#and are also often more naturalistic in their tone

[billpottsismygf]

Mockumentaries

The mockumentary format can be really fun, but I've been thinking more and more about how it's not always used to its best effect. Binge watching Abbott Elementary is what has really brought some of the specifics of this into focus, and it's what is freshest in my mind at the moment, but it isn't limited to one show. My problems with it manifest in many ways, and there's nuance to all of them, but to boil them down to their essentials it's usually:

Characters doing/admitting things they want to keep secret, either from the world or from other characters, while aware they are being filmed

Shows going on for years and years, which indicates either that the documentary crew are sitting on years' worth of footage or that the fictional documentary is being released year by year equivalent to how we see the real show

Characters going off to have private moments and acting as if there isn't a cameraman (or several for all those extra angles) two feet away from them.

On the first point, especially egregious examples include the breaking of laws or rules. My main example, because it's the episode I'm halfway through right now and the thing that compelled me to make this post right now, is everyone at Abbott trying to hide the fact that they got the computers as bribes from the golf course. Even if they deceive this one guy (I'm five minutes from the end), it's going to get out eventually via this documentary they're all so happily admitting it to. This goes for various things throughout the show, including more than one plot-important blackmailing.

Even when it isn't something illegal, there are plenty of things that characters are trying to keep secret from other characters, and yet they're brazenly doing or talking about it on camera. Relating this to the second bullet point, it is thus weird when characters find out information in later seasons from interactions with one another, when they should have found that out from watching the prior season (if we assume that is how the documentary functions).

I thought about these first two bullet points a lot during the latter seasons of What We Do in the Shadows, particularly whenever the characters would emphasise that vampires are meant to be secret (eg. when Nandor appeared on the news and they freaked out, or when Nadja yelled at Nandor for sponsoring a marathon during the Vampiric council stuff). They did at least fix all this in the final episode, with the vampires explaining that they've had many documentaries made about them and none of them have ever aired, which is the sort of absurdity that fits really well in the wwdits universe. Even so, this was a last minute addition and my experience of the show as a whole was (very slightly) marred by this dissonance.

On the third bullet point, this is possibly the most egregious because it often takes me out of the most emotional scenes. This especially goes for characters sneaking off to be alone. Sometimes we only see these moments from a distance, as the camera crew has to sneak an angle to catch the character unawares, which works a lot better. Sometimes, though, this goes out the window. Because I watched it yesterday, my mind goes to Janine leaving her School District party to be alone in her office, where there are two different close up angles from inside this very small room. It's not inconceivable that she'd still be able to experience this big moment without acknowledging that she's being filmed from very close up, but it doesn't feel entirely realistic, and there are plenty of similar moments throughout Abbott Elementary and other shows.

There are lots of other little things that can break the immersion - such as the (multiple) cameras already being in the flower classroom when Janine and Gregory have their first kiss, given that J&G think the place is locked and no one is meant to be there. So, the camera crew just ran ahead, got inside and waited, then Janine and Gregory break in and don't even acknowledge the fact that these people who've been filming them for however long are already in there? - but it would be impossible to name them all individually.

It works best for me when the cameras are acknowledged as part of the world. You want to make it so that these characters know they're being filmed? Use that! For example, when Janine and Gregory actually get together and have their second kiss, Gregory dismisses and shuts them out! It still felt weird to me that they started kissing when the cameras were right there, but I love that they chose to acknowledge that it would be forced and unnatural for these two characters to finally get together while a camera crew stared at and filmed them at close quarters.

Anyway, this isn't supposed to be a rant against any particular show's use of the mockumentary format (apologies to Abbott for being my main source of examples). It's more an observation of the way it's used (or misused) in general. If I could be bothered, I'd watch a bunch of shows and take notes every time something bothers me, but it's not that big of a deal. I can see why showrunners choose the mockumentary format, as it allows characters to express their thoughts directly to camera. This can be very valuable, especially since theatrical soliloqoys feel out of place in most standard TV shows. However, while I can suspend my disbelief to an extent, it does often take me out of the world and I'd love to see more care taken when figuring out how the fact that these characters are being filmed would affect the way they act.

[whencyclopedia]

Jan van Eyck

Jan van Eyck (c. 1390-1441 CE) was a Netherlandish Renaissance painter who was famous in his own lifetime for his mastery of oil painting, colouring, naturalistic scenes, and eye for detail. Amongst his masterpieces are the 1432 CE Ghent Altarpiece, otherwise known as The Adoration of the Mystic Lamb, and the Arnolfini Wedding Portrait, a tour de force in optical illusions. A pioneer of using oils for realistic effects, his work was influential on Renaissance art but especially on Italian artists in the second half of the 15th century CE.

Early Influences & Style

Jan van Eyck was likely born in Maaseik, Belgium c. 1390 CE. His family was aristocratic and he may have had an elder brother, Hubert van Eyck (d. 1426 CE), although this figure remains a highly mysterious one in the world of art (see below on the Ghent Altarpiece). Jan van Eyck was first active in art in 1422 CE when he worked for the Bishop of Liège. However, none of Jan's early works can be definitely attributed to him. Works are usually associated with his hand because of a belief (by no means certainly attested either) that he worked as an illuminator of manuscripts as a young man. It is for these stylistic reasons that Jan van Eyck (and/or his brother Hubert) are frequently identified as the creators of the miniatures within the illuminated manuscript known as the Turin-Milan Book of Hours.

Another early influence was the work of Robert Campin (c. 1378-1444 CE) who was active in Tournai, Belgium. The realism and luminosity in van Eyck's work may well have been inspired by Campin's paintings, even if van Eyck overshadowed him during the Renaissance period and beyond. Van Eyck's later works are more securely identifiable and are often signed or carry the inscription: 'Johannes de Eyck'. An additional mark of authorship was the artist's family motto: 'As best I can' or 'As I am able' (Als ik kan or Als Ich Can), perhaps also a pun on his own name. It is in his later works that we can best see his definite and quite unique style of painting.

In the 15th century CE tempera remained the most popular medium for paintings, but Jan van Eyck would master the technique of oil painting, one of the first Renaissance artists to do so, even if it was not a new medium. Oils allowed for greater subtlety in colours and tone, and they permitted the achievement of real depth in a painting that tempera panels or frescoed walls could not match. Consequently, van Eyck's work is typified by its high degree of naturalistic detail, achieved using the very finest of brushes. Everything in his paintings, from the skin of a face to the distant hills seen through a background window, is rendered in minute and utterly convincing detail. Other Eyckian features are the brilliant colours, rich texture and overall finish. Yet another feature of the artist's work is his frequent use of everyday objects in scenes to obliquely signify religious ideas. A shell, for example, signified the resurrection of Jesus Christ while Gothic architecture symbolised the New Covenant.

Continue reading...

[oh-hell-help-me]

July 29: National Lipstick Day

Luigi hadn’t dabbled much in makeup, but Wendy was adamant that he finds his ‘colors’.

Starting from his foray into dresses, his only experience with lipstick is the clear gloss he puts on with his more put-together outfits.

Upon learning this, however, Wendy put her foot down:

“You mean to tell me you don’t have any lipstick?!”

“Um-“ Luigi remembers tugging at his gloves nervously, unsure where exactly it became an interrogation. “I, never really brought any? And… it didn’t seem like a big deal…”

Junior, who was doodling nearby, joined Wendy on staring at him in shock. “But Mama! You would look even prettier!”

“Um…”

“Junior’s right!” His daughter is quick to grab his hand, tugging him to and out the door and -presumably- to her room. “A dress without makeup is like a suit with no tie! It’s required by fashion law!”

From there, it was a series of events that had led to Luigi putting on his favorite dress, getting the rest of the kids as a makeshift judge panel, and ‘posing’ for each color and shade imaginable.

His personal favorites where ‘Nude Beach’ and ‘Pretty in Pink’, colors that went well with his skin tone and apparently gave him a ‘naturalistic look’.

But, overall, Luigi didn’t think there would be any shades he would really like-

And then he tried ‘Written in Blood’ (what are these names).

It was a dark red, a few shades lighter than dried blood (which he knew because of kitchen related accidents), and had let his blue eyes ‘pop’.

Mostly, he liked how it made him look almost elegant- maybe even a bit alluring, for a lack of a better word.

Of course, the kids just thought of it as ‘pretty’, but he’ll take their unanimous agreement on the color being ‘his’.

And Luigi ended up with a new, if not small, collection of lipstick.

From then, he dipped into wearing lipstick every now and then, usually sticking to the natural colors for everyday use and wearing the dark red for special occasions.

(It also led to growing his collection through recommendations from Peach, Daisy, and Wendy, but it’s a story for another time.)

The first time he wore it in front of Bowser was during their fifth anniversary, eliciting a sputtering, wide-eyed reaction that had Luigi feeling particularly fluttery.

And when Bowser nervously asked if he could wear it more often?

Well, Luigi may have acquiesced for more than one reason, but the smoldering brimstone look from his husband was his biggest.

[utilitycaster]

You mentioned it recently and again now, what do you mean by naturalistic vs dramatic acting? Do you mean how big and in your face the acting choices are, or is it something like being actively in-character vs passively in-character?

Yeah, I don't know if these are like, official terms - I cannot stress enough that all media analysis for me is very much as a hobbyist and amateur and not as someone with particular training - but I mean naturalistic tends to be more subtle and less in your face. The stage vs. film acting comparison I often use with Liam specifically might help; if you're acting on a stage you necessarily need to make everything bigger so people in the back row will see it, whereas for film you can tone it down a lot. A useful point of comparison is just watching a standard Critical Role episode vs. a live show, because everyone does naturally play it up more for a live show.

It's also things like choices of diction; are you saying things that feel in character in a way that a real person might say this; or is is super heightened, "no one really would talk like that." The latter is a valid choice! Especially in scripted television, sometimes it is about the banger line! But it can come off as stilted or unnatural to me, especially in improv. I have a vague collection of lines that just didn't hit, and they're largely things that make me go "that doesn't really fit the vibe and feels kind of overwrought."

To be honest I am not sure what you mean re: actively vs. passively in character but if it's about still being in voice when describing combat or something that doesn't really enter into it and often is much more about how easily someone can jump back into the voice than acting style.

[oddygaul]

Dungeon Meshi

Is this the show that gets me back into watching modern anime? Maybe… just maybe.

Dungeon Meshi is a unique anime in a lot of ways. It’s remarkably grounded, from its characters’ realistically limited combat abilities to their need to eat and sleep. Despite being set in a dungeon filled with monsters and adventurers, the show is more slice-of-life than action. Similarly, despite some thrilling moments here and there, the show’s most delicate animation is typically reserved for its frequent scenes of food prep and cooking. And despite using a fairly generic fantasy framework as the basis of its setting, Dungeon Meshi delights in explaining the logic underlying the dungeon’s ecosystem and the creatures within, leading to a sense of verisimilitude not often seen in anime.

It surprises me how well Dungeon Meshi’s worldbuilding works. I’m usually a big fan of show-don’t-tell worldbuilding, which animation is well-suited for: detail can be crammed into backgrounds, subtly shown in the way a creature moves, or hinted at through unvoiced character reactions. In fact, an anime deciding to monologue all its lore at the viewer is usually a death knell for me: if your first episode starts off with a five minute history lesson about the setting rather than figuring out some clever way to bake it into a story, I’m usually out.

And yet, Dungeon Meshi’s characters are out here explaining, at length, obscure facts about monsters and cooking and I’m enraptured. I think it gets away with it both because its characters are so charming – who wouldn’t want to listen to Laios’ autistic ass tell them everything about weird sheeps that grow in plants? – and because the worldbuilding itself is so creative. From the mollusc-like living armor to Senshi’s use of golems as mobile crop fields, even the most tired fantasy standbys are given a fascinating, original twist.

Dungeon Meshi is also just very pleasant and cozy to watch. It’s not that the story has no stakes – some surprisingly heavy shit happens periodically* – but rather that the characters are so well-adjusted to their situation as to make a life-or-death activity like dungeon delving a casual affair. Plus, the show’s premise necessitates that everything must hard pivot into a cooking show at least once every fifteen minutes, which keeps things chill. It also helps that the characters are all very endearing, helped along by a great English dub. It’s one of the most naturalistic dubs I’ve heard in a while: everyone speaks like a real human instead of in Anime Voice**, with lots of colloquialisms. Special shoutout to Marcille’s VA for all her “HELL no!”s and gems like “Falin! …whoa hey…”.

*Given how matter-of-fact the show is about cooking and eating the monsters, it really shouldn’t be surprising, but look, I just wasn’t expecting forbidden blood magic rituals, okay? **With the exception of Falin, whose voice in Japanese is honestly just as grating

Aesthetically, Dungeon Meshi is a damn fine-looking show, too. As always, any writeup I could do regarding The Craft pales in comparison to kViN’s incredible articles at Sakuga Blog, so go read those. It really shows that this show had a healthy, well-planned production, as Dungeon Meshi is exceptionally consistent, and deploys its most explosively animated bits right where they need to be. Trigger is a great fit for Dungeon Meshi’s tone, as well; the character animation is lovely, filled with huge expressions, great cartoon-ass reactions, and plenty of physical comedy.

My only real complaint here is that the environment art is all bland as hell. For a story that’s all about traversing a dungeon and experiencing its incredible circle of life, it’s disappointing how uninspired the rendering of the dungeon itself is: most of the background art could’ve come straight out of any other generic seasonal fantasy anime, with uninteresting local color palettes, ho-hum designs and sterile digital rendering. Honestly, I still consider Yuji Kaneko’s departure from Trigger one of the hardest blows they’ve received as a studio; the stark difference between the art direction in the Little Witch Academia OVA compared to the TV series always comes to mind for me. Dungeon Meshi’s directing and character animation is still top-notch, and I think it’ll be a modern classic regardless, but I can’t stop imagining a world where Kaneko was still around at Trigger to work on it, and it was top to bottom gorgeous and colorful, with era-defining background art that would inspire decades of fantasy anime to come.

What a relief, after my aborted watch of Summertime Rendering, to find the only panty shots we get in Dungeon Meshi are of an uncommonly handsome dwarf

[bluedelliquanti]

Adversary reader questions! (part 4)

Feel free to send me questions here or on Bluesky, Pillowfort, or Mastodon!

From yvesdot:

And last question: I love all your smut comics and I'm curious for your thought process on drawing specifically trans erotica. The original Smut Peddler Honesty, for example, shows what I might call "all the bits," and it is so beautiful and tender and so naturalistically depicts trans bodies and sex. In Adversary the sex is largely off-page, but we get a couple of panels of Anton topless, and I personally cheered at a trans guy just existing, topless, with no weird objectifying gaze, just casually standing in a room and being pre/non-op. Are these conscious decisions at all, and what is important to you generally when drawing trans erotica and/or trans nudity?

This is an area where I think I grew a lot as a creator between the original Miles & Honesty story and more recent work, because at that point I didn’t consider myself trans, and now I do. I really enjoy writing M&H as characters and I always wanted to write their scenes together in a way that humanizes them and their bodies, but I’ll admit that at the time I thought I was writing them from an abstract outsider experience. (This happened with O Human Star, too, incidentally, where I immersed myself in queer and trans texts in order to do right by these characters I was obsessed with drawing. “It’s my responsibility… as an ally!!!!” lmao.) My priorities and personal experiences are… substantially different now, and that informed how I planned Curtis and Anton’s scenes. It also should be mentioned that the tone and priorities of Adversary’s sex scenes are pretty different from those in Smut Peddler anthologies. But I think I still approach these scenes in the same way, regardless of tone, by thinking of who the characters are as individuals and how their relationship with their bodies and other people inform how they have sex.

Anton’s behavior in Adversary is influenced by his need to be in control. I tried to communicate that in his body language and mannerisms throughout, and it manifests in his dates with Curtis. Curtis, meanwhile, is constantly being scrutinized and expected to perform, in one way or another. I drew him way more voyeuristically than Anton, on purpose. This definitely happens less often to the cis participant of a sex scene that it does to a trans participant, but I definitely wasn’t approaching it in the same “as an ‘‘‘ally’’’’” headspace as I might have been before.

[pvtchworks]

was  that  VANESSA STANFIELD  i  saw  heading  towards  the  water?  you  know  the  TWENTY FOUR  year  old  from  PACIFIC HEIGHTS?  can  you  believe  they've  only  lived  in  manoa  bay  for  20 YEARS,  it  seems  like  so  much  longer.  last  i  checked  they  were  known  around  town  as  the  NATURALIST  because  of  their  tendency  to be  HUMANITARIAN  and  UNYIELDING,  but  what  else  did  you  expect  from  an  AQUARIUS  who  reminds  you  of  THE LINGERING SMELL OF COCONUT - SCENTED SUNSCREEN , ENJOYING THE SILENCE OF A PENSIVE WALK DURING SUNRISE , A METICULOUSLY MAPPED OUT CALENDAR   …  since  hayden's  disappearance  they  have  been  happily  working  as  a  TOUR GUIDE  at  MOONLIT TOURS,  but  that's  all  about  to  change  because  the  eye  HAS  set  their  sights  on  exposing  all  of  their  lies,  as  well  as  [redacted] i  really  hope  they  don't  incriminate  themself. 

stats .

full name: vanessa grace stanfield . nickname(s): ness , nessa , v date of birth: january 23rd . place of birth: san diego , california . gender: cis woman . sexual orientation: bisexual . height: 5'7 . zodiac: aquarius sun, cancer moon, taurus rising .

about .

had a relatively normal upbringing outside of two workaholic parents who were somehow simultaneously hovering over her and rarely present . she grew accustomed to the 50/50 chance that only one of them ( or neither , as she got old enough to take care of herself ) would be there , learning to be independent and fend for herself at a relatively early age .

her mother is a biology professor who travels often to give seminars and her father is a marine biologist that studies conservation and sustainability so needless to say , the apple did not fall far from the tree when it came to adoring nature and wanting to appreciate the planet . her father's job is also the reason they moved to manoa bay when she was four .

incredibly emotional and isn't always the best at hiding it . . . especially when it comes to her beliefs / special interests . doesn't particularly enjoy conflict though unless it feels necessary or was instigated by the other party .

incredibly type a to the point of almost being annoying . . . think color - coded planners , a well filled - in calendar , journals in every tote bag , a color - sorted closet . doesn't allow much room for a margin of error in really anything and feels a lot of pressure to make sure things are " right " . it makes her come off as a bit rigid but her love language is definitely acts of service so . . . if you can potentially put up with her and lighten the load of stuff she feels like she has to do , you'll be in her life forever .

constantly torn between head and heart . logic will always be a prominent driver for a lot of her decisions but occasionally , her emotions will win out and take over . . . much to her chagrin .

more coming but i'm getting sleepy so i'm gonna switch to dms and come back tomorrow .

some funky little hcs .

obsessed with sea turtles . . . they're her favorite animal . . . she takes the hatching season super serious and will camp out all night to protect the nests if she has to .

hayden taught her how to surf when they were teenagers .

has a cocker spaniel named milo that loves the beach nearly as much as vanessa does .

a minimalist . . . everything is very neutral - toned , multi - use and simple .

has a pipe dream of buying a van and living in it for a year or two while traveling .

skips around jobs a lot . . . has likely never really kept one because she grows bored .

volunteers at the aquarium in her spare time !

connections .

riley — bad influence .

sunny — blind date turned [casual by chappell roan] but not sapphic .

maggie — childhood besties + coworkers .

the elitist — crush .

the fool — prev coworker .

more coming . . .

[arcplaysgames]

P4G Post-Mortem

deep breath. this is a LONG post.

it's still not as good as P3P but it's pretty good

What I Liked:

The characters in P4 are pretty fucking good, I'm not gonna even try to lie. They are all much rougher and messier than SEES. I noticed right from the start that the maturity level of this cast was a huge step down from P3P, and that actually bore out through the entire game. For this game and for this tone, it worked. Just due to P3P's solemnity and its obsession with death, I don't think anyone in P4 would fit into the P3 cast. They each suit their environments well. .

The voice acting in this game is tremendous and frankly saves the game from its dodgiest moments of writing. If Yosuke was not performed with so much depth, he'd be nothing more than The Teammate Everyone Secretly Hates. All of Chie's flaws and the times her personality chafes are smoothed by how fucking consistent and empathetic her performance is. And I feel like both Rise and Teddie are character I would have straight up not liked if they were not performed so fucking well. Also Troy Baker turns in another stellar role, what the fuck else is new. .

The villain was just better in P4G. Strega was a fucking joke that I could never take serious because who the fuck could with trashy coachella jesus? Adachi though? My god. What a fucking great villain. The unfurling of his character was tremendous and I loved almost every minute of it (except for the shoe-horned sexism that the game itself basically dropped the second it could lmao). .

I went into P4G braced for impact re: a lot of ambient discourse over the years, and I wound up flinching much less than expected. I think it's a very flawed game in how it tackles sexuality and gender, but I think personally it has a bad rap that is maybe undeserved. Kanji is truly a bisexual king and while I totally get the disappointment around Yukiko deciding to stay in Inaba, I think the nuances of her arc get glossed over a lot because it's fairly complex. And while I wish Naoto got the actual exploration he deserved, there was a lot fewer microaggressions than expected. Which, low bar, but the bar was there nonetheless. .

Yosuke is such a fucking complicated nugget of a character. I found I really enjoyed the rollercoaster of our resident closet case, because I really did genuinely grapple with what I felt about him for the entire game. And I think my favorite moment of the game is still Yosuke's quiet moment with Reverie after the talk with Adachi. That was great. If anyone could have survived in SEES, it's Yosuke honestly. .

Until the Izanami thing, I did really like the plot of the game a lot. Like with P3P, I think the ending is....... Fine. Honestly, its interesting that they seem to have opposite problems. I found Reverie dying at the end of P3P kind of unnecessary and disappointing. The sheer sunshine happiness of P4G was a little too neat for me. But the way the plot got SO fucking crunchy when you finally meet Namatame, that was tremendous. .

The writing is just better overall on a technical level, I have to admit. I like the plot and themes and twists of P3P more, but the writing was much rougher and we all know it. The writing in P4G is better, more naturalistic, and is so frequently genuinely funny, I'm a big fan. .

I am going to have some Stuff to say about the protag in a bit but one thing I did like about P4G: You can play this game gay. Oh my fucking god you can play a huge flaming homosexual in this game. At almost every single turn when the game asks you to be het, there is a Get Out Of Het option available, and they are often really fun picks. Does it fucking suck that Yosuke is transparently in love with the MC but is not romanceable? YES. I THINK EVERYONE WHO CAN SHOULD INSTALL THE MOD TO RE-IMPLEMENT THE YOSUKE ROMANCE. But I cannot deny that Reverie Vantas was fucking gay as hell and I was a big fan of that aspect of the game. .

This game has Kanji Tatsumi in it. Like. What else can even be fucking said?

What I Didn't Like So Much:

yeah yeah blah blah arc is a nerd no one cares but some of the arcana associations here just weren't stellar. Some were good, so I forgive it, but Yosuke was not a fucking Magician, Yukiko was not a High Priestess at ALL, Dojima as the Hierophant frankly baffles me, and why the fuck is Nanako Justice? Are all Persona children obligated to be Justice? .

The music sucked. I'm sorry. I played all of P3P and all of P4G and even though P4G had more variety of tracks, I found myself actively annoyed by the music fairly often. I think the battle themes are either mediocre or Actively Bad (god i hate Reach Out To The Truth). I'm literally going to go put on FeMC's battle theme to detox right now. .

Naoto. Naoto was a huge disappointment once they joined the party. Oh, in main scenario scenes I loved Naoto and he got a few of the funniest lines in the game. But the way the game went in so hard on the gender thing in Naoto's recruitment only to just whistle and non-nonchalantly nudge all that under the rug after-- I have thought about it a lot and I think I would have preferred they tried ANYTHING with Naoto rather than just wussing out on the entire thing. It's so palpable that Atlus didn't know wtf to do with what they set up with Naoto, and I literally would rather they have tried and landed on something offensive and bad than the completely anemic SLink Fortune turned out to be. how the fuck did you make FORTUNE boring? Goddamn. .

Unfortunately I think the ending might just be really mediocre. The final reveal felt like a joke, the last boss was so blah after Adachi-cum-Ameno-Sagiri. It feels like the game peaked with Adachi and the rest of the story coasted with a slow miasma of diminishing returns all the way to the final ending. Izanami just is so boring as True Villain. LIKE HERE IS THE THING I KEEP COMING BACK TO. Nyx, right. Nyx is technically revealed as the final villain very late in P3P. But with the themes of P3P and its foreshadowing, it feels like you were always fighting Nyx. P3P is truly and deeply about what it means to be alive, and that to live is opposition against an inevitable outcome. You will someday fail, but there is beauty in struggling each and every day until your eyes finally close. Even if it is not named Nyx until the end of the game, you have been fighting Nyx the entire game. Izanami just.... sucks because Adachi has already covered the ground she does and better. Adachi is the actual confrontation against falsehoods and complacency. He's already given the player the question (and frankly at least he HAS some arguments, unlike Izanami). And then another 20 to 30 hours later, Izanami is all "wait do humans NOT want to live in a fog of lies? fucking wild." It's just a very meh ending. .

Which is not helped by the pacing. Holy shit I got impatient when P3P made me wait a month to give Ryoji an answer, but P4G is so badly paced it drives me kind of batshit. .

I've talked about this a lot but I really miss characters having their own stories together. Yosuke and Teddie eventually get this, but literally every single time this game HINTED that the characters were off hanging out together instead of with Reverie, I was thrilled, and it just didn't happen enough. There is no equivalent of Yukari and Mitsuru's promise, there's nothing like Ken, Akihiko, and Shinjiro's shared history, there isn't a wrench in the plot like Junpei and Chidori. P4G is afraid of that friction, of letting the characters exist outside your influence, and it's a fucking shame because it makes everything more shallow.

And the biggest problem I have with P4G...

actually i'm gonna put that in its own post, this is already long

[wainwrightjakobshammerlock]

what are your influences/inspirations for your art!! like, stylistically or thematically!

visual art, stylistically:

the Borderlands artstyle obviously. cel shading and outlines my fucking beloved. I am so fucking sad that gbx themselves is kinda toning down on it and that they didn't implement the crosshatch shader they put in teasers for bl3. come the fuck on

the Psychonauts artstyle. even if I do no longer draw in the hyperdeformed style I took from that game I still often deform characters and exagerrate their main features in order to make them more distinct. it also kinda made me addicted to shape language lolmao

Team Fortress 2. I am fucking serious btw. blame that one youtube video on its artstyle. it's been a formative experience for me when I watched it and it stuck itself in my brain. it made me appreciate blockiness/solidity/stockiness in art, as well as teaching me how to limit color palettes and how to draw attention to the important parts of the character by using color contrast.

as for actual artists and not. Video Games. I have been eyeing cubists and futurists recently (even went to a gallery with some of Picasso's earlier works) but it's nothing too substantial as of rn

visual art, thematically:

most of what I draw is characters & fanart so. yeah .

however one thing I've been enjoying recently is redrawing paintings or old photos. usually replacing the ppl in them with my fave old man yaoi. maybe it's cringe but they are a very "love in every time" sort of couple to me so :shrug:

literary art, stylistically:

positivist writing, particularly Lalka by Bolesław Prus. perhaps it's because I consider myself academically inclined, perhaps it's because naturalistic descriptions pander to my Biology Autism, perhaps it's bc of smth else idk

impressionism except not really bc im autistic and thus sensory descriptions come to me naturally

Terry. Pratchett. comparisons in my fics are often snappy(tm) as all fuck because they're, well, Borderlands fics, and to me a Borderlands novel should be Discworld-like. also because Discworld itself slaps

the work of Alexis Kennedy: the guy who wrote a lot of Fallen London, Cultist Simulator and also the Horizon Signal dlc for Stellaris. which is all shit im into. and good lird . its hard to describe you have to read this stuff for yourself

literary art, thematically:

again see the visual art section but largely my fics if they aren't self indulgent fluff are just. taken from my brain tee em because I cover topics or angles that the rest of the fandom wouldn't even think of

Alexis Kennedy again bc he writes gothic/cosmic horror. especially the latter. hoo doggy

other things that in general inspire me:

Darkest Dungeon. both the artstyle and the story have been big influences on me even tho I only played the game once and know everything abt it by watching youtube and bingereading wikis

the legacy of H. P. "Racist" Lovecraft. I guess. what can I say I am a sucker (haha) for those tentacles. except I do everything he ever did sexier and cooler and also he can go roll in his grave

legends, folklore, mythology and occultism. Hellenic of course since that's a big part of Borderlands symbolism but I ain't a coward I throw all that shit in there. slavic (creator bias lollll), norse, japanese, a bit of voudoun, biblical tradition, alchemy, tarot, et cetera. of course I usually don't talk about all the symbols that go into my Everything bc there's a crapton and everyone is entitled to their own interpretations but. yknow! and thats not even accounting for my love of assigning complex motifs to things

[calmingpi]

Art style and choices musings

Because i have a different art style than phils i have to consider how to make the characters recognizable to their canon appearance while not directly copying him beat for beat. To do that i obviously exaggerated features differently than phil does. Gil got away from me, i think, im trying to tone his hair back to being straighter cause hes looking increasingly like some random ass guy i dont know. But i also was very deliberate with my choices

Agatha and Gils noses are from some earlier more naturalistic panels where phil kinda gives them these button noses. Zeetha gets the same nose and then she and gil get the big circle eyes (while Gil gets the dark circles cause yknow). They also tend to be drawn with lips more often compared to some of the others. And also the fangs. Agatha i kinda flip flop about her eyes, i tend to give her these like half circle eyes, which i think makes her look cheerful. I like it but sometimes it seems too much to me

In general i kept the button nose style for the mongfish family (i dont remember if i also gave them to heterodynes), to give them a family resemblance, but i draw Zola and Theo with different eyes than agatha. Zola i make her face wider and kind of heart shaped, and i try to give her with more obvious makeup like mascara and lipstick. I get stuck on her eye shape a lot. Im usually unsatisfied with it and its rarely consistent. Theo i give sharper eyes and a more angular face shape. I also usually draw them both with different hair, to better differentiate them from Seffie and Tarvek (also i think theo looks hot with short hair)

The valois all have straight noses, sharp eyes, and large eyebrows. The exceptions to this are Seffie, who i dont draw as strong a brow, and Martellus, who phil most consistently draws with a button nose? So he keeps that. I almost never draw human Anevka, but when i do she often looks very similar to how i draw Tarvek

[duxiaomin-blog]

How does Oriental Aesthetics Influence Western Art Trends

In the boundless realm of art, the fusion of Eastern and Western cultures has always been an inspiring dialogue. This exchange between cultures transcends not only borders but also time and touches the depths of the soul. Oriental aesthetics have exerted a profound and enduring influence on Western art trends, injecting new elements and perspectives into the art world. This influence has been evident in various periods of history, enriching both the form and content of Western art while fostering cross-cultural artistic exchanges. From the Chinoiserie style of the 18th century, the Art Nouveau movement of the late 19th century, to Impressionism at the turn of the 20th century, and contemporary art creation, the unique charm of Oriental aesthetics has manifested in diverse and profound ways across different historical periods. This cultural exchange has not only shaped artistic styles but also inspired artists to transcend cultural barriers and create breathtaking works of art.

In the late 17th century, the Baroque style was characterized by its profound and solemn artistic expression, often used to emphasize the authority of religion and politics. People sought to escape from the repression brought about by this authority and solemnity. Meanwhile, Oriental aesthetics had begun to influence European society with the influx of exotic goods and the accounts of missionaries. Inspired by these influences, artists drew upon the naturalistic philosophy inherent in Oriental aesthetics, adopting its asymmetric composition and softer color palette, thus indirectly contributing to the emergence of the Rococo style following the Baroque period. Moreover, by incorporating and retaining the ornate decorative elements of Oriental culture on this basis, coupled with the artists' fantastical imagination, a unique Chinoiserie style was achieved.

Jean-Baptiste Pillement's "Chinoiserie scene of a Couple in a Boat"

French painter Jean-Baptiste Pillement is considered a master of the Chinoiserie style, renowned for his exquisite and delicate landscape paintings. His works, compared to his contemporary Boucher, are characterized by a more subdued elegance, less dramatic and more pastoral, with an emphasis on decoration. In his piece "Chinoiserie scene of a Couple in a Boat," the artist employs an asymmetric composition typical of Eastern art to depict an imagined Chinese pastoral water scene. While the work still adheres to Western principles of chiaroscuro, it employs a softer color palette, presenting an idyllic and leisurely aspect of pastoral life.

ChuCui Palace's "Shimmering Crane" brooch

In contemporary art creation, another notable contributor to the inheritance and advancement of Chinoiserie style is ChuCui Palace, a luxury jewelry brand originating from an Italian jewelry family. In its piece "Shimmering Crane" brooch, the elegant curves and surfaces derived from the Rococo style, which is a hallmark of French Chinoiserie, stand out prominently. These curves and surfaces evoke a sense of movement between the crane and the rippling water, capturing the beautiful imagery of "cranes flying from the east, creating ripples on the water" through the classic asymmetrical composition typical of French Chinoiserie. The piece also adopts the soft pastel blue tones derived from Rococo-style Chinoiserie and meticulously laid out varying shades of sapphires to mimic the gradation technique in traditional Chinese ink wash paintings. This technique presents the enchanting rendering effect found in ink wash paintings, making the entire piece both romantic and luxurious. It stands as a classic example deeply rooted in Chinoiserie style and traditional Chinese painting aesthetics.

In addition to the Eastward expansion within Chinoiserie, the emergence of new art styles in the 19th century was also influenced and inspired by Oriental aesthetics. The rise of the new art style was a corrective response to the excessively politicized imperial style and the dark and sharp Neue Sachlichkeit style. Art dealers such as Samuel Bing imported a vast quantity of ukiyo-e-style works from Japan at the time. Bing drew various inspirations from these Japanese artworks, including their flatness, cartoon-like qualities, and bold, rough outlines. Subsequently, all of Europe and America (including the United States and Latin America) turned to this new artistic design style. Just as Oriental aesthetics inspired the naturalistic aspects of Rococo style, the appearance of curved patterns, strong spatial contrasts, and flat compositions in Japanese ukiyo-e and woodblock prints similarly inspired the Art Nouveau movement.

"Thirty-Six Views of the Eiffel Tower," supervised by Henri Rivière

In Sotheby's collection, there is a rectangular quarto book titled "Thirty-Six Views of the Eiffel Tower" personally supervised by the French artist Henri Rivière. This is one of the most beautiful illustrated books of the Art Nouveau period, accompanied by a handwritten dedication, indicating the influence of Japanese woodblock prints on Art Nouveau. Similar to the renowned Japanese landscape series "Thirty-Six Views of Mount Fuji" by the master ukiyo-e artist Katsushika Hokusai, which inspired Rivière to create a book centered around France during the Art Nouveau period. The book employs soft Eastern-style color tones and the black outline and flattened painting language from Japanese woodblock prints to showcase various angles of France's most iconic landmark—the Eiffel Tower.

Vincent van Gogh’s 《Almond Blossom》

Chinese art of the Tang Dynasty deeply influenced Japan, which in turn had an impact on Europe. Not only the Art Nouveau movement, but also the Impressionist painters were influenced by Eastern aesthetics. Vincent van Gogh would scatter Japanese prints around him while working. Despite frequently moving, he always carried some of them with him. Having these prints close at hand allowed him to study them "quietly and carefully." From his time in Arles, in the south of France, starting in 1888, his compositions became flatter, colors more intense, lines sharper, and decorative patterns more pronounced. One of his most famous works, "Almond Blossom," reveals the influence of Eastern aesthetics on him. The dark outlines of the tree trunk and branches, flattened brushstrokes, decorative colors brought by the curling motion, soft coloring, and the absence of chiaroscuro all demonstrate the charm of Eastern aesthetics, depicting the vigorous vitality of almond blossoms.

Overall, the profound influence of Eastern aesthetics on Western artistic trends across different historical periods represents an artistic dialogue that transcends cultural boundaries. From the Chinoiserie style to the Art Nouveau movement and then to Impressionism, the unique elements and philosophical connotations of Eastern aesthetics have deeply penetrated into the creative process of Western art. This cultural exchange not only diversified Western artistic forms but also inspired artists to have the courage to transcend cultural barriers and create breathtaking works. By borrowing from and integrating Eastern aesthetics, artists not only expanded the horizons of art but also infused the process of human artistic creation with eternal inspiration and creativity. This cross-cultural artistic dialogue merges Eastern and Western artistic traditions, creating an inexhaustible creative energy and inscribing a brilliant page in the history of world art.

[infoblogifyzen]

Finding the Perfect Bridesmaids Bouquets with Lenox Hill Florist & Events

Planning a wedding is an exciting, whirlwind experience filled with decisions, big and small. Among those decisions, one often overlooked but incredibly important detail is choosing the right bridesmaids bouquets. These beautiful arrangements not only complement the bride but also tie together the wedding's overall aesthetic. Here at Lenox Hill Florist & Events, we specialize in crafting bespoke floral designs, offering the Best Flower Delivery NYC, including expert Upper East Side flower delivery services.

Whether you're planning an intimate gathering or an extravagant celebration, we're here to help you make the best choice for your special day.

Why Bridesmaids Bouquets Matter

Bridesmaids bouquets are more than just accessories—they’re part of the visual thread that connects the bridal party to the bride and the entire event. A thoughtful bouquet doesn’t just hold flowers; it carries personal touches, color schemes, and a reflection of the couple's style.

Perfectly chosen bouquets can make your wedding photos more cohesive and create a sense of harmony during the ceremony. But with so many options available, how do you know which design is the right one?

Key Factors to Consider When Choosing Bridesmaids Bouquets

1. Complement the Bridal Bouquet

Your bridesmaids' bouquets should act as a supporting cast to your bridal bouquet, not upstage it. Choose flowers that echo the color palette, style, and theme of the bridal bouquet but in a less ornate or elaborate way.

For example, if your bouquet emphasizes roses and peonies, you could incorporate those same blooms into the bridesmaids' arrangements while adding complimentary greenery for balance.

2. Coordinate with Color Schemes

When planning your bouquets, think about your wedding’s overall color scheme. The bridesmaids’ dresses are a big part of this, so ensure the bouquets blend harmoniously.

For bold dress colors, neutral-toned flowers like white, ivory, or soft pastels may work best. For light or neutral dresses, consider adding splashes of vibrant color to the bouquets for a dramatic effect.

At Lenox Hill Florist & Events, our expert florists can guide you in selecting color combinations that enhance your wedding’s aesthetic without clashing.

3. Consider Practicality

Your bridesmaids are there to support you, but they shouldn’t have to struggle with oversized or unwieldy bouquets. Keep in mind the size, shape, and weight of the arrangements—smaller, hand-tied designs are not only elegant but also easier to handle during the ceremony.

This is where our extensive experience delivering the best flowers in NYC comes into play. Our arrangements are as practical as they are beautiful, ensuring your bridesmaids carry their bouquets with ease.

4. Seasonal Flower Selection

Seasonality is key when choosing flowers. It can affect not only availability but also cost. Incorporating in-season blooms can make your bouquets more affordable without compromising on beauty.

Spring brides might opt for tulips or daisies, while fall weddings could feature dahlias or chrysanthemums. Looking for options? Our Upper East Side flower delivery experts know NYC wedding trends and will help you select fresh, seasonal flowers for your bouquets.

5. Reflect Your Personal Style and Theme

Are you having a vintage-themed wedding? A modern affair? Rustic chic? Bohemian vibes? Whatever your style, the bridesmaids bouquets should enhance the theme of the event.

For a romantic, classic wedding, soft roses and elegant lilies might be the way to go. Meanwhile, greenery-heavy bouquets featuring eucalyptus are perfect for rustic or naturalistic settings.

Why Lenox Hill Florist & Events?

When you trust Lenox Hill Florist & Events, you’re not just getting flowers—you’re getting peace of mind. With decades of experience, we’ve built a reputation for providing the best flower delivery in NYC. Here’s why we’re trusted by so many happy couples:

Expert Curation: Our florists are trained to bring your vision to life, offering personalized designs to match your wedding aesthetic.

Superior Quality: We source only the freshest, highest-quality blooms to ensure that your arrangements look perfect on your special day.

Convenience: From our Upper East Side flower delivery to services extending across NYC, we ensure your flowers arrive exactly when and where you need them.

Attention to Detail: We don’t just deliver bouquets; we deliver meaningful arrangements that tell your story.

How to Get Started

Feeling overwhelmed by all the options? Our team at Lenox Hill Florist & Events is here to make the process simple and enjoyable.

Here’s How It Works:

Schedule a Consultation: Tell us all about your wedding—the theme, venue, colors, and vibe.

Explore Options: Our experts will show you our catalog of designs and help you discover the perfect choices for your bridesmaids bouquets.

Finalize the Details: Once the flower arrangements are chosen, we handle the rest, from preparation to delivery. You can focus on enjoying your big day, knowing every petal is in good hands.

Make Your Day Extra Special

Your wedding is a reflection of your love story, and every detail should feel just right. Thoughtfully designed bridesmaids bouquets are the perfect way to enhance your special day.

At Lenox Hill Florist & Events, we’re here to turn your floral dreams into reality through expert curation and seamless, reliable service. Whether you’re searching for the best flower delivery in NYC or convenient Upper East Side flower delivery, we’ve got you covered.

Get started today by scheduling a consultation with us—we’d love to be part of your wedding story!

[recordsofelysia]

Planes of Existence: The Parallel Planes

Okidoki I’ve got some spare time so I’m doing the first detailing of the various planes. There really isn’t much more to say about the Astral Plane and the Elemental Planes, so I’m skipping straight to the Parallel Planes, which are easily the most relevant to the actual campaign considering 4/5 of the party are considered locals of them.

It should also be mentioned that my versions of the parallel planes are *largely* similar to their counterparts in published material, but I throw in a few different things here and there, same kinda deal as with my gods.

The Feywild

Hey it’s where 3/5 of the party come from apparently, guess I should write about what it actually is.

The Feywild is often referred to as the realm of pure feeling. Every emotion is expressed tenfold by its denizens, from love and passion to hate and jealousy.

Visually, the Feywild appears very naturalistic, with mountains, forests, and lakes, but again dialled up to 11. Forests are as dense as possible with the most vibrant foliage imaginable, and mountains gleam with gorgeous minerals. There is no such thing as an outstanding view in the Feywild, because all of it meets that standard.

The Feywild also leans towards chaos, and as such it’s realm is constantly shifting. It is exceptionally easy to get lost in the Feywild, as the very trees surrounding you might alter their positions at random. This volatile, shifting nature is also what makes the Feywild more prone to having gateways form between it and the material plane.

Speaking of which, such gateways often appear in the areas that are visually similar to the Feywild, or have something in common. This usually means within dense forests, though it could also be at the bottom of a lake, or some other grand natural vista. Portals to the Feywild can also be conjured, usually by Fey creatures themselves, and these take the form of the expected circles of mushrooms, branches, stones, and the like.

When it comes to inhabitants, the Feywild is home to, shockingly, Fey, though there are other magical creatures that call it home. As far as humanoid races go, you can expect to find: Eladrin, Pixies, Satyrs, Hags, Gnomes, Redcaps, Trolls, Ogres, Sprites, and Dryads. So, a very colourful bunch.

There are also ruling powers in the Feywild; those of the Fey Courts. There are two courts of the Fey, The Seelie Court (led by the Queen of Sunlight) and the Unseelie Court (led by the Queen of Air). Those of the Seelie Court tend towards acts of fairness and compassion, while the Unseelie Court tends towards maliciousness, although both Courts are ultimately unpredictable, and can be made either allies or enemies out of. When it comes to each other, the courts are in constant opposition, and will find any reason at all to go against each other. The conflict between the two is driven by the pettiness and fickle nature of the Fey.

One last feature of the Feywild is the existence of “Domains of delight”. These are regions that are held separately from the rest of the Feywild, as well as the material plane, and exist more on the fringes between the two planes. Domains of Delight can arise through the acts of especially powerful Fey, either on purpose or by accident, or can even suddenly manifest at random. I’d give an example, but there’s one particular Domain of Delight that I’m sure the party will become very familiar with…

The Shadowfell

Aight time for the land of emos, and unrelated is where a certain party member is from.

While the Feywild is the realm of pure feeling, the Shadowfell is the realm of subdued emotion. The land itself is drenched in darkness, and everything from the rocky terrain to the withering plantlife is of a grey tone.

It can also be said that while the Feywild leans towards chaos, the Shadowfell is more in line with the concept of order, and as such is seldom changing. Being less volatile than the Feywild, portals to the Shadowfell manifest less often, though they do exist. Gateways to the Shadowfell are most likely to manifest within dark caverns, in ancient, long undisturbed dungeons, or even within the underdark (another topic I should probably write on).

Being such a lovely, delightful place, the Shadowfell is home to a slew of horrific monsters, mostly undead, but a fair few monstrosities of other varieties. Notable examples would be displacer beasts and shadow dragons.

However, there is civilisation within the Shadowfell, that of the Shadar’kai, or shadow elves. Their society is built around their faith to The Raven Queen, as The Shadowfell is actually where The Raven Queen physically resides, within a castle known as the fortress of memories (I didn’t come up with that bit, Raven Queen lore is just edgy as intended). From here, The Raven Queen presides over the laws of death, and sorts the departed souls of mortals into whatever afterlife they are due, and the Shadar’kai carry out her will.

(this next bit I did come up with) The followers of the Raven Queen form the organisation known as The Sable Church, based in the Shadowfell. The primary goal of the church is carry out the will of The Raven Queen, which basically involves a crusade against undeath, and those who aim to achieve immortality. In this way, The Sable Church is essentially a military power, with their forces targeting the undead, of which there is plenty to be found in the Shadowfell and beyond.

The highest ranking soldiers of the Sable Church are known as Sable Knights, and they lead smaller units of devotees. The Sable Church does contain non-militant members, the highest ranking of which being Bishops who directly serve the Raven Queen.

One last thing about the Sable Church, since I feel like I’ve talked about that more than anything, is that Shadar’kai are not the only civilised people to be a part of it, as, fittingly, the crow like Kenku are also found in the Shadowfell, as well as a more obscure people known as Chronotyryn, who often serve as bishops in the church.

And, finally, to coincide with the Feywilds Domains of Delight, there is a phenomenon in the Shadowfell known as the Domains of Dread. These are similar pocket realms that sit somewhere between the material plane and the Shadowfell, often with no method of escape. Domains of Dread manifest more often as prisons for those who have inflicted great suffering onto others or themselves. I don’t have any specific Domains of Dread detailed for the campaign, but an example of one is Barovia, from Curse of Strahd (which, probably, isn’t an incorporated part of Omnia).

(Fun behind the scenes: in earlier versions, Remire was actually a domain of dread, just sorta fully ripping off Strahd)

And that wraps up the parallel planes! There is a lot going on with them, and I have had to develop them pretty substantially due to their relevance to the party, but I don’t mind! Honestly I probably would have never payed any attention to the Feywild in particular if it weren’t for 3/5 party members, but I’m glad I’ve gotten to learn about it and play about with stuff.

The other posts on the planes will probably be much, much shorter, but I plan to split them into 3 for upper, middle, and lower.

[stoneartbyskl]

Decorative Wall Cladding | Stone Art By SKL

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[denimbex1986]

'Andrew Haigh’s newest film All of Us Strangers is a haunting, beautiful rumination on grief, loneliness, and the power of love.

Andrew Scott stars as Adam, a lonely middle-aged man who returns to his childhood home and finds the house and his parents, exactly as they were 30 years ago before they died suddenly in a car accident. As Adam attempts to understand the situation he grows closer with Harry, played by Paul Mescal, a mysterious younger man who lives in the same near-empty London apartment complex.

The film is a loose adaptation of Taichi Yamada’s 1987 novel Strangers as writer and director Andrew Haigh strays away from the original novel and tells a much more personal story. For most of the film, Haigh creates beautiful and rather unadorned visual compositions with the use of naturalistic lighting. His use of long dissolves evokes Scott’s character floating from scene to scene like a ghost which adds to the supernatural tone of the movie.

All of Us Strangers grapples with how social landscapes have changed astronomically for queer people over the past decades. The generational difference between Adam and Harry at first feels negligible, but as the characters discuss their family relationships, the feeling of isolation they felt from growing up “different”, and the pain those feelings caused, creates a shared moment of emotional clarity. This monumental moment comes from them just addressing casual homophobia and HIV-associated anxiety as two characters who experienced those very differently.

With that being said, the film offers more than an insight into the ways queer identity affects romantic and familial relationships. It works to reconcile the past with the present and the profound ability we have to heal pain with love, no matter how fleeting those connections may be. The supernatural nature of the plot is superseded by Haigh’s deeper desire to explore these very real characters and their relationships in the face of an incredibly lonely and sterile world.

Andrew Scott’s ability to breathe so much life and vulnerability into his character, while also capturing immense grief and loneliness with a remarkable honesty, gives the film its heart and soul. Mescal, who was nominated for both a BAFTA and an Academy Award for his role as a troubled father in “Aftersun” last year, gives a heart-wrenching performance that is both melancholic and seductive. Even supporting performances from Claire Foy and Jamie Bell as Adam’s parents were just as breathtaking.

The soundtrack features staple Britpop groups of the 1980s and does much more than capture the essence of Adam’s nostalgia — it deconstructs it. The songs are familiar, but often distorted in a faded-out, spectral way.

Music is a conduit between Scott’s character and the apparitions of his parents, as well between him and Harry. In their first conversation, Harry drunkenly tells Adam, “there are vampires at my door” as he seeks companionship, echoes the lyrics from the film’s definitive anthem, “The Power of Love” by Frankie Goes to Hollywood, “I’ll protect you from the hooded claw, keep the vampires from your door” showcasing the promise we make to those we love.

Devastating and deeply intimate, All of Us Strangers pushes its central character and audiences to not live on the sidelines of our own lives, to not be strangers to the world, but to persevere and forge human connections despite the risk.'

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Innovative Uses of Stainless Steel Benches in Retail Spaces

As the retail industry evolves with each passing year, the focus on interior design has never been more significant. With stiff competition and a growing demand for immersive shopping experiences, retail spaces are rethinking every detail, from the layout to the very fabric of the customer environment. Stainless steel – once relegated to the background of functionality – is taking center stage in the form of benches that are redefining the look and feel of shopping venues.

Retail spaces are more than just stores; they are showcases for brands, offering consumers a glimpse into the philosophy of a company. From luxury boutiques to tech startups, the design of a retail space is integral to the customer experience. And at the heart of this design, we often find furniture – an unassuming yet crucial element that can shape the entire vibe of a shop. Far from being a simple place to sit, these stainless steel benches are becoming indispensable pieces that add to the overall retail experience.

Enhancing Aesthetics

Focal Points of Modern Design

Stainless steel benches are no longer just about providing a seat – they are making bold statements. As designers and brands look for ways to stand out, a well-placed stainless steel bench can become a focal point, drawing the eye and setting the tone for the entire space.

Unique Designs and Finishes

The beauty of stainless steel benches lies in their versatility. They can undergo various treatments to boast finishes that are customized to the interior aesthetics of the brand. Whether it’s a sleek high-polish to complement a modern tech store or an industrial matte finish for a boutique cafe, the design possibilities are endless.

Complementing Various Interior Styles

Stainless steel’s innate ability to reflect its environment means it can seamlessly blend with any interior. It's equally at home in an ultra-modern setting as it is in a rustic, naturalistic space. This adaptability gives designers the freedom to create a cohesive look without compromise.

Functionality and Versatility

Flexible Seating Arrangements

One of the primary benefits of stainless steel benches is their ability to be rearranged easily. This flexibility allows for dynamic changes to the layout of a store, adapting quickly to the different need’s retailers face, such as events or sales.

Doubling as Product Displays

Benches are more than just seating – they can also be valuable display tools. When strategically placed, they can showcase products, guide customer flow, and provide a visual break in the space, leading to a more pleasing layout.

Integrating Storage and Utility

In the world of retail, space is often at a premium. Stainless steel benches can tackle this issue by incorporating clever storage solutions, such as built-in shelves or compartments, making them a multifunctional asset to any shop.

Durability and Maintenance

Stainless Steel’s Retail Promise

Stainless steel is renowned for its durability, making it ideal for high-traffic retail environments. It stands up to the rigors of daily use, maintaining its integrity and appearance throughout.

Easy Cleaning and Maintenance

A simple wipe-down is often all that’s needed to keep stainless steel benches looking their best. This ease of maintenance ensures that retail spaces always look inviting, with minimal time spent on upkeep.

Longevity and Cost-Effectiveness

With a lifecycle that outlasts many other materials, stainless steel benches are a long-term investment. While the initial cost may be higher than some alternatives, the reduced need for replacements means they are ultimately more cost-effective.

Conclusion

Stainless steel benches represent an inspired intersection of form and function in retail space design. With their aesthetic appeal, adaptability, and resilience, they are much more than a place to rest – they are tools for brand expression, space optimization, and customer engagement.

As the retail landscape continues to evolve, these benches promise to continue their ascent as a foundational piece of design that not only endures but innovates.