defensive chapter-and-verse-or-it-didn't-happen approach to reading a text, what Fred Clark of slacktivist calls "concordance-ism". I don't think that's accidental. We stand underneath centuries of people reading the Bible very poorly - how could that not affect how we read things today? We are participants in history whether we like it or not.

I sincerely hope I haven't come across as condescending in this essay. Close reading is legitimately difficult! They teach college courses on this stuff! And while it is frustrating to have my close readings interrogated by people who... aren't doing that, like. I do get it. I find myself back in the ditch all the time. This stuff is hard. It is also, sorry, crucial if you intend to say something about a text that's worth saying.

I also hope I've communicated clearly here. Magic story is sufficiently incoherent that trying to develop a thesis about it often feels like trying to nail jello to the wall. If anyone has questions, please ask them! And thank you for reading. Next time, we'll probably do the new Eldraine set.

[messmers]

some graphic design resources cause im bored and itching to write something but i cant write anything i'm happy with--- anywayssss

unsplash for lots of royalty free pics

heres a cool site to learn how to pair fonts together

heres another site to learn kerning [spacing]

in fact heres a bunch of games to help u get better at graphic design stuff

some free online video editors x x x

color accessibility resources :]

savee.it - like pinterest but for designers!! unfortunately it has a save limit for free users but u should still be able to browse it for inspo i think?

some free fonts

aside from coolors i really love adobe color!! it has color palette generator [triads, monochrome, complementary, etc.], accessibility tools, palettes+gradients extractors, and color palettes inspired by trends within diff industries.

make moodboards online for freeee i miss u polyvore

spline and womp for web based 3d design! + blender of course [go make that donut!]

we all know and love them: photopea [photoshop but free and on a browser?!] and canva [no introduction needed im sure]

upscale the resolution / quality of pics it says anime but it works really well with most stuff like video game screenshots [gets rid of hard edges/pixels]

typography inspo

more color palette generators [already meets accessibility guidelines]

filmgrab - a curation of movie scenes 💕

here's another one but for color palettes from films

more inspo and tutorials

cargo - for web design stuffs

an archive of BRANDING GUIDES

free online zine hosting

milanote - very very useful for organizing creative projects :D kinda like a mix of notion and pinterest ? [its basically notion but more visual]

a collection of free luts

lots of pngs for editing

freepik - lots and lots of free design assets.

flaticon - lots of flat icons / vectors. i haven't used this in a while, but it was free last i checked

in case u need more help pairing fonts go here and here

idk ilu all have fun!!!!

[vaadazen-codes]

How To Get Started Making Visual Novels

Wanna make a visual novel? Or maybe you've seen games like Our Life, Blooming Panic, Doki Doki Literature Club, etc. and wanna make something like that? Good news, here's a very basic beginners guide on how to get started in renpy and what you need to know going in! Before you start, I highly recommend looking at my last post about writing a script for renpy just to make it easier on you!

LONG POST AHEAD

Obviously, our first step is downloading it from their website

thankfully, its right on the home page of their site. Follow basica program installation steps and run the program. I highly recommend pinning it to your task bar to make it easier to access.

From there, you're met with the renpy app, it's a little daunting at first but let's talk about what all these buttons are for.

Projects

This part is simple, it just lists the current projects in the chosen directory. You probably won't have any in there of your own. You should still see Tutorial and The Question!

Both of those default projects are super helpful in their own ways, i highly recommend testing out the tutorial and playing around with it just to get comfortable with some of the basics.

Create New Project

The first step to actually making your game into a game!

You'll be met with a prompt letting you know that the project is being made in English and that you can change it. You can click Continue.

From here, you'll be asked to input a project name! Put in your games title, or even a placeholder title since this Information can be changed later! (this is also the title the folder will be in your file browser, be sure to name it something you won't overlook)

Now we get to choose our resolution!

If you have no idea what to choose, go for 1920x1080! This is the standard size for most computer monitors and laptops, but it will still display with moderately decent quality on 4k monitors too!

You can choose 3840x2160 as well. This is 2x the measurements of the default, with the same ration. These dimensions are considered 4k. Keep in mind, your image files will be bigger and can cause the game to have a larger size to download.

Now we get to choose our color scheme!

Renpy has some simple default options with the 'light mode' colors being the bottom two rows, and the 'dark mode' colors being the toop two rows.

You can pick anything here, but I like to choose something that matches my projects vibes/colors better. Mostly because depending on how in depth you go with the ui, it minimizes the amount of changes I need to make later.

Click continue and give it a minute. Note: If it says "not responding" wait a moment without clicking anything. It can sometimes freeze briefly during the process.

Now we should be back at our home screen, with our new project showing. Let's talk about allll that stuff on the right now.

Open Directory

This just opens that particular folder in your local file explorer!

game - is all the game files, so your folders for images, audio, saves, and your game files like your script, screens, and more.

base - this is the folder that the game folder is inside of. You can also find the errors and log txt files in here.

images - takes you to your main images folder. This is where you wanna put all of your NON gui images, like your sprites, backgrounds, and CGs. You can create folders inside of this and still call them in the script later. EX: a folder for backgrounds , a folder for sprites for character a, a seperate folder for spirtes for character b, etc.

audio - Takes you to the default audio folder. This is empty, but you can put all your music and sound effects here!

gui - brings up the folder containing all of the default renpy gui. It's a good place to start/ reference for sizes if you want to hand draw your UI pieces like your text box!

Edit File

Simple enough, this is just where you can open your code files in whatever text/code editor you have installed.

Script.rpy - where all of your story and characters live. This is the file you'll spend most of your time in at first

Options.rpy - Contains mostly simple information, like project name and version. There aren't a ton of things in here you need to look at. There is also some lines of code that help 'archive' certain files by file type so that they can't be seen by players digging in code however. Fun if you want to hide some images in there for later or if you just dont want someone seeing how messy your files are. We've all been there

Gui.rpy - where all of the easy customization happens. Here you can change font colors, hover colors, fonts, font sizes, and then the alignment and placement of all of your text! Like your dialogue and names, the height of text buttons, etc. It more or less sets the defaults for a lot of these unless you choose to change them later.

Screens.rpy - undeniably my favorite, this is where all of the UI is laid out for the different screens in your game, like the main menu, game menu, quick menu, choice menu, etc. You can add custom screens too if you want, but I always make my own seperate file for these.

Open Project - this just opens all of those files at once in the code editor. Super handy if you make extra files like I do for certain things.

Actions

last but not least, our actions.

Navigate Script - This feature is underrated in my honest opinion, it's super handy for help debugging! In renpy you can comment with # before a line. However, if you do #TODO and type something after it, it saves it as a note! You can view these TODO's here as well as easily navigate to when certain screens are called, where different labels are (super great if your game is long, and more. It saves some scrolling.

Check Script (Lint) - also super duper handy for debugging some basic things. It also tells you your word count! But its handy for letting you know about some errors that might throw up. I like using it to look for sprites I may or may not have mispelled, because they show up in there too.

Change/Update GUI - Nifty, though once you start customizing GUI on your own, it isn't as useful. You can reset the project at any point and regenerate the image files here. This updates all those defaults we talked about earlier.

Delete Persistent - this just helps you delete any persistent data between play throughs on your end. I like to use it when making a lot of changes while testing the game, so that I can reboot the game fresh.

Force Recompile - Full disclosure, as many games as I've made and as long as I've been using Renpy, i have never used this feature. I searched to see what it does and this is the general consesus: Normally renpy tries to be smart about compiling code (creating .rpyc files) and only compiles .rpy files with changes. This is to speed up the process since compiling takes time. Sometimes you can make changes that renpy don't pick up on and therefore won't recompile. In these cases you can run force recompile to force it. Another solution (if you know what file is affected) is to delete that specific. rpyc file.

The rest of your options on this right hand side are how you make executable builds for your game that people can download to extract and play later!

Sorry gang! that was a whole lot of text obviously the last button "Launch Project" launches an uncompiled version of the project for you to play and test as you go! Hang in tight because my next post is about how to utilize github for renpy, so you can collaborate easier!

[codingquill]

Essentials You Need to Become a Web Developer

HTML, CSS, and JavaScript Mastery

Text Editor/Integrated Development Environment (IDE): Popular choices include Visual Studio Code, Sublime Text.

Version Control/Git: Platforms like GitHub, GitLab, and Bitbucket allow you to track changes, collaborate with others, and contribute to open-source projects.

Responsive Web Design Skills: Learn CSS frameworks like Bootstrap or Flexbox and master media queries

Understanding of Web Browsers: Familiarize yourself with browser developer tools for debugging and testing your code.

Front-End Frameworks: for example : React, Angular, or Vue.js are powerful tools for building dynamic and interactive web applications.

Back-End Development Skills: Understanding server-side programming languages (e.g., Node.js, Python, Ruby , php) and databases (e.g., MySQL, MongoDB)

Web Hosting and Deployment Knowledge: Platforms like Heroku, Vercel , Netlify, or AWS can help simplify this process.

Basic DevOps and CI/CD Understanding

Soft Skills and Problem-Solving: Effective communication, teamwork, and problem-solving skills

Confidence in Yourself: Confidence is a powerful asset. Believe in your abilities, and don't be afraid to take on challenging projects. The more you trust yourself, the more you'll be able to tackle complex coding tasks and overcome obstacles with determination.

[fictionstudent]

Novels are not movies.

Visual media has taken on the world by storm. It’s the next big thing in the evolution of humanity, maybe. It’s quite certainly changed the way we entertain ourselves. And with the recent spread of short-form content, visual media has also become cheap, disposable, and easily accessible to the masses—perfect recipe to make a product famous.

Alright, I’ve been a little too dramatic, lol. But for real, I’m one of those who’s severely addicted to Instagram Reels. Whenever I’m done scrolling, I feel like I’ve completely wasted my time—I could have read a novel, watched a movie, or caught up with my favorite mangas. But instead of all those ways to relax—and believe me (pwlease) that I only open Insta to relax, when I’m free—I just waste my time.

I love my novels and manga, mind ya, so when I catch myself wasting precious time that I could have instead used to consume them, I cuss myself. And then I go scroll some more Insta, because I’m an absolute idiot.

Anyway, back to the topic. Visual media has absolutely taken over our lives. I won’t go into the debate of whether this is a good thing or not, but we all can agree that it’s an undeniable fact. Video is everywhere.

Because—and lemme repeat myself—it’s cheap, disposable, and easily accessible today.

And because of such exposure to video storytelling, beginning authors forget that novels are not a visual medium. Yep, here goes my rant.

***

#01 - The Problem

The problem is simple—these kids have too much access to their smartphones. And these smartphones are filled with videos, like a dustbin with its lid hanging on because of all that garbage overfilling it. (Damn, I sound like a boomer.)

And therefore, when these new authors begin writing, they can’t help but imagine a sort of movie or a TV show as their story. And that’s where the problem is—novels are not supposed to be movies.

Movies are a visual media. That means they’re composed of pictures. Images. But guess what novels are composed of?

Text. Words.

It seems pretty basic. I mean, everybody knows this distinction. But what they don't know, however, are the implications of this distinction.

Personally, I began writing with film-novels too. And those novels are bad. Genuinely. I cringe at the fact that I could even mail editors and believe they’d accept them. Good thing they never did.

What’s a film-novel, though? Well, the idea is pretty clear—it’s a novel, but imagined in the form of a film. So, it’s like a film, but in text.

It’s like you’ve written the film as a novel, instead of writing it as a screenplay or something, maybe.

But you’d ask me—why? Why is it even a mistake? Everybody has a different writing style. And to that, I’d tell you one thing—the audience. The audience is different. The media is different. You can’t expect a cinephile to read your book. And since it’s not like a professional novel, a (Googles the correct term) bibliophile certainly won't.

So, who’s gonna read your story?

No one—because it’s neither a film, nor a novel. It’s a film-novel, an illogical mix of the two.

Everyone drinks water, and everyone likes ice-cream. But you can't… No, I’m not even completing that sentence. Ew.

Anyway, you get the idea, lol.

***

#02 - Identify

So, what does a film-novel even look like?

And for that, ladies and gentlemen, I present to you,

The lean figure was standing on the other side of the railing three floors up on the ground of the school building where children below were shouting and kicking football upon each other, wearing white football jerseys. The figures, as they ran all over the ground, seemed very small as I looked at them. The goalkeeper of the right side, who was just beneath my white shoe, kicked the ball so hard that it flew in air and went directly to the other foot of mine. The other players shouted “Whoaaa!” as they saw the ball flying. But suddenly, two of them looked upwards and saw me. One of them pointed towards me and then shouted, “Hey, who’s he?!” All the other players started walking towards that boy who was in the middle of the field with their heads tilted up above on me. Another one shouted, “Hey! What’cha doin’, eh?!” My narrow eyes, which had dark spots beneath them, looked at the boys from behind my spectacles. I then moved my head a little up and saw my shiny gakuran jacket fluttered by my shiny yellow colored buttons as the wind started blowing from my left side. I was able to feel the wind dancing upon my soft skin as I closed my eyes and turned my head upwards. I took a deep breath, and then exhaled it out with my mouth. I then again took a breath. This time, when I exhaled it out with my mouth, I was able to feel the saliva of my mouth upon my lips. I tilted my head and turned towards my arm, which was trembling a little. Both of my hands were still holding the railing of the school’s rooftop. I then turned left and then looked on my other arm. “Hey! Get down!” One of the persons from beneath shouted. I turned my narrowed eyes towards the ground, the teachers, a large gang of footballers and students, and some even workers had gathered in a circle. I turned my head towards the front. I looked at a couple of brown colored and blue-green colored houses in front of me, which stood high and mighty. Beneath them was the clear blue sky.

A wall of text!

Warning: you don’t really need to read all of it. But you probably did, lol.

Anyway, it’s the opening scene from one of my first novels. And, as much as I hate to say this—it’s pretty sh*t. It has a lot of problems—no paragraph divisions, for example, as well as a lot of grammatical mistakes too. But the biggest problem with the text is that it’s just images.

Reading this text, I dare you to highlight one single sentence that might tell you anything about the narrator.

The narrator is narrating the motions, not the emotions.

(Damn, that was a dope line to say, man.)

The narrator is only telling you about the images and actions and dialogues and thoughts. Even though it’s in first-person POV, you feel distant from the narrator. And, even in third-person POV, authors are supposed to make sure the distance between the narrator and the reader remains at a minimum.

That’s how you get a film-novel—that’s filled with scene-descriptions, actions, and dialogues. There’s no narrations in it. The readers don’t know the thoughts of these characters.

***

#03 - Is it really a problem, though?

Well, you might ask me—is it really such a big problem?

Heck yeah.

The reason is pretty simple, actually—no one wants to read a film-novel. These novels are filled with only descriptions and actions—that’s too much of mental effort. these novels make their readers keep on imagining stuff, and no reader wants to do that.

Because it’s easier to look at pictures than to imagine them based on text. And that’s why your film-novels won’t work.

See, you need to understand this—novels are different than film. Sure, novels are a form of storytelling too, and they do include visual effort, such as descriptions, action, and all that. But, all that is not the main selling point of a novel.

The main selling point of a novel is the emotions. Emotions captured in words, in situations—caught in context like a butterfly in a child’s hand. Films can display emotions, but novels put those emotions into words.

Narration is what forms the greatest part of a novel. Narration is where a novel actually shines. Narration is what the readers come to read.

And, as you could guess, films don’t narrate. Consider this,

And rain made him feel like crying. He gulped down, trying to keep the lump of his throat in check. He couldn’t cry in the middle of so many other kids. They’ll ask questions, and what will he say to them, huh?

He was sorry.

For what?

For everything he did. And for everything he didn’t.

The day had just begun. It’d be long before it ends, y’know. He just couldn't wait for it to end. There was no lifting up his mood. Not until tomorrow.

How do you display this in a film? The answer—you can't. However hard you try, you can't.

Such narrations are where the art of novels shine. Such narrations are what differentiates a novel from a visual media.

***

#04 - Is it really a problem, though? (pt.ii)

All this talk constantly reminds me of Cormac McCarthy’s The Road. It’s a literary achievement and really experimental in a lot of stuff that it does. For example, the novel has no dashes or apostrophes—and it’s not like these punctuation marks were not needed, they’re just not used. So, you’d find a lot of grammatical mistakes throughout the text.

And also, one thing that McCarthy ignored—and that’s relevant to the discussion we’re having—is that there’s literally zero narration. Zero.

McCarthy adopts a style that’s similar to a third-person POV, and is kinda like how I used to write when I was little—just with paragraphs and better scene-descriptions and action-descriptions. A lot better, as you can observe if you read his work.

Anyway, he didn’t have any narrative elements in his text. So the readers don’t really know what these characters are thinking or planning to do. They just know that these characters are somehow surviving.

I don’t wanna give away most of the plot of the novel, but the basic premise of the novel is that there’s a father-son duo who’s been caught in this apocalypse-type situation, and are traveling down the road to the south part of the country to escape the harsh winters that the north experiences. The novel doesn’t reveal a lot—the readers don’t know the names of these characters, the thoughts of the characters are hidden most of the time, and you don’t know what actually happened that most of humanity is dead and society is completely gone.

Now, McCarthy did it for a reason. A scarcity of punctuation marks reflects a form of scarcity in the scenery around them. Because most of it is, well, gone. Humanity is gone, and stuff is decaying. You don’t find fresh food anymore. Scavenge all you want—one day, all the canned food will expire, and there will be nothing to eat. Except fruits and veggies, that need to be grown somewhere. And nobody likes the latter, honestly.

And the scene-descriptions are so tough to read. They’re an actual pain. I have had a really hard time deciphering most of it, because the vocab is too high, and probably the sentences do not flow into each other easily. I can’t say anything about the sentences if I don’t understand them, y’know.

But, man, maybe that’s how it’s supposed to be. Maybe that’s why McCarthy wrote the descriptions in this way—to symbolize the mental stress that the characters go through as they experience this world, this form of reality that they were not meant to be in.

And maybe the novel is so lacking in narrations because the characters’ minds have gone numb. They’re forgetting language. With almost zero human interaction most of the time, they are forgetting how to think and interact in words. You lose the skills you don’t really use anymore, y’know. And these guys are so obviously depressed, so they don’t think about the world. They are used to the sad reality they live in. No point in complaining how bad the food is if that’s all you’re gonna eat all your life.

So, a scarcity of narrations tell you a lot about the story and its characters. It reflects something, it symbolizes something. The Road is a masterfully crafted piece of prose, please don’t get inspired to write in this style just because. This style won’t work on most of the stories.

Yeah, just because he wrote like this means you can too. Let me tell you, dear reader, that all of what we call rules are meant to be broken. Nothing is absolute. But here’s the catch—you can’t break the rules just because you don’t know how to apply them.

Authors need to learn these rules, because that’s what constitutes most of the written prose. That’s what forms the basics of the craft. So, learn them, understand them, and know how to use them. And then make a conscious decision not to use them.

See, these rules are like tools or weapons in your arsenal. And you need to keep your arsenal ready for everything. And then, you can decide which weapon to use, when to use it, and how to use it. Because you don’t know what sort of idea hits your head next and you’d suddenly need some of them.

***

#04 - Solution

So, how to make sure your novel actually comes off as a novel and not a film-novel? Unfortunately, the answer to that question… is that I don't know.

I know this sounds so absurd, but it is what it is. As someone who’s so recently started studying prose, I know this problem exists, but I still don’t know how to fix it. You could say I know my novels are film-novels, and I’m trying to fix it. But I, personally, am having a lot of trouble with it.

However, one way I can recommend is to write from your character’s POV, not your POV. You probably imagined your story as a film, but that’s now how you’re supposed to write it. Get into your characters’ head, see what they’re seeing, and write that.

But it’s tough. For me, at least. I always find myself going back to my old ways, and I think I need to re-write almost all of my scene-descriptions and actions because of it.

Lol, how ironic.

***

Conclusion

Yeah, and that’s it. I hope you liked this blog. Sorry I hadn’t posted in along while, I was going through a writers’ block. Stuff is happening these days, y’know.

Anyway, I’ll see you again in a couple of days, with something new. Bye-byee!

[sammaggs]

4x02 Easy Money // 3x01 Burning Down the House // 3x02 Eclipse | Rift

Something that always strikes me about Ray's moment of reconciliation with his father (in a show that might as well be subtitled Fathers Kinda Suck Huh???????) is the way this scene in particular is shot.

They focus especially on Ray's bracelet as he extends his hand:

Which isn't the only time they've focused on Ray's bracelet during Important Character Building. There's of course, his intro in Burning Down the House,

The close-up on the similarity with Marcus Ellory's bracelet in Eclipse,

And a bunch of other moments over seasons 3 and 4 that basically use the bracelet as a quick visual stand-in for "Ray Kowalski's a little bit different."

It’s something Ray Vecchio would never wear; hell, it's something most cops would never wear. It's a little bit, as Ray Kowalski would say, queer.

And so is Ray Kowalski.

The decision to focus on this bracelet during the exact moment he offers his hand to Damian as a peace offering is therefore, to me, worth considering. I personally read this as an indicator that part of the reason for Ray's rift with his father was his queerness.

And the first thing Damian says to Ray after they shake hands?

He compliments Ray’s experimental hair! He mentions another “queer” element of Ray’s physical appearance—one his father has likely given him a lot of grief for—and accepts it. Metaphor!!

It is, of course, understandable that Damian would have wanted better for his son than to be a cop, and this isn't to say that there isn't a world where that might have been enough to cause Damian to lose meaningful touch with his son for a decade. It certainly made sense for Ray Vecchio's father, who was likely involved with low-level mob business. But it does seem pretty extreme for Damian!

There's also the beautiful scene where Ray tells Fraser about his family in the precinct mess. At the very end, it really does look like he has something else he wants to say... but then Huey interrupts.

Now I am, of course, aware that Ray was dating or engaged to Stella at the time he graduated Academy. So what could his queerness possibly have to do with anything?

Well, as much as many of us wish it would, your queerness does not disappear when you enter a straight-passing relationship. I've even seen interesting ruminations in fic that some of the early hardship in Ray and Stella's relationship—remember, they broke up for a while during her college tenure—might have been due to the fact that Ray was interested in (or even caught) experimenting with men.

A personal anecdote, if you'll indulge me: I was in my mid-twenties, four years into a relationship with a man I thought I was going to marry, and tormented constantly by the idea that I was, probably, queer. I had no way of finding out while I was in a committed monogamous relationship. When I told my own mother that I thought I was bisexual, she told me it was all right—but also to never, ever tell my father. Even though I was in a relationship with a man, the knowledge of my queerness would have been enough to potentially cause a rift between my father and I that I don't know if we ever could have repaired. [editor's note: i'm a lesbian now and my dad and I have a stellar relationship ftr but i did have to marry a whole man first so] [editor's note: i am also the editor]

Ray gets caught with a man while Stella is in college? Or Stella knows and tells Ray's mother while they're drunk on wine one night? Or Ray's parents find a magazine... or a photo... or a stamp from the wrong club... anything. There's a million reasons why Ray's queerness could and may have come up even while he was with Stella, even while he was monogamous. Because he was still queer.

I know there's a certain element of "sometimes the curtains are just blue, dude, chill” to all of my meta, but when it comes to this show in particular I very much operate in my analyses from a place of "everything is intentional." Small details really do matter; the way scenes are shot matter, the words that are used matter, there's intentionality behind it all. We can't know or understand authorial intent, of course, but we can read our own interpretation of that intent into it. (The author is dead but Paul Gross thought Callum Keith Rennie was hot, so)

This is, after all, another episode directed by George Bloomfield, who also did Burning Down the House and is responsible for that "love at first sight" moment in Say Amen, so the direction here is in the hands of someone who is clearly in lock-step with Gross around the inclusion of queerness in the latter seasons of the show.

This moment is interesting to me in particular when considering intent because I actually would prefer to see Ray and Damian's faces in this moment! I want to know what Damian is thinking, or if he frowns. I want to know if Ray looks nervous or concerned. We don't see that at all.

Instead of seeing them over the GTO, we get the close-up on the hands and the bracelet over the rebuilt engine.

Rebuilding!! They're doing it.

And that makes my little queer heart pretty happy.

[taylor-titmouse]

Do you have an advice on how to describe characters without sounding weird? I always feel like it’s out of place for a character to be describing themselves or to cut the scene short to describe what each character looks like. But I do want the reader to know what they look like.

god yeah that's always a challenge isn't it. i can get away with just Not describing if i really want to because i have illustrations, but that's not helpful to you (and my editor bullies me if i do this so i try not to, lol)

it's all very contextual of course. obviously yes you shouldn't have a character stop and describe themself in a mirror, and a character would not think about their own hair being black because of course it is, they know it is. stopping everything dead to give an accounting of a person's appearance or outfit is how you get a my immortal.

you can find excuses, though. if the character is vain or self-conscious, they may compare themself to the others around them. they may mention their new clothes and how nice they look with the color of their hair, or their eyes. when describing other characters, one or two features when they first show up is usually enough, or as inserts with their actions. "he furrowed his caterpillar brows" "she picked at her long nails" etc.

when choosing what to describe, consider what sort of picture those features actually imply about the person. a man with caterpillar brows could be read as older, or of a certain ethnicity if paired with other features, or the use of "caterpillar" could say something about the way the observer thinks of him. it's not as flattering as a simple "thick" or "strong" brow might be. what would the POV character choose?

i think also if you're working exclusively in prose and don't have a visual component, part of you is going to need to accept the reader will not have the exact same vision of your guy that you do. do not bother trying to describe the exact design of a person's clothes, their precise hair style, or any of that. get their most basic, iconic features on the page, and just let whatever happens happen. they are going to get it wrong and they'll tell you and it'll make you insane but such is life. my mental image of estraven from left hand of darkness is Just Kenta and i could not tell you why.

so uh. dunno. it's tough. maybe read some Classics of Literature and see how they do/don't do it. it's always good to read more when trying to figure out how to write.

[tenjikufag]

omg such good haikyuu teams i totally agree!! coould i request a bokuto x m!reader with a little angst to comfort bcuz i love hurt/comfort a little too much 🤭

Homecoming.

Bokuto x Male Reader

-hurt/comfort, temporary split, long distance, pro!Bokuto

-this was requested quite some time ago! So sorry for the wait.

Dating an athlete is not an easy thing to begin with, when it’s a professional, worldwide known athlete.. it only further complicates things.

Being with an athlete you never really know where you are on the priority list with them, this sport is quite literally their life and their job but when does a life partner come into play?

Highschool was a far easier time to date Bokuto, you’d see him in class, during lunch, after school, the weekends- basically anytime you wanted he was there! You even travelled to the different schools and districts with parents, siblings, and other players’ partners for the games.

But, once you graduated it got quite a bit harder.

You were settling into your own education and career, as was he. He was set to become a professional volleyball player like he had always dreamed about and what you had always hoped for him..

That meant long periods away from each other while you both did your own things.

It was steady and you both came out the other side successful and happy,

It wasn’t until he started with MSBY black jackals that there were true signs of trouble. It was getting harder to see eachother, even harder to just get a call or text back from one another because of timezones and offset schedules.

It broke your heart, his too.

There was a promise between you two to stick it out and that you’d always be there for eachother but you just.. weren’t sure of it these days.

It’s been two weeks since you last were able to call Bokuto, 6 months since you last saw him. And texts were far and few.

“What am I supposed to do? We can’t even talk about it because we can’t get in touch, it’s not like I can just catch a plane to see him either..”

You sat across from your childhood friend, Akaashi. He was an editor and basically worked from home so you could call him up whenever.. he was there to listen to all your relationship worries and other worries outside of it.

“You’re both my friend, there’s really nothing I can do or say to help you choose what to do, you know that. He hasn’t been in contact with me for even longer, I’m really no help..”

He mumbled, taking a sip of his drink with a frown. You knew he was right, there really was nothing you could do.. not until you could call him atleast.

—

Bokuto picked up his phone, frowning to see no notifications from you.. quickly he texted you and asked if you could call him later because he would have a gap between training sets.

He was beaming with excitement to finally be able to call you, and he had a surprise too! Quickly he showered and changed into casual clothes before heading out of the gym and off to his apartment..

As soon as he got into his apartment his phone went off, a text from you. With a smile he opened it

‘We need to talk, please make sure you actually have the time to talk this time.”

Tilting his head, he knew he had atleast 3 hours to talk to you and do whatever he needed to get done.. he dialed you, listening to the ringing with a smile

—

You paced the room, flinching when your phone started to vibrate and Bokutos contact came up. Sighing, you answered

“Hey babe! How are you? I miss you!”

“Yeah.. I said we need to talk and I’m gonna cut to the point..”

The visual of his face dropping flashed in your head, the disappointment of no loving greeting in the face of his you imagined.

“Oh! What did you wanna talk about?”

“I think we should split up. Take a break.. or end things entirely..”

The audio seemed like it dropped, complete silence on your boyfriends end..

“Huh?”

“I said we should break up.”

“..why? Did I do something? What’s wrong, what are you talking about?!”

Bokuto panicked on the other side, you bit your lip and tried to find the words

“Please don’t do this, you still love me.. right?”

A sob throbbed in your throat, squeezing your eyes shut the tears started to fall with every single one of his questions

“I do.. I love you so much. I just can’t do this anymore, it’s too hard Bo… I’m sorry, I miss you too much and I can’t keep up with the schedules! I feel like I’m not doing enough for you, and I feel like you’re slipping away from me!”

You whimpered into the phone, Bokutos breathe was heavy in the speaker- evident he was ready to cry too.

“We can make it through this! I promise, once everything settles down-“

“And when would that be?! What if it never settles down? It’s not fair to either of us to keep doing this!”

He cried, your heart shattered hearing him cry.

“I can’t do this without you, I don’t wanna do this without you.. I promise-“

“Just stop.. it’s already hard not doing this in person.. I’m sorry Bokuto. I love you, I miss you.. but I can’t do this anymore.”

“..I love you too! Please, just wait-“

You hung up, not wanting to hear what else he needed to say- you knew it would only make this worse, worse than what it was.

There was never a life you’d envisioned without him in it, you both had the whole future planned out.

It was just too hard, and you accepted the defeat.

But Bokuto wouldn’t.

—

“Woah, what happened to you?”

Atsumu raised a brow at his teammate, Bokuto was known for being a lively and energetic person but right now he looked like a wet bird.. drooping and moping around the gym; his body barely moving through the stretches.

His teammates were even more shocked to see the male ignore them and move to the other side of the gym to continue his stretches.

“Maybe he’s just sad about going home..”

Atsumu shrugged his shoulders. Not giving it much more thought but kept an eye on his teammate..

When practice was over, Bokuto continued to sulk and it got even worse through the scolding he got for appearing lazy in his practice.

“Don’t take it too hard, last practice and you gotta keep yourself from getting hurt before you get back to Y/n, hm~”

Bokuto felt an elbow nudge him in the side, he only glanced over to the yellow blonde.. lip quivering at the mention of you.

“He.. he broke up with me.”

Barely above a whisper, Atsumu went pale- he felt like an ass! Cringing to himself he pulled away and apologized.

“Are.. are uh, you still goin’ home then? You can uh.. come visit my brother with me if you want?”

He didn’t know what to say, it was an extended break for the players so he really wasn’t going to have anyone here to keep him company.. Atsumu also didn’t wanna leave his friend alone so visiting his own family was the only thing that came to mind.

“I’m still going home.. I wanna see him at least one more time, maybe he will change his mind!”

Bokuto perked up, no longer looking as soggy and limp. Atsumu forced a smile and mumbled a ‘yeah, sure!’ And watched the owl-ish man stride out of the gym once again..

He wasn’t going to let you go that easily, with a new determined mind he packed his things and caught the plane home, to you.

—

You sat in your living room, a depressed mess of packaged foods and drinks scattered around where you sat yourself down.. it’d only been maybe a day or two but the radio silence from Bokuto was deafening- not hearing his ringtone or a text notification made you sick- you were always on edge trying to hear if any notifications came. You’d gone longer without a notification but the fact that you probably weren’t going to get one again was hard.

“Why did I do this..”

Wrapping your blanket around yourself, you let yourself fall over onto your side. Tears pricking your eyes once again.

The heartbreak made you ill, your stomach ached and knotted up whenever you tried to move, eat, or even think of doing something. Your head pounded and the anxiety washed the colour out of your skin.. the full body fatigue on top of it all made you feel miserable.

This was harder than anything you had ever had to do.. it took everything in you not to call him or text him.

Sighing, you tried to fall asleep.. as tired as you were the sleep didn’t come easy.

You would try to be a normal person tomorrow, maybe this heartbreak would be easier then.

—

The familiar scents brushed in his nostrils and filled his lungs, with a bright smile he exited the plane and made his way through the airport. Unknowingly, Bokuto has started to look for you; only to upset himself when he remembered you wouldn’t be here. He sighed sadly, hailing a cab that waited on the outskirts of the exit.

You were so close, he needed to prove to you why this would all be worth it and wanted to show you how much he loved you and needs you.

The cab ride was long, almost falling asleep only to be jerked out of it from bumps in the road.

Looking out the window, he saw your town, where you’d be! Excitedly he pointed to your complex to the driver, ready to fish out money from his bag to run into the house as fast as he could.

“You’re from the Jackals right?”

“Mhm!”

“Rides on me, I’ve been rooting for the jackals since I was a teen.”

Bokuto beamed, thanking him profusely and hopping out of the car and dragging his bags behind him.

His heart was beating faster than it ever had, even when doing the miles and miles of running this is the most his chest had hurt.

The man calmed himself down, taking deep breathes to soothe his aching heart. Putting down his bags, he fished around in his pants for the key and unlocked the door quietly; sneaking in and putting his bags behind the door. He looked around, and saw the mess and a lump of blankets and pillows.

Quietly, he stepped towards the lump of blankets and saw tufts of your hair peaking out… his heart swelled and he went to kneel in-front of you, watching your sleeping face.

Lightly tapping your forehead with his finger, he checked to see how deeply you were sleeping.. you didn’t react so he figured he’d be able to pick you up and bring you to the bedroom. He slid his arms under your body and softly lifted you, being mindful of the mess in the room to not make any noise.. he would clean it before he woke you up.

He laid you down on the mattress and tucked you in, making sure you had enough blankets and pillows.. he took off his jacket and placed it on the bed before scurrying out and cleaning the living room- he wasn’t a great cook but he could atleast make sure your snacks were out and organized!

-

You woke with a start, the sunlight from opened curtains dared to blind you for a second.. you were in your room. With a groan you tossed over, hearing something fall off the bed. Sitting up, you looked to the ground to see what had fallen and it was a jacket.

Bokutos jacket.

Furrowing your brows, you tossed your blankets off your body and picked it up.. he hadn’t left this jacket here and you were sure of it, atleast you thought so.. frowning you couldn’t help yourself from hugging it- it smelt strongly of his cologne, did you fish this out last night? Come to think of it you don’t remember making it to your room..

Holding onto the jacket, you walked into the living room and saw your mess was gone.. you also don’t remember cleaning it. That was when you heard someone else walking around in the apartment.

You froze, not wanting to move.. did someone break in?! It’s an apartment complex how the hell-

Arms wrapped around you tightly, a familiar scent and body melted into you.

“You’re awake.”

Tears choked you, are you this delirious and heartbroken to imagine Bokuto?!

Whipping around, you met his face. He was worried, looking almost as if a child that had gotten in trouble..

“How.. how did you get here?!”

He nervously fumbled with the hem of his shirt, avoiding your gaze and mumbling.

“I told you to wait.. but you hung up the phone..”

Huh?

“..was going to surprise you to tell you I was gonna come home.. we got a break and.. then..”

He started to cry, you took him into your arms and let him cry. Bokuto still tried to babble out an explanation, clutching onto the front of your shirt and leaving tear stains on your shoulder.

You began to cry too, hearing him on the phone was heart breaking enough but to hold him and hear it in person shattered you.

Bokuto pulled away, wiping his tears with his arm.

“Do you still want to break up with me? I.. I can get my things and leave…. If that’s what you want..”

He hiccuped, distancing himself from you and getting ready to pack his things up again.

“Don’t go.. let’s talk.”

You hugged him tightly, he returned it with even more force and led you to the couch.

The two of you talked for hours, not even just about the split but about everything.

It was like he never left

It was like nothing had ever happened.

As the day grew into night, you found him cuddling you and sitting on your lap.

You kissed him, the two of you kissed for what felt like minutes but what hours.

When he pulled away with slightly bruised lips, his hair and face dropped- a frown glossing his lips

“Is this a goodbye? Is this it?”

Rubbing circles on his hips, you pecked his lips again.

“No, of course not. I would’ve been gone and taken my own things if I didn’t want to see you again..”

He perked up, a smile twitching at the corners of his mouth

“We.. we are back together?”

“Yeah..”

He began to shake, catching your lips with his and pressing into you.

“I’m taking you with me, everywhere now. I can provide fully, take your education and job on the road with me! I can’t leave you again!”

“We’ll talk about it.. let’s just enjoy your time here..”

Bokuto smiled brightly, leaving kisses all over your face and thanking you.

“We’ll make it, I promise!”

“I know.”

[forgettable-au]

Whats your process like for making the pages/script/comic in general? any advice you could give?

Hii:D

I'm gonna ramble about this a lot, so I'm adding this read more <3

That way this post won't be super long on the main page

If you DO want to see everything go ahead!

So! Right now I work on the pages from monday to saturday :]

I divide work like this:

Monday-Tuesday: Script, storyboard and dialogue bubbles!

Wednesday-Thursday: Lineart for the 4 pages! 2 pages each day

Friday-Saturday: Color the 4 pages! 2 pages each day

Talking about writing

I don't have the full script ready yet because I realized

I SUCK AT WRITING, NOT IN A "My writing is so bad way" BUT IN A "I can't write words without getting confused" WAY

That's one of the reasons why it took me SO long to start this thing! Because I wanted the script to be fully ready! And I couldn't do that because whenever I'm writing I get super confused😭😭I don't know how to explain it but I NEED visuals ??? I need to see how the dialogue I'm writing is gonna look???

So now, whenever I'm writing, I'm also drawing at the same time! AND FOR SOME REASON THAT WORKS, AND SUDDENLY I CAN WRITE

I REALLY DON'T KNOW WHY THAT IS BUT, UH, IT WORKS FOR ME!!! THAT'S ALL I NEED!!

This does NOT mean I'm improvising the story! I do have the full story ready and outlined! I'm following that outline :]

I realized having everything ready might work for some people, but it wasn't working for me D:

So, uh, my advice for writing is to trust yourself and to try different methods! You'll find something that works for you :]

I DO recommend having an outline of the story before beginning!! You don't need to know everything from the beginning but you need to know what NEEDS to happen and a basic idea of how it should end :]

Now about the making of the comic pages

Pls look for references constantly!! Very important!!

There's many different ways to make comics!

I always look in pinterest for panel layout/color pallete inspiration

I use clip studio paint to make everything, it's super useful cause it has a LOT of features that make the process MUCH easier (vector layers, a paint bucket that actually works, special comic configurations, a panel tool, 3d viewing which is super fun, predetermined speech bubbles, the story editor, etc.)

It takes me like?? Approximately 2 and half hours to make one page?? Some more and some less

But I'm also an easily distracted person so sometimes 2 hours turn into 3 because I spent 1 hour getting distracted with other stuff 😭

Uhhm, so yeah!! I think the layout is my favorite part, my least favorite part is adding the speech bubbles...ESPECIALLY if I have to add Wingdings

Andd I think that covers most of it? If you all have more specific questions let me know because there's a LOT of stuff that goes into making these😭😭but I get better and faster each time! My first pages took me like 4 hours on average...some would take me 6 hours...THAT WENT DOWN A LOT :D

[armoricaroyalty]

Film Grammar for Simmers

What is film grammar?

"Film grammar" refers the unstated "rules" of editing used in movies and TV. Different types of shots have different associations and are used by editors to convey different types of information to the audience. Many of these principles were first described in the early 20th century by Soviet directors, but they're used consistently across genre, medium, and even language: Bollywood musicals, English period dramas, Korean horror movies, and American action blockbusters all use many of the same techniques.

Because these rules are so universal, virtually everyone has some internalized understanding of them. Even if they can’t name the different types of shots or explain how editors use images to construct meaning, the average person can tell when the “rules” are being broken. If you’ve ever thought a movie or episode of TV was confusing without being able to say why, there’s a good chance that there was something off with the editing.

Learning and applying the basics of film grammar can give your story a slicker and more-polished feel, without having to download shaders or spend hours in photoshop. It also has the bonus of enhancing readability by allowing your audience to use their knowledge of film and TV to understand what's happening in your story. You can use it to call attention to significant plot details and avoid introducing confusion through unclear visual language.

Best of all, it doesn't cost a dime.

The basics: types of shots

Shots are the basic building block of film. In Sims storytelling, a single shot is analogous to a single screenshot. In film, different types of shots are distinguished by the position of the camera relative to the subject. There are three big categories of shots, with some variation: long shots (LS), medium shots (MS), and close-ups (CU). This diagram, created by Daniel Chandler and hosted on visual-memory.co.uk illustrates the difference:

Source: The 'Grammar' of Television and Film, Daniel Chandler, visual-memory.co.uk. Link.

In film, scenes typically progress through the different types of shots in sequence: long shot, medium shot, close-up. When a new scene begins and the characters arrive in a new location, we typically begin with a wide establishing shot of the building’s exterior to show the audience where the scene will be taking place. Next comes a long shot of an interior space, which tells the where the characters are positioned relative to one another. The next shot is a medium shot of the characters conversing, and then finally, a close-up as the conversation reaches its emotional or informational climax. Insert shots are used judiciously throughout to establish themes or offer visual exposition.

Here's another visual guide to the different types of shots, illustrated with stills from Disney animated films.

This guide is almost 2,000 words long! To save your dash, I've put the meat of it under the cut.

Long shot and extreme long shots

A long shot (sometimes also called a wide shot) is one where the entire subject (usually a building, person, or group of people) is visible within the frame. The camera is positioned far away from the subject, prioritizing the details of the background over the details of the subject.

One of the most common uses of long shots and extreme long shots are establishing shots. An establishing shot is the first shot in a scene, and it sets the tone for the scene and is intended to give the viewer the information they’ll need to follow the scene: where a scene is taking place, who is in the scene, and where they are positioned in relation to one another. Without an establishing shot, a scene can feel ungrounded or “floaty.” Readers will have a harder time understanding what’s happening in the scene because on some level, they’ll be trying to puzzle out the answers to the who and where questions, distracting them from the most important questions: what is happening and why?

(I actually like to start my scenes with two establishing shots: an environmental shot focusing on the scenery, and then a second shot that establishes the characters and their position within the space.)

Long shots and extreme long shots have other uses, as well. Because the subject is small relative to their surroundings, they have an impersonal effect which can be used for comedy or tragedy.

In Fargo (1996) uses an extreme long shot to visually illustrate the main character’s sense of defeat after failing to secure funding for a business deal.The shot begins with a car in an empty parking lot, and then we see the protagonist make his way up from the bottom of the frame. He is alone in the shot, he is small, and the camera is positioned above him, looking down from a god-like perspective. All of these factors work together to convey his emotional state: he’s small, he’s alone, and in this moment, we are literally looking down on him. This shot effectively conveys how powerless he feels without any dialogue or even showing his face.

The same impersonal effect can also be used for comic purposes. If a character says something stupid or fails to impress other characters, cutting directly from a close-up to a long shot has a visual effect akin to chirping crickets. In this instance, a long shot serves as a visual “wait, what?” and invites the audience to laugh at the character rather than with them.

Medium Shots

Medium shots are “neutral” in filmmaking. Long shots and close-ups convey special meaning in their choice to focus on either the subject or the background, but a medium shot is balanced, giving equal focus to the character and their surroundings. In a medium shot, the character takes up 50% of the frame. They’re typically depicted from the waist-up and the audience can see both their face and hands, allowing the audience to see the character's facial expression and read their body-language, both important for interpreting meaning.

In most movies and TV shows, medium shots are the bread and butter of dialogue-heavy scenes, with close-ups, long shots, and inserts used for punctuation and emphasis. If you’re closely following the conventions of filmmaking, most of your dialogue scenes will be medium shots following the convention of shot-reverse shot:

To keep long conversations from feeling too visually monotonous, consider staging the scene as a walk-and-talk. Having two characters move through a space can add a lot of dynamism and visual interest to a scene that might otherwise feel boring or stiff.

Close Ups

Close-ups are close shots of a character’s face. The camera is positioned relatively near to the subject, showing just their head and shoulders. In a close-up, we don’t see any details of the background or the expressions of other characters.

In film, close-ups are used for emphasis. If a character is experiencing a strong emotion or delivering an important line of dialogue, a close-up underscores the importance of the moment by inviting the audience to focus only on the character and their emotion.

Close-ups don’t necessarily need to focus on the speaker. If the important thing about a line of dialogue is another character’s reaction to it, a close-up of the reaction is more effective than a close-up of the delivery.

One of the most iconic shots in Parasite (2019) is of the protagonist driving his employer around while she sits in the backseat, speaking on the phone. Even though she’s the one speaking, the details of her conversation matter less than the protagonist’s reaction to it. While she chatters obliviously in the background, we focus on the protagonist’s disgruntled, resentful response to her thoughtless words and behavior.

In my opinion, Simblr really overuses close-ups in dialogue. A lot of conversation scenes are framed entirely in close-ups, which has the same effect of highlighting an entire page in a textbook. The reader can’t actually tell what information is important, because the visuals are screaming that everything is important. Overusing close-ups also cuts the viewer off from the character’s body language and prevents them from learning anything about the character via their surroundings.

For example, a scene set in someone’s bedroom is a great opportunity for some subtle characterization—is it tidy or messy? what kind of decor have they chosen? do they have a gaming computer, a guitar, an overflowing bookshelf?—but if the author chooses to use only close-ups, we lose out on a chance to get to know the character via indirect means.

Inserts

An insert shot is when a shot of something other than a character’s face is inserted into a scene. Often, inserts are close-ups of a character’s hands or an object in the background. Insert shots can also be used to show us what a character is looking at or focusing on.

In rom-com The Prince & Me (2004) (see? I don’t just watch crime dramas…) the male lead is in an important meeting. We see him pick up a pen, look down at the papers in front of him, and apparently begin taking notes, but then we cut to an insert shot of his information packet. He’s doodling pictures of sports cars and is entirely disengaged from the conversation. Every other shot in the scene is an establishing shot or a medium shot or a close-up of someone speaking, but this insert gives us insight into the lead’s state of mind: he doesn’t want to be there and he isn’t paying attention.

Insert shots are, in my opinion, also used ineffectively on Simblr. A good insert gives us extra insight into what a character is thinking or focusing on, but a poorly-used insert feels…unfocused. A good insert might focus on pill bottles on a character’s desk to suggest a chemical dependency, on a family picture to suggest duty and loyalty, on a clock to suggest a time constraint, on a pile of dirty laundry or unanswered letters to suggest a character is struggling to keep up with their responsibilities. An ineffective insert shot might focus on the flowers in the background because they’re pretty, on a character’s hands because it seems artsy, on the place settings on a dining table because you spent forever placing each one individually and you’ll be damned if they don’t make it into the scene. These things might be lovely and they might break up a monotonous conversation and they might represent a lot of time and effort, but if they don’t contribute any meaning to a scene, consider cutting or repurposing them.

I want to emphasize: insert shots aren’t bad, but they should be carefully chosen to ensure they’re enhancing the meaning of the scene. Haphazard insert shots are distracting and can interfere with your reader’s ability to understand what is happening and why.

Putting it all together

One of the most basic principles of film theory is the Kuleshov effect, the idea that meaning in film comes from the interaction of two shots in sequence, and not from any single shot by itself. In the prototypical example, cutting from a close-up of a person’s neutral expression to a bowl of soup, children playing, or soldiers in a field suggests hunger, worry, or fear, respectively.

The Kuleshov effect is the essence of visual storytelling in a medium like Simblr. You can elevate your storytelling by thinking not only about each individual shot, but about the way they’ll interact and flow into one another.

Mastering the basics of film grammar is a great (free!) way to take your storytelling to the next level. To learn more, you can find tons of guides and explainers about film grammar for free online, and your local library doubtless has books that explain the same principles and offers additional analysis.

Happy simming!

[jovial-thunder]

Downtimes, module editor, water temple

Happy summer! There's smoke in Portland but it's not too bad. Bless firefighters. Work on Lancer Tactics continues apace.

This month has been mostly focused on the largest heretofore-untouched section of the game: downtimes and the module editor for designing the sequences between combats. We're not planning on doing anything particularly innovative or new in its design — if you've played Banner Saga, Fire Emblem (gameboy versions), or Rogue Squadron you'll recognize what's going on here.

Repair, level up, have visual-novel-style conversations with companions, do some light choose-your-own-adventuring, and pick & launch the next combat. All pretty standard downtime fare — games have pretty thoroughly explored these patterns as vehicles for narrative at this point.

The unique thing that Lancer Tactics is offering on this front is an editor to make your own entire campaigns. Classic games like Warcraft or Age of Empires had incredible scenario editors, but making anything more than a one-mission map was solely the domain of modders. Over the last few weeks, we've gotten a full basically-visual-novel-editor working ingame where you can orchestrate NPC story arcs, clocks ticking, branching paths, and triggered events for all the stuff that happens between combats.

All of the campaigns we ship with the game are going to be made with these same editors, which'll force us to really make sure that they're solid tools. I think it'd be very funny to someday see someone like completely ignore all the mech stuff and just make a visual novel in this engine.

There's no new preview game build this month because adding this big section of the game means too many things are under construction. I'm happy with how fast we've been able to get this going, but making ingame editors is a lot of unglamorous UI piping and data refactoring work. Fingers crossed that it'll come together enough that we'll be able to get the first version of this editor in your hands in time for the next update

Other Changelogs

Carpenter has started re-making the tutorial level from the demo in this new engine, which is pushing us to add a bunch of stuff to the combat editor. I added triggers for playing arbitrary effects on the map, moving the camera, storing arbitrary data to the battle/module states, enabling/disabling/triggering other triggers, AND/OR conditions, and putting execution limits on triggers.

Triggers can highlight UI or actions (so it can be like "use the boost to get through!" and the boost button becomes all shiny)

New "camera start" zone type

Added a "hotspot" zone type that has a little floating title, and plastered the names of other zones on the map (visual style stolen from some Foundry VTT modules)

Added water, whose level can be set via the editor or triggers.

Added unmounted pilots who can mount up into Shut Down mechs. We continue to plan to not have pilot combat be a part of the core game, but it'll be useful for scenario or scripted sequences.

Added activation pips and template icons to the mini healthbar on units.

A bunch more portrait editor assets from Martina, including facial hair. Here's a check Carpenter did where he tried to recreate some official Lancer art ingame. ✨

Schedule update

Taking a look at our original date for the "bones" of the game ("finishing the battle engine, basic character creation, 2 mechs per manufacturer, and an a 'instant action' mode"), we estimated being able to get it done by the end of November. The emotional milestone for me on this front is getting the game to a complete enough state that I feel OK about swapping it in on the itch.io page.

I've been saying that the 3D cataclysm has pushed us back back about 3 months, and I think that's still holding true. Carpenter and I haven't officially made the call yet, but I think it's likely we'll need that time to port more mech content; here's a graph they made that shows about where we're sitting on the PC and NPC mechs for the "bones" target in terms of mechanics and action icon/sprite. 

(This data is pulled from a big table they made that includes ALL talents/gear/traits where we've been marking things off as we've implemented them. Very handy for tracking where we are.)

That's all for now. Tata!