#biggie plays aa

[its-no-biggie]

going into ace attorney with a vague awareness of the characters is so funny. like

isnt there a popular ship between the main character and another guy? where is he? are they coworkers or something?

oh theyre RIVALS. that tracks

oh my god AND they have history????

"dont expect me to go easy on you phoenix wright" oh i see. i see......

anyway i am not immune to the ship dynamic "two guys who fucking hate each other" - i cant wait to see fanart of them kissing under the moonlight <3

[edgeworthsunnecessaryfeelings]

I just wanna play ace attorney all day I need more wrightworth I NEEEEDDD TO PLAYYYY

[adiabolikpastel]

Life Updates w/ Mun Yu~

Just a note: I started writing this in March... So, yeah that is how crazy things have been for me.

I thought I would take a moment to do a good- ol'fashioned Blog Update. Since the new year started - and my resolution to post more isn't going too well - I thought it might be nice to just clear the air.

Brush off the non-productiveness of the past, and look forward! With that in mind, let's dive in! Everything will be under the cut - if updates aren't your thing, no biggie. Thanks for the support, and I'll post more content soon!

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Mun Yu Updates

So, what's been up with me? What's the happs? Well - after four LONG years I am finally getting my Bachelor's Degree. For those that might be new - I am an older college student, having wasted my first chance of going.

Originally, it was only to go back to finish my AAS in Early Childhood Education. Once that was done, however, I found the job market to be less than ideal. That being the case, I transferred to another college and began working towards a BA in Human Resource management. And now - as I stand but 3 more weeks away from completing that degree...

I have been asked by the college to continue my education - and will be starting the next chapter of this crazy journey. Starting next August - I will be working towards getting my MLD (Master's in Leadership Development) & MBA (Master's in Business Administration). I cannot properly express how crazy the idea of that is to me - I was never great in school and now all this... I feel so blessed to have this experience.

That has been my major focus - and it's literally a full-time job. On top of my actual full-time job. I also got married last October, to my best friend of 12 years. As we both enter into our thirties - we are looking to bring in another member of the family soon enough. Not just yet - but soon.

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Blog Now - What's Happening?

You know I wish there was more to post about. Truly I do. This blog is going to be 7 years old - and while it's come a long way, there isn't much to say right now.

I do have the L.E.M. art project continuing, we are officially on the last two boys. L.E.M. was such a huge accomplishment for me as a creator - even if it does exist outside of either canon. I enjoy going back and looking it over; just to see how far the blog has come.

TORMENTED REVERIE

Story-wise; super slowly I am working on publishing Yuuki's official story. My plan is to do each boy's route - complete with C.G.s (the first of which are done). Which will cover the month Yuuki was in the mansion before choosing Kanato.

After those routes are done, I want to make an overarching timeline post about where her story goes from there - then an epilogue just before Another Daydream. Those will also hopefully have art - which would be nice.

Yuki on the other hand - doesn't really have routes with the other boys. So I am wondering what the best way to tell his story is. I could just do it in sections and then break it into parts. I have seen OC blogs in the past do like diary/journal entries - which could be good for him honestly. Something like he was asked by Reinhart to keep a journal?

Yuki's storyline is one that I feel I have an idea of what I want, but I don't play with nearly enough like the others. So, that is definitely something I would love to work on in the new year. If you all are ever curious about him or the story - I am open for ask, they help me develop the story so much.

TORMENTED REVERIE: ANOTHER DAYDREAM

So, listen... these children got a lot of attention years ago. I don't feel so bad that they are getting ignored right now because of that. That being the case - I do have small things in the works for them. Nothing that is being developed at the moment though. My age old project Yukio in Wonderland is still something I want done, but I need a new artist for (and cant afford right now anyway). I do plan to work on getting sprites made for their older looks, mostly Yukio and Kanaye - Rini is set with what she has.

There is no official name for it - BUT - there is a sequel in the works for this time line. It follows Kanaye and Isabella (owned by @pureblood-prey) and their family / reign after taking over as King and Queen. With children of their own too - it's such a fun story that Mel and I have built over the years. Like I said though, no official name or release do that - but if you have any questions feel free to ask~!

EXCRUCIATING DUPLICITY

Ohh... this universe. I feel like it has so much going on, yet nothing all at the same time. There are a lot of OCs here, and I am trying to make them all cohesive with one another - the biggest part of that is that most of them have little to do with one another, which is kind of nice.

Skye's story is something I want to explore more. He has become such a presence on this blog - which I never thought possible. So thank you everyone for being so supportive of his chaotic a$$. I certainly never originally thought of his as Karlheniz partner - but I love where that plot is going.

Roselyn will probably never have a proper story, mostly because she is more of a background character. While she is there any around - having her own plot going on, it's not the focus, and we'll probably only see it in small doses. But you all ready know, if you want more Burai x Rose or just Rose content, all you gotta do is ask

Sweet baby Calli~ I know I have bit off so much with her story. Not only does she have two boys, which causes her story line to split - her family is super important to the natural order of the universe. It will probably be years upon years before I can properly give this story anything that it deserves. For now at least, Calli's story is the "Main Story" of the universe - where all others revolve around and have influences from or to the events in her plot.

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And... really that is all I have right now. Seriously, I started this in March and nothing really changed since I started till now when I am finally publishing it.

Once summer rolls around, and I am not weighted down with school work, I will 100% be able to focus more on the blog and releasing content. Thank you for your continual patients and support - truly it means the world.

For making it this far I will share a little inspiration board for the twins! I am so happy that you guys are excited for them. I swear I will answer the ask in my box today from my sweet anons. Thank you all again, we'll chat soon!

[gamer2002]

Danganronpa - Review2002

Danganronpa is a mystery VN, where 15 high schoolers are trapped in a murder school, and in order to get out one has to kill another and frame somebody else for it. Observed and manipulated by the headmaster of the school, a sadistic robot-bear called Monokuma, our main character, Makoto, has to survive and not lose his hope. Because there is a lot of despair. And hope. Despair. Hope. Despair. Light. Darkness. Kingdom Hearts.

But we’ll talk about that later.

Despite all the murder thingy, the game is just an edgy shonen and is very animu. It’s not a bad thing, because it’s entertaining, and that’s what matters the most. Characters are mostly simplistic, often stereotypical, but are distinguish and memorable (aside from meh protag). What is good about the cast is how the group dynamics changes with each case. Thanks to that, the characters seem more alive, and the surrounding drama seems more impactful. And sometimes the drama is really good, though it’s dragged down by the meme writing. But about that later.

The trials, where we try to figure out the killer’s identities, are good gameplay-wise. Aside from the rhythm minigame. I get the creators wanted to demonstrate losing arguments by lack of confidence, but, until half of the game, that minigame had nothing to do with logic or deduction. Every other minigame was good or ok, though.

Comparing to Ace Attorney, the trials were more dynamic, with constant new arguments and questions. It helps that the equivalent of AA’s testimonies is briefer (as it’s on a time limit). Not to mention, the filled with moving camera direction really made non-animated and non-moving characters feel alive. The music was ok – it serves its purpose, but it isn’t memorable.

The gameplay between trials was ok. Investigations didn’t drag too long. The free time did sometimes, but that’s because I was collecting more coins than it was necessary. The coins are spent for presents, which we can give to other characters, in return for learning more about them and gaining upgrades for the trials. But, to be frank, some upgrades were “turn off the setting we put to make the gameplay purposefully shittier”.  

It’s an entertaining game with some good ideas, which earns 7/10 in my book. But there are reasons why this game doesn’t earn any higher, which I’m going to elaborate on. The subject is Kingdom Hearts Meme Writing, Monokuma being a letdown villain, the big revelation being a lot of nothing, and how the writers could’ve made the Hope vs Despair nonsense actually work. The last two are impossible to write about without spoilers, but I can explain the first two without them.

Despair. Despair. Despair. Despair. Do you get it? I hope.

I know this is a shonen, regardless how edgy it is, and the writers were pretty self-aware of this. But the despair/hope meme drags down the writing. Monokuma goes on and on about how he will turn all the hope into despair, and this is just as ridiculous as a talking cartoon bear that kills a man by literally blasting him into space can be. It’s a meme writing. A ham-fisted, forced meme writing.

Other examples of meme writing is Kingdom Hearts, with its light and darkness, or Ace Attorney, with its truth. We all roll our eyes over that. Characters are bringing up some concept in a melodramatic way, repeatably, with a ridiculous zeal that doesn’t just seem alien, but straight out autistic. But it’s okay, all those titles, including Ronpa, are still shonens. Kingdom Hearts is a battle shonen where you fight against forces of evil alongside Donald Duck. You can turn your brain off and enjoy yourself, no biggie. But turning your brain off is a bit harder in, you know, a murder mystery.

Yeah, Ace Attorney is murder mystery as well, and yet I give it a pass. That’s because “truth” is just an ideal of idealistic characters. Phoenix, Edgeworth, and the rest, are melodramatically motivating themselves by simplistically expressing their ideal. And  melodrama is part of a wrestling, and logic wrestling is what Ace Attorney boils down to. So, why this isn’t the same in this logic wrestling game?

The problem with hope/despair is that those are not just some concepts or ideals, but those are emotions. Emotions that the writing does attempt to make you feel, sometimes pretty successfully. Case 4 is an example of a beautifully set up tragedy, it’s the game’s emotional peak. The reveal is shocking and sad, and the dramatic confession is filled with genuine emotion. And then the confession has the word “despair” in it, and my brain is immediately going back to Monokuma and his antics. Good thing that the official translation team has realized that they would have killed the mood sooner, if they had included that word in an earlier appearing evidence. Same thing happens whenever the word “hope” appears – it just makes us recall the memes.

In my AI: Somnium Files I’ve explained to you the need of being explicit about what is supposed to make the player feel emotions. But you can’t be ham-fisted about what the player is supposed to feel. Turning hope and despair into KH’s equivalent of light and darkness is turning them into a material for jokes. It is a repeatable telling us what to feel, and that simply can’t work. If the game didn’t do that, a lot of good moments wouldn’t be dragged down by being a reference to something we joke about.

Monokuma is just the biggest kid tier villain

There are spoiler reasons why Monokuma fails at being a villain, but I’ll mention them in spoiler section about improving the whole hope vs despair conflict. But the basic problem with Monokuma is spoiler-free, because it all boils down to the game’s initial setup.

Generally, Monokuma is a recurring type of villain that mixes nihilism, cartoonish silliness and cruel sadism into one, disturbing package. Other examples of such villains is the Joker, or Killer the Butcher from Zambot 3. When you look at Monokuma alone, he is (aside from spoiler reasons) a good example of such a villain. He is over the top, entertaining, scheming, memorable, gets all the attention in every scene he is in, and is constantly disturbing. All his bases are covered, so all is good, right? But only when you look at Monokuma alone.

Character in a story isn’t just some element you can look at alone, it’s an element you see among all the others. Great villain needs a great hero. Great hero needs a great villain. If one is unimpressive, the other can’t impress us with their triumphs.

The reason why the Joker is a great villain is because he is a challenge for the goddamn Batman, creating a clash of an unstoppable force against an unmovable object. Killer the Butcher’s enemies are kids piloting alien giant robot with superior firepower. What makes the Bucher a good villain is that, regardless of his lost battles, he still succeeds at causing significant collateral damage, which constantly contributes to his stated goal of slowly killing all humans. And Butcher doesn’t just rely on his show reaching logical conclusions about consequences of battles between giant robots, the entire arc before heroes directly attacking his HQ is about him using a weapon they can’t fight with a giant robot – kidnapped people turned into living human bombs. The amount of sacrifices, losses and traumas that kids from a 70s (!) super robot show have to go through is why Killer the Butcher is an impressive villain you love to hate.

But Monokuma isn’t an unstoppable force going against an unmovable object. Neither he is battling heroes that are capable of beating him in a direct confrontation, forcing him to rely on different forms of accomplishing his goals. He targets fifteen uninformed kids, with like three giving him a reason to worry, and puts them in a situation where they can’t initially defy him at all. It’s not a spoiler to say that the kids initially can’t find any clues that would’ve allowed them to free themselves from Monokuma. Their exploration of the school is limited, and next areas are unlocked only after class trials. Meaning, Monokuma limits kids’ ability to gather information required to beat him, until the next killing occurs. If the kids don’t kill anybody, they can only hope to (hah) apathetically accept their imprisonment by Monokuma.

To sum it up, all that Monokuma accomplishes is making some confused kids kill one another, when they are in a situation where it’s their only option to free themselves. Wow, what an impressive villain, doing whatever he wants with helpless children and driving them to murder.

It doesn’t help that the actual conclusion of the conflict with Monokuma is underwhelming, and all his actions only make us respect him less as a villain. But more about that later, in the spoiler section. But not immediately, because first we need to focus on the game’s disappointing big revelation.

Who cares that the world is over?

All attempts to escape the murder school were pointless – the world has already ended! Play the laugh track.

To give the writers credit, Genocide Jill’s explanation of that was funny and played out as a dark joke. And that’s the only way this revelation could be played out.

When it comes for the twist being a twist, it’s okeyish. The twist itself isn’t hard to guess, by the end of the first trial, and it’s almost given away by the third one. On the other side, there are photos of kids that died in previous chapters, and you could wonder if they aren’t going to reveal that everybody lives and this all was a simulation, or something. It can be easily guessed, but there is room for speculation, and you may not know which route the writers will go. Even if those routes are “predictable” and “a disappointing backpedal”.

But even if you end up being surprised… it’s an emotional bunch of nothing. Makoto gets his answer to what could’ve happened to his family, and he still doesn’t even realize it. That’s how the writing poorly handled one way it could’ve made us care about end of the world – through Makoto’s reaction to it.

Makoto is such an uninteresting, purposefully average, and ultimately unimpressive main character. We know he has family, parents, and a younger sister, but one picture of them is all we got. We don’t know the dynamics of their relationship, and we don’t know why Makoto loves them. Just saying “they are his family” isn’t enough. When Superman and his family are written well, we know why Clark Kent cares deeply about them – Ma Kent is such a great mother, Pa Kent is such a great father, and each scene with them demonstrates it.

Through the game, Makoto could’ve flashbacks to his family, as an ongoing C plot. That way we would’ve been shown why Makoto cares about them, why he wants to make sure they are safe, why he could feel tempted about escaping via murder (leading to him rejecting that idea because his family wouldn’t want it that way). And then boom – yes, the world has ended, and they are probably dead.

But Makoto never ever connects the state of the world to the state of his family. And that’s a big mistake, because that was a way to spice up the ultimate clash between Hope and Despair.

How to argue that Despair can be better than Hope

Before I focus on the topic, let me first expand on the topic of Monokuma being a disappointing villain, by telling you why Junko is a disappointing villain.

Junko just pulls everything out of her ass. Ok, she happens to have a super soldier sister, who was capable of killing Academy’s entire adult staff, letting her to take over the school. This part is acceptable by shonen standards. It was the Acadamy that was responsible for sealing the building and setting its defense, ok. But then everything else is an unexplained bullshit. Endless Monokumas? She has them because the writer says so. Ability to take away memories? She has them because the writer says so. Hijacking all TV channels? Performing ridiculously complex executions? Securing supplies to the Academy in a post-apo setting? She can because the writers says so.

She simply isn’t a formidable villain. She is nothing more than a bored girl, that could’ve been successful as a normal person, but the entire universe decided to grant her everything to let her play a supervillain. She doesn’t accomplish any impressive feat by herself. Even taking over of the Academy was solely thanks to her sister. With her granted unfair total advantage over the cast, there was no other way for her to lose than keeping screwing herself. She can’t even gain respect as a formidable opponent from sticking to her rules, because she not only purposefully handicaps the most competent person in the cast, but also keeps breaking her own rules.

The second aspect of a good villain is understandability. And Junko is a stupid incomprehensible mess. She always feels despair, and that somehow makes her constantly bored. But she wants to prove that’s better than hope. For some reason, she is a sadist. She is also happy about facing ultimate despair in form of her own death, but she didn’t yearn to that enough to off herself before all her plans. Nothing adds up, and she just does whatever crazy shit the writers needs her to do at the current moment. This is the aspect where she just sucks as a Joker-type villain. Such villains, when done well, aren’t just twisted, wrong, crazy edgemasters. When done well, they are also, despite everything, still somehow understandable. That’s what makes them actually shocking. It isn’t just shocking that they do horrible things, it is shocking that they can argue that everything they do serves a purpose and is consistent with a coherent belief.

Joker (when written well) and Killer the Butcher do have nihilistic philosophy that is wrong and twisted, but does have some shocking points. Joker believes that normal life is pointless, because one bad day can drive you mad, so it’s better to embrace awfulness of the world as your entertainment. And this philosophy is consistent with him wanting to commit macabre crimes. Killer the Butcher believes that humans are ungrateful bastards and will even treat their saviors like crap. And this philosophy is consistent with him wanting to kill all humans. Even if you don’t agree with their believes (I hope), you understand why somebody with such believes would be doing what they are doing. This understandability is what elevates banal conflict against a bad guy that does a bad thing that has to be stopped, into a conflict against a personified idea. Batman doesn’t just fight the Joker, he fights a nihilistic view of a pointless mad world. Zambot 3 kids don’t just fight Killer the Butcher, they fight view of humans as unworthy of living and being saved. That is why those conflicts aren’t banal.

Meanwhile, Junko makes a big promise for a Hope vs Despair conflict, arguing that the latter is better than former, but...

What is “despair” anyway? Is it to give up from stuff like escaping the school, and accepting whatever you end up having, however shitty it is? But what does it have with Junko’s boredom and embracing her own death? What is the point of the over-the-top executions? Junko is gleefully sadistic, what about despair makes you sadistic? Did she want the cast and her viewers to embrace sadism as well?  How’s that better than hope? It’s incomprehensible, and fails to make any point. The blame lies pretty much on the out-of-place sadism that exists just to make Junko an edgelady.

Danganronpa is a murder mystery. And despite being an over-the-top shonen, it does focus, decently, on motives for committing murders. Every single killer in this game is understandable. Their actions were wrong, but you understand why they did everything they did. There is just a sole exception to this rule – the games’ main villain.

During the final confrontation, Junko was arguing that futile hopes of previous murderers drove them to committing murder. That alone does make a good point. Then she offered everyone safe peaceful life, if they acknowledged her belief and abandoned all hope. Ok, that’s a good dilemma. Surprising that with such a good prepared dilemma Junko bothered to handicap and eliminate Kyoko, when she could just guide the cast towards Junko and this dilemma faster. Still, Junko does make a point about despair being better than hope, and does make the cast face a dilemma, in a way that is consistent with her belief. But then she adds she wants to punish someone for lulz, and that person has to be our bland player character.  

And how killing Makoto proves that despair is better than hope? It was a yet another act of Junko’s pointless sadism, which only made it more difficult for other characters to agree with her. Anyway, Junko is ultimately unimpressive, because she loses to Makoto just saying “let’s have some hope, guys”. All that buildup of understandable motives of past killers lead to a rather banal final conflict with a completely banal resolution.

Things would be different, if Junko didn’t forget about Makoto’s family and did bring them up during the final argument. I still think that trying to kill Makoto was counterproductive, but I understand the need of putting MC’s life at stake. But Junko could single out Makoto for execution because he was pushing for the idea of everyone leaving the school, despite the revelation about state of the world, and she could accuse him for selfishly risking lives of others, just for a hope of reunion with his own family. Imagine that being the payoff of flashbacks to Makoto’s family and his wish to reunite with them. Sure, here, Makoto has proved he wouldn’t directly murder anybody over it, but would he willingly disregard safety of others? He can’t really refute that, without giving up on leaving the school.

And that’s how Junko could undermine Makoto and make her point. Living trapped in the school and abandoning all hope for the outside world was bad, but it could be worse. At least it was safe, peaceful, and they had food plus entertainment. Looking for anything better outside was risky. Hoping for anything better was risky. Hope was bad. The state of despair, where you no longer hope for anything better than what you have, was good. Unable to accept this Makoto was spreading ideas that were dangerous for the well-being of others. How Makoto, willing to selfishly drag everyone else into a dangerous hell-word and risk their lives, was that much different from every other killer? Sure, they killed others directly, but at least none of their victims had a slow and painful death. Makoto was willing to potentially doom others to that. And this is why he had to be put down, like all the other killers had to be, regardless of their understandable motives. In the current state of the world, any reckless hope is a dangerous thought crime.

Here, the final debate could be more complex. Makoto could’ve pointed out that, even if he could be accused for having a selfish hope, it was the same with others. Everyone else wanted their situation to improve, and giving that up for hollow safety wouldn’t do. Hope is better than despair, freedom is better than safety. The future of post-apo is libertarian, and if we can’t live with the freedom to pursue our hopes, then we won’t live at all. No more lockdowns!

You don’t have to agree with such a statement, but at least it is some statement. Here, we have a clash of hope that accepts the risk against despair that is unwilling to accept any risks. Unlike what we got, where despair is somehow tied to sadism, and hope simply rides on the power of friendship.

[braincoins]

Unusual Halloween Movies

Tired of Jason, Freddy, and Michael? Want something new this year? Boy, do I have some treats lined up for you! I’ve used JustWatch to list the streaming options (though these are US streaming options; I maaaaay be up for some streaming fun on Halloween...). I’ll tell you right now, this list can almost perfectly be broken into three categories: Horror-Comedy, Sci-Fi Horror, or International Horror.

American Mary -  A medical student drowning under tuition debt finds a lucrative practice when she enters the world of body modification. ngl, I remember liking this movie but it’s been a bit since I saw it, so for the CONTENT WARNINGS I’m going to straight up rip the MPAA here: Rated R for strong aberrant violent content including disturbing images, torture, a rape, sexual content, graphic nudity, language and brief drug use

Ava’s Possessions - Ever wonder what life is like once all your demons have been exorcised - literally? Now that Ava is free of the demon that once possessed her, she’s out of a job, down a few friends, and facing charges for the acts of violence her demon did. The only way to get out of trouble is to go to the demon-equivalent of AA. CONTENT WARNINGS: mostly blood and bad language; some mild sexual content 

Behind the Mask: The Rise of Leslie Vernon - A journalism grad student interviews a young man in training to be the next slasher killer, ala Jason/Freddy/Michael. An absolute treat of a movie for anyone who loves slasher films; it’s about 3/4 mockumentary, 1/4 actual horror film when she realizes that, no, really, he’s going to go kill all those co-eds. CONTENT WARNINGS: Blood, gore, naked boobs (”Ugh. Is that REALLY necessary?” “Now, Taylor, who’s telling this story?”), sex, occasional panty shots (because, again, slasher films). 

Bubba Ho-Tep - OH MAN another one I had to go back and add in ‘cause REALLY NOW. Elvis is in a nursing home (at least, he says he’s the real Elvis) and he and JFK (who is played by Ossie Davis - who you will note is NOT white) have to fight off a resurrected mummy who sucks the souls of the living out of their assholes. Bruce Campbell stars. HOW IS THAT NOT AWESOME ENOUGH FOR YOU?! CONTENT WARNING: Um... look, I think you kinda already know what sort of content to expect given what I just told you about the story.

Bulbbul (Netflix Original) -  (Hindi Language) During the 19th century Bengali Presidency, something - or someone? - is haunting the woods around a lord’s estate, killing men in gruesome ways. The lord has left his estate in charge of his young wife, while his younger brother, who’d been away studying in London, returns to hunt down whatever is causing these mysterious deaths. CONTENT WARNINGS: child bride, blood, and what Netflix calls “sexual violence”, meaning a rape scene so graphic (despite not showing any nudity or genitalia) that it is GUARANTEED to make you uncomfortable. The movie was written and directed by a woman, so there is nothing intended to be “sexy” about this at all. If you can make it through that scene, though, there is a definite payoff for it. (Or should I say “payback”?)

Eli (Netflix Original) - A young, incredibly sick boy with a fragile immune system is brought by his parents to a clinic for an experimental treatment that may be their last hope. But all is not as it seems within the walls of this place... perhaps literally. CONTENT WARNINGS: mostly just language, a few mild jump scares. People get set on fire at one point. No biggie. 

Errementari: the Blacksmith and the Devil (Netflix Original) - (Basque Language) Based on a Basque folk tale. Eight years after the First Carlist War, a government official comes to a small, impoverished Basque town asking after the blacksmith. Everyone tries to warn him away; the blacksmith is an evil, evil man. But he is on the trail of some Carlist gold that might be in the smithy, and the prospect of the gold wins him some helpers. And while everyone is distracted by that, a young orphan girl manages to get onto the blacksmith’s property. And what she finds there, no one could have expected... CONTENT WARNINGS: I took a screenshot of Netflix’s list of warnings just because it amuses me:

[sings “One of these things is not like the others...”]

Europa Report - Look, I really can’t recommend this enough for fans of found-footage features and people who can stand slower-paced, constantly-building terror. An international mission is sent to investigate Europa, one of the moons of Jupiter. (Those of you who are fans of real-world space exploration know that Europa is considered a prime target for extraterrestrial life within our solar system.) Contact was lost with the mission for a long time, until the data streams came flooding into Earth all at once. And what they showed... CONTENT WARNINGS: Like I said: slower pace than most horror/thriller movies. It builds slow and steady. There’s really not much in the way of blood and gore, though; an excellent example of terror without resorting to buckets of red corn syrup.

Event Horizon - Hellraiser in Space? Hellraiser in Space. Except the Lamentation Configuration is a fucking SPACE SHIP. Also, props for genre-savvy cast. CONTENT WARNINGS: EYE SCREAM. Blood, gore, and, no really, THE EYE THING. Did I mention the gore and the blood? Oh, and language. And blink-and-you-miss it nudity & sex.

Grabbers - Strange creatures are attacking a small Irish coastal town and the only way to protect yourself is... to be drunk? CONTENT WARNINGS: I mean, it’s Irish and everyone’s drunk, so bad language (by American standards) is a given. That’s... really about it, unless you have a tentacle phobia.

Green Room -  An up-and-coming punk band show up to play a gig and realize too late that they’re playing at a Neo-Nazi club. And when they happen to see something they... really shouldn’t have, it becomes an all-out fight for survival. Same director as Murder Party, though this movie was made later with a much better budget. CONTENT WARNINGS: Violence, blood, gore, and yes, some dogs die because they were trained to be vicious attack dogs by Neo-Nazis. :( Also, the most important content warning of all? PATRICK STEWART PLAYS A NEO-NAZI. (You think I’m joking, but for someone who grew up with him as Jean-Luc Picard, it is downright unsettling to see, okay?)

Life - Think Alien meets Europa Report (above). The six-member crew of the International Space Station are given a sample from Mars that might contain actual extraterrestrial life.  CONTENT WARNINGS: Blood. No, let me say that again: BLOOD. Sounds of bones breaking. Alien creature entering someone’s mouth and killing them from the inside (probably through a combination of choking them/asphyxiating them on their own blood/devouring their blood? It’s not clear, it’s just UNSETTLING).

Murder Party - This is what happens when snobby art school brats try to kill someone. (Read: it doesn’t go well.) Fuckin’ bop of a Halloween song over the end credits, too. Also, at least two characters are canonically bisexual. Same director as Green Room, though this movie was made first (with a much lower budget). CONTENT WARNINGS: bad language, blood, gore, nudity, mild sexual content (the nudity is supposed to be “artistic”). The dog probably DOES die, given the circumstances, but it doesn’t happen on screen, at least? And the dog gets some pretty decent comeuppance first... Also, 1000000% accurate cat representation. 

The Perfection (Netflix Original) - A former cello virtuoso (virtuosa?) gets in touch with her former teacher and meets his new star pupil. An instant connection is formed between the two women... or is it? (Yes, there are lesbians!) CONTENT WARNINGS: oh chaos, where do I start? Bugs under the skin, hacking off body parts, blood, gore, mild sexual content, sexual abuse, and the movie itself is complete and utter MINDFUCKERY. Did you like “Tales from the Crypt” as a kid? You’ll probably dig this. 

Ravenous - With apologies to all Native Americans, but at least they did get actual Native American actors for those parts (George is played by a Pueblo actor; his sister Martha is played by an actress of Menominee and Stockbridge-Munsee descent). A soldier who won a questionable victory during the Mexican-American war is given a hero’s status and then an exile to a remote fort in the Sierra Nevadas. Not long after he arrives, a would-be settler arrives with a harrowing tale, calling for help for what few survivors there are of his wagon train. The two friendly Native Americans at the fort issue warnings that go unheeded, of course. CONTENT WARNINGS: Blood, gore, cannibalism, PTSD.

Slither - James Gunn’s 2006 Feature Movie Directorial Debut! He wrote it, too. An homage to B-movie gore flicks like you’d see at the drive-in. I am just copying and pasting the IMDB summary ‘cause I love this movie too much to be concise about it: A small town is taken over by an alien plague, turning residents into zombies and all forms of mutant monsters. (Oh, but don’t forget the nasty, slithery blood worm things!) CONTENT WARNINGS: Nasty, slithery blood worm things. GORE, BLOOD, GORE, GORE. A very uncomfortable sex scene. Michael Rooker.

They’re Watching - An American TV crew filming what is essentially “House Hunters: Eastern Europe” stumble into superstitions, folklore, and... TERROR!! MWAHAHAHAHA. No, seriously, I LOVE how it’s basically “What if some HGTV crew wound up waaaaaaaay in over their heads, in a horrible and bloody way?” CONTENT WARNINGS: Blood, gore, and NO WI-FI.

[its-no-biggie]

fellas is it gay to go to law school for another man 🤔

[ducktales-wco-oo]

NSFW actions #6 - ( Panchi/Marq )

- ✩ { @gamblealife } ✩

✩ { Meme } ✩

{ ☆ } There are many perks to the self-driving car... but the biggest one by far— in Marquel’s opinion anyway —is the sex. Not that he doesn’t get it pretty damn often even without this little perk, but there’s just something thrilling about getting it on in the back of his limo, music blaring from the speakers just loud enough to probably drown out the parrot’s shameless sounds. Although, one might think he’s actually TRYING to be heard above the rapid techno, as if wanting to brag to all the other schmucks stuck in traffic that the rush hour can’t put a damper on his good time. Hell, if anything he’s grateful for the backed up vehicles.

He and Panchi would have had to settle for a quickie if they hadn’t gotten trapped on this packed street... Yeah, now they’re probably going to lose their dinner reservations, but it’s fine. He’ll just throw some money their way and get himself a new one. No biggie. Unlike Panchito’s great, big—

❝  Aa-aaahhh!~ Fffffffrick...  ❞  Marq moans, struggling to censor himself for fear of Panch losing his rhythm, hips rolling with the motion of the rooster’s as he straddles him on the back seat. Feathers lightly dampened with sweat, he’s grateful that he had the foresight to shed his clothes— scraps of fabric safely tossed aside onto the opposing seats —to prevent them from getting covered in the scent of sweat and sex. A few spritzes of perfume and he’s sure he’ll be fine. Bare form fluffed, headfeathers fall messily around his face, disheveled from where they had been pulled and played with earlier. With fingers now DIGGING into his hips to help hold him steady, arms are wrapped around Panchito’s neck to further stabilize himself, the lithe parrot being helped up and down in tandem with his partner’s thrusts.

Gasping at the sensation, eyes squeezed shut and a pleased smile on his flushed face— grey having turned a pink that’s put his wardrobe to shame —Marquel moans loudly as nerves are set afire, each movement inside of him enticing another wave of pleasure. From the throbbing and twitching he can feel, beads of warmth already dribbling out and lathering his slickened entrance, it seems like Panchito is enjoying himself as well.  ❝  Oh, Papito~  ❞  Marq groans, back arching and plush chest feathers puffing further, as if instinctively wanting to show-off for his partner; wanting to provide a more pleasing sight for Panchi to admire riding him. A sight that is thankfully blocked out by tinted windows... not that Marquel would have been deterred if they weren’t. Evident by the loud cry he emits when a thrust hits him just right, a musical trill soon joining it.

❝  Te sientes muy bien~ Me llenas tan bien, Papito Pan-Pan~  ❞  { ☆ }

[perchedon]

Perchedon’s ToA Performance

@succulent-tart @officialtoa

Thank you so much to everyone who came and danced with me! <3 I had an absolute blast!

Perchedon steps onto stage, an excited smirk on his face. Tonight he wore black pants that cling to his legs in all the right places, knee-high boots, a long white shirt, and a red vest cut low enough to allow his glowing tattoos to peak out. His raven black hair is tied in a ponytail and decorated with glittering green beads. “This song is for everyone here on Azeroth. We’re all here together, side by side to celebrate the Tournament of Ages!” He raises his arms up to encourage everyone to cheer.

“I want you all to feel free to come on down from the stands and dance up here with me! Please, I get lonely up here all alone.”

Unable to help but move, Perchedon rolls his head and shoulders along as the music starts up. It’s a fast paced beat that plays through the speakers accompanied by voices chanting in the Zandali language before it smooths out and Perch’s sultry purr of a voice takes over. “You're a good soldier, choosing your battles.” His smile wide as he makes a motion as if brushing himself off, coolly leaning to the side slightly as he does so. “Pick yourself up and dust yourself off and back in the saddle.”

The demon hunter takes a few steps forward, his hips start to swing as he looks out into the audience. One boot heel taps on the stage to keep time with the music while his arms slowly raise in front of him, palms up, as if reaching out to the crowd. “You're on the front line, everyone's watching.” With a quick flick of his wrist, he gestures out into the audience with a quirky smile. “You know it's serious we're getting closer, this isn't over.”

He steps away from his place front and center and into the audience as the music slowly starts to build and get faster. Excitement grows in his smile as he sings. “The pressure is on, you feel it. But you've got it all, believe it. When you fall get up oh oh. And if you fall get up eh eh. Tsamina mina zangalewa.” The music pauses and Perch grins widely as he calls out in a proud voice with enough power to ring across the tournament grounds.

“'Cause this is Azeroth!”

Perchedon raises his hands in the air as the music starts up again. He rolls his hips from side to side, his body bends and weaves with the rhythm. The Zandali words sound strange in his elven accent, but he gives it his best shot. “Tsamina mina eh eh. Waka waka eh eh.” The Illidari makes a few small hops with the beat as he dances along with his voice. “Tsamina mina zangalewa. This time for Azeroth!”

As he sways along with the music, Perchedon beckons anyone who hasn’t yet joined him in dancing to move long with him. “Listen to your Loa. This is our motto. Your time to shine don't wait in line, y vamos por todo.” He reaches up to untie his ponytail and allows his thick mane of black hair to fall free over his shoulders. “People are raising their expectations. Go on and feed them this is your moment no hesitations.”

As he continues to make his way through the audience, the Illidari’s hips and arms sway with the rhythm. Black hair now bounces free on his shoulders with his movements. “Today's your day, I feel it. You paved the way, believe it.” The fire-eyed man pulls off some fancy footwork, executing a quick solo-tango as he continues to purr out the words to the song. “If you get down get up oh oh. When you get down get up eh eh. Tsamina mina zangalewa.” He holds his arms out wide again.  “This time for Azeroth!”

Perchedon raises his hands into the air as he rolls his hips and stomps his feet along to the music. His motions resemble something between a belly dance and a tribal stomp. “Tsamina mina eh eh. Waka waka eh eh. Tsamina mina zangalewa. Anawa aa.” Each step and roll of his body was smooth and sultry, but oh so fun that shows how much he’s enjoying himself. Green tattoos that glow in the evening light peak and flash from under his shirt with each motion. “Tsamina mina eh eh. Waka waka eh eh. Tsamina mina zangalewa. This time for Azeroth!”

This is where it got a little tough. Perchedon’s voice increases in speed to keep up with the bridge of the song. He has to concentrate on his words to make sure he gets them right. “Ame la mejole biggi biggi mubbo wa A to Z. Asi tsu zala makyuni biggi biggi mubbo from East to West. Asi waga waga ma eh eh waga waga ma eh eh. Tendency suna tsibuye.” He takes a deep breath before he calls out again. “'Cause this is Azeroth!”

As the music resumes its background chanting, Perchedon takes a moment to catch his breath. He runs a hand through his loose raven hair with a massive grin before he starts the next chorus in that smooth purr of a voice. “Tsamina mina, eh eh. Waka waka, eh eh. Tsamina mina zangalewa anawa a a.” He moves to the rhythm as he walks through the audience, flashing a smile at anyone who has joined him in dancing. “Tsamina mina, eh eh. Waka waka, eh eh. Tsamina mina zangalewa. This time for Azeroth!”

Perchedon makes his way back towards the stage as he chants in the Zandali language. “Django eh eh. Django eh eh. Tsamina mina zangalewa. Anawa a a. Django eh eh. Django eh eh. Tsamina mina zangalewa. Anawa a a.” As he stands again front and center, the Illidari bends at the waist into a deep bow, his long hair falls over his shoulders as he finishes out the song. “This time for Azeroth!”

[abstractanalogue]

Lexicon of Sound review & interview

As I was trying to listen to hypnagogia by Dublin’s Lexicon of Sound it struck me how revolutionary it is to be making ambient music these days. This is an album that has to be listened to without distractions, preferably on your own, on reasonable speakers and in a comfortable room. Not as I at first impatiently tried to do in the car rushing to work, changing back and forth to the latest news on Morning Ireland while skipping around the CD. Also, sadly for me not on the LOS Bandcamp page either as this entailed computer speakers and other pages open on my browser to pull my attention away. The world we live in is fast and we need to do a lot to keep up, to switch off (something I normally do in nature) is essential of course and this album offers you that chance too if you give it the time and respect it deserves.

hypnagogia is actually Colm Fitzpatrick's fifth album since he began to use this as a moniker in 2018. I've interviewed him below and I'm so glad I contacted him directly as I needed to get a sense of who the person is behind this very pure music. I had come across his music before but really this was just his bass playing in The Sewing Room. In fact I wrote a piece about them for AA here. I kind of knew he had been in Hey Paulette in the 1980s but this was really before my time. He has also been involved with Villa R and I Am The Waltons, two bands I'm actually not familiar with.

It seems like Lexicon of Sound is the music he has wanted to make his whole life and I'm very glad he has reached that goal. I want to incorporate a review into this piece so bear with me until you get to his own words (be sure to play the track from it above). 

Hypnagogia is the transitional state of consciousness between wakefulness and sleep which we are all familiar with, even though we might not know the term for it. One of my favourite acts Dopplereffekt have already used this as a release title so I did have an idea what the concept for the album might be. This in-between state very much makes sense (to me) on the brief opening 'The Omadon', which skews our musical expectations with its disjointed medley (from everyday life?) but reality is already behind us as 'Calling Mumba Devi' quickly envelopes us in its lush sound and we hear what might be a confused Japanese man on some kind of internal answering machine. 'Doctor Mesmer' brings us even further away from wakefulness, somewhere deep in space with tinges of Brian Eno, which is a great thing to have tinges of. A long time ago I read a book The Wizard from Vienna (1975) all about Dr. Mesmer and the hypnotic state he could put his patients in. I don't believe he was a charlatan, he just cured his patients the only way he knew how and came up with a theory that was false. 

By the time we reach the title track (the biggie at over 10 mins) it’s feeling much more oceanic and long enough to truly get lost in. 'All At Sea' might be my favourite track with it’s more optimistic rising tones. These long sustained notes hover eternally, this is the sound of forever. ‘Saint Agatha's Bells' is the only one for me that could pass as New Age but so what, play it when you next do some yoga and it will work a treat. It’s those damn Tibetan bowls, very hard to hear without thinking of a YouTube meditation video. 'Abdul's Android' is probably my second favourite and has an electronic Eastern sheen to it that sounds so modern. In a parallel universe or maybe even this one, it could be the theme tune to a future Bladerunner. 'Dark Paradise' is some kind of sinister step carefully moment just before you wake and another potentially good movie scene soundtrack. 'Exit 13' and we are almost out, a return to the confused Japanese man as guitar textures enter for the first time and it's a very beautiful thing indeed. Definitely an album for me to return to.

Where does your interest in ambient music come from?

It started in the early nineties when I was in my mid 20s. I have a terrible memory, but for some reason I have a good recollection of this. Hey Paulette had broken up a few years previously, and I was by that time playing with “I Am The Waltons” a grungy, loud alternative pop band. The singer in the band, Aiden, told me one of his favourite artists that he was listening to at the time was Harold Budd, who I had never heard of. He said I should check him out. I'm not sure how he figured I would like Harold’s music but he was right, I loved it. So it kind of grew from there. I started collecting Harold Budd’s albums and through his collaborations I discovered Brian Eno and started collecting his albums, you will see a pattern emerging here ! I moved on to Steve Roach, Tom Heasley (Ambient Trombone !)  Wendy Carlos and John Foxx amongst others. So I've been listening to that kind of music for close to 30 years I guess.

Do you miss writing in a more collaborative song based form as you did in Hey Paulette and The Sewing Room, which do you prefer?

No, I much prefer working alone. I have come to realise this over the years. When I was playing in bands all those years ago, I never thought of myself as a songwriter, and I never thought I would ever become one. The way it worked in all the bands I played in, was that the guitarist and the singer would write the songs, the rest of us (Drums, Bass, other guitarists etc) would add our piece to it, that's it. If it worked out and we all liked it we would keep it. On a rare occasion some songs would come to fruition from jamming, but it was rarely a productive way of songwriting for any of the bands I was in. Two notable exceptions to this were Drugfree from The Sewing Room, and also Fear of Parked Cars from I Am The Waltons, I remember these tracks being a true group effort.

You are already up to release number nine of LOS. Instrumental music can be tricky to edit and differentiate tracks from each other and have each album stand out.

I can get a bit defensive when people say I have released so much music in such a short time. Maybe I'm being a bit paranoid but I start thinking people are saying to themselves “It can’t be much good, he has released all this music in about one year !” and I worry that maybe they won’t take it seriously. But I'm very serious about my music. I'm usually a bit tongue in cheek about it when I talk about it on Facebook or Twitter, which does not help but that's just my personality I think. I guess this is a good opportunity to explain how I got to record and release so much music in apparently so little time. In 2017 I decided to convert my little attic in my house into a place to store my basses and gear etc. In this small house, there are myself, my wife Bernie and our son Joseph and all his toys, so space is at a premium ! By the start of 2018 I had the attic looking really good, Velux window in, wooden floor down, carpeted walls, mood lighting, nice laptop for recording, and the obligatory Persian rug. I said to myself this is a really cool little space where I can have all my gear set up permanently. 

In parallel to all this going on I knew I wanted to start writing and recording music again, I had been away from it for decades and I had a lot of ideas built up inside that I wanted to express, and building the studio only affirmed these feelings. Also going on at this time was the fact that I had taken a break from full time work, an opportunity came along and I grabbed it, it meant I had more free time on my hands. The fact that I had all my gear permanently set up now and I could escape to my little studio at any time I wanted, day or night was a real boon. All these events coming together let me be super productive and do it all at home for free. The kind of music I make lends itself to this kind of home setup, no drum kits, PA, or amps needed ! So from the Spring of 2018 I started working, and I found the ideas and sounds just flooded out, it was a great feeling. As I went along I learned more about the recording process and refined my workflow. Month by month I would buy more outboard gear, keyboards, guitars, effects etc to add to my arsenal of sound making equipment. It was in the summer of 2020 that I decided to put all I had done up to that time up on all the streaming platforms. My Nephew Daniel is a musician and he told me about Distrokid. It was a cheap, painless, easy way to get my music up on all the streaming platforms, so I went ahead and released the first 6 albums around June and July of 2020 I think. That was 2 years of solid work. I have done 1 Album and 2 EP’s since then over the last year. Lockdown has also helped in that regard.

What are you working from as a starting point with your albums/musical pieces, the sound itself or an idea? How do you know when you have strayed into 'New Age' territory or does that bother you?

It depends, sometimes I start with a word or phrase, sometimes an image, and sometimes a scenario. I think it's important to have some kind of a seed of an idea in your head before you start something new, otherwise you're wasting your time and you will flounder. I think to myself, what would this situation or place or feeling sound like ? Some of my albums are obviously thematic. Longwave came about because of my love of radio, especially AM radio. My eldest sisters used to tune in to Radio Luxembourg on a Grundig portable in the 1970s on a Friday or Saturday night while they were getting ready to go out. I remember it vividly. Later in the 80s and 90s it was my turn to tune in to BBC1 and John Peel via AM to listen to him playing Hey Paulette or The Sewing Room. The Lighthouse is another obviously thematic album stemming from my love of the sea and er…. Lighthouses ! I've always loved them and find them to be spiritual and magical places for me. If someone wants to call it New Age I don't care, I'm just happy they are listening to it.

Do you have plans to take Lexicon of Sound onto the live stage in the future?

This is a short answer, and that is no. I don't think ambient music or musical soundscapes translate well into the live environment. People will talk, go to the bar, make noise etc, it just would not work for me. I want people to hear my music in the best possible scenario, sitting down, listening to it on a CD, on a good pair of headphones. I suffer quite badly with anxiety also, so if I was to perform live any venue I would go to would not have enough toilet paper in stock to cope with my situation.

What are you using to generate your sounds, are there guitars in there? 

I try to make my sounds sound original and made from scratch, no sound I record is off the shelf. Yes, I have recently started using guitars, although I am by no means a guitarist. That is an area I have yet to venture into fully. I have 2 old 80s keyboards specifically chosen for their ease of use and the fact they also offer full control of the sound wave generated, all with real time control in the form of knobs and sliders, no scrolling through menus etc. For me, it needs to be simple and fast. The same goes for effects, I use high quality guitar pedals that offer studio quality sound but the interface needs to be fully manual, again knobs and sliders all the way, and the pedal is a perfect format for that. I have other sound generating tools in software format where you can quite radically alter any given sound or sample. I also have some other rather unusual sound generators in hardware form that are quite unique, which I have collected from boutique makers over recent years. Then I have my bass guitars of course which I rarely use actually, with the exception of tracks like Dark Paradise and Exit 13 where they are heavily effected but are the main instrument in the track.

How important is the physical format for music? What made you decide to release all LOS albums as CDs. 

The physical format is vital for me. An album is not released unless it's on CD or Vinyl as far as I'm concerned. I need to hold a physical object in my hand, and be able to look at it, keep it, and collect them.

What is next in the series/pipeline?

Next for me is a break from writing and recording to curate and promote my music. I will be releasing all albums and EP’s on CD over the next 18 months on my own label, Lighthouse Records, so that's an ongoing thing starting with this album (hypnagogia) I need to start promoting my music, getting more airplay, getting more album reviews and Interviews like this I guess. It's the one thing I have neglected up until now. I find myself looking abroad more often than not in that regard. I have always found the Irish music scene on the whole to be a bit incestuous, clicky and small to be brutally honest. I'm in the process of drawing up various kinds of lists of people and media outlets, radio stations etc around the world to send my music to. All of that is going to keep me very busy for a while. Then maybe next year, I'll start venturing up into my tiny attic studio again, and try to make some new sounds and paint a few more sonic landscapes that hopefully some people will enjoy.

You can sample and order Lexicon of Sound’s latest releases hypnagogia and Edge of the World EP and more on Bandcamp. Until 2022 he will gradually be releasing all of the LOS albums and EPs on CD on his own Lighthouse Records. Follow him on Twitter here.

[jwill716]

#StoryTime was having a debate with my crew about ranking J Cole’s #Discography with #Mixtapes included and it made me think... If mixtapes are always included when discussing an artist’s catalogue, 50 Cent is arguably one of the #Top10 Greatest MC’s of all time. 🗣 Yea I said it!!! #NoMercyNoFear was the first #GUnitMixtape I ever had. It was Fall of ‘02, I swapped my #NBALive03Soundtrack (which was HARD) with my boy Aron and he gave me No Mercy No Fear. #Wanksta was on the radio already, it was the last song on the tape, and I thought the title was ill so I was intrigued. Drained many AA batteries in my #Walkman playing this joint, and 50 and G-Unit quickly became some of my favorite MC’s. How they were flipping popular songs on the radio into their own was something new to me. LL’s “Luv You Better” became “After My Cheddar.” Nas “What Goes Around” became “Say What You Want.” Yayo’s solo joint Backseat was dope, with him rhyming over “50 Shot Ya.” Banks solo joint, #BanksVictory was the one though. To hop on one of Biggie’s best joints and have people say you did your thing is no easy feat. I played that on repeat and hit the #RewindButton until I knew the words lol. Also as you can see the disc is a burnt copy, this was the #Bootlegging era. Going to the barbershop on Saturday to get a fresh cut and copping 6 CD’s for $20 from the #CdMan (Raheem what’s goody) was every other week lol What was your first mixtape??? #GUnit #NoMercyNoFear #ClassicMaterial #50Cent #LloydBanks #TonyYayo https://www.instagram.com/p/BtWwLs0FrM8/?utm_source=ig_tumblr_share&igshid=wlhp8zhfl880

[gloriascott93]

Contradictions in the creator quotes

I now stand firmly corrected in my misassumption that the big reveal would mean we would revisit the entire show in light of the ending and see an intricate plan. An emotional context we the audience were meant to miss. I was right. As were others. Problem was, it was a sister all along. Unfortunately the sister rugpull rather than a romance rug pull is the less convincing story arc. What we got instead was a finale that makes in retrospect much of what preceded it seem nonsensical at surface level if we accept the finale as the “solution” or the definitive story. How did we get that wrong? I was never a conspiracy fan. It relied on too much “it can only mean one thing” from mountains of data. When the narrative and the claims of creators lying as a benevolent secret keeping was all that was necessary to see a romantic endgame. I opted always for a simple solution. The simplest most probable answer. And that was heavily reliant on my trust in Mofftiss as good storytellers and good show runners. That was for me my biggest error.

If this was not “gay” but “trash”, how did it to get to be *this* trash? How is it we were so wrong in predicting the endgame across various different theory camps of this fandom? What weaknesses on their part were we overlooking? Or not privy to? Or ignoring. Or not adequately assessing - so that coincidences were ironically a sign of laziness, or clever writing instead turns out to be poor writing - a series of tricks rather than a plan?

Because the end result is simultaneously infuriating and “Meh.” Two things that should not comfortably go together. A rug pull should leave you so impressed you don’t mind being infuriated. You applaud and shout, “oh you tricked me! Well done! How DID you do it?!” And yet, here we are.

Some fans are deciding to keep the faith - hoping for a final rug pull that will show they really were as good as we believed. I’m not there. I am opting to make a deduction and coming to a probable conclusion based on the data we have. No conspiracy. No cruel intentions. Just a series of unfortunate events.

For as much as I am loathe to say this, I think from an executive production point of view, the absence of someone like Steven Thompson means the absence of a critical third voice. I don’t know why he left but he should have been replaced by *someone*. Mofftiss were clearly given far too much credit and license. Where was the necessary script editing to rein in their now glaringly patent self indulgent natures? Keeping secrets to the degree they have, and being allowed to, has been proven a big executive error. Because no one was able to say hold on, how will this play out coherently? Virtually every single thing that frustrates the viewer from TEH on right through to the last frame of TFP could have been avoided if they had had a 3rd voice they listened to and who had the authority to thoroughly critique their plans. They were over indulged in all the wrong places.

TAB was a masterpiece but I suspect not for the reasons *they* think it was. They literally do not appear to have seen what it was they were writing. Or they did and defied the results on screen. Every critique I have, or have seen, comes down in the end to that. Letting them keep secrets from their cast and crew was a glaring warning that there was no one with the authority or the necessary expertise on board to keep them in check and join up the dots.

Moffat and Gatiss have clearly been working without an outside writer’s voice who has authority that they would listen to. Since TEH it has been a problem that only compounds. The errors build on themselves. It resulted in a finale that many critics and fans are unconvinced by for *multiple different* reasons. It was only at the end that we see just how much they were driving the show haphazardly and possibly the wrong direction.

There’s an analogy that comes to mind. One reason a manager is paid more than their secretary is that if the secretary makes a mistake their errors have less consequences in the grand scheme. You will likely notice their failings very quickly. The manager meanwhile has the ability to make errors that will not only have bigger impact but will not necessarily be immediately obvious. The more power you have the longer it will take for the true and full negative impact of your decisions to be realized. Because as a decision plays out it creates other decisions in a ripple effect that take time to play out. Of course you can offset this by critiquing the decisions before finalizing them, and thinking through what the consequences might be. If you don’t then what will happen? You can only trust the manager. You assume *they* have thought it through and assessed the potential flaws and risks and negative outcomes. That they have a plan to offset any negative consequences or prevent them from happening. Making sound decisions demands either a high level of self-critique or a system that lets criticism in. To test your plan. To raise the issue of unintended consequences. Not with an intention of blocking success but to *ensure* it.

This show was, I fear, failing at that far earlier than anyone really knew and I don’t think TBTB see it even now. A clear warning flag that many of us picked up on at the time was AA not being told Mary was going to be revealed an assassin. That was an error that not only impacted her performance (think of her as a secretary who realizing an error she didn’t even mean to make or even knew she was making then has to then self-correct on the fly). but it crucially should have signaled a much bigger managerial error that would have a series of far more fundamental negative results. That secrecy meant that no one else got to say, um… are you sure about this plot line? Have you planned any of this out adequately and considered the long term consequences on the narrative? Because if you head down this path you may not be able to undo it. You can’t just make it up as you go. Think this all out. How will this all fit? What ongoing story are you serving here? Where do you want to land?

But the manager was trusted rather than questioned. The only negative consequence was thought to be its impact on Amanda. No biggie. She’s a professional. She can recalibrate to accommodate the performance errors she unwittingly made. Tiny errors that Mofftiss assumed were no big deal, having incorrectly assumed that it would be a better surprise reveal if she was acting blind of what was to come. But that meant she was serving a different story than them. She had no choice but to. It put emphases in potentially the wrong places. Her fellow actors are in turn then reacting to her acting choices and she is reacting to them. But that notion that if they don’t know anything, or, “just assume your character knows nothing because it doesn’t matter”, is not how acting works. They didn’t trust her. I suspect they were doing this all along to their actors. Not actually trusting their skills or adequately hearing their own unfolding insights from inside the characters. So that the cast were acting repeatedly on false sets of assumptions. So too probably were the directors and crew. As a result, what shows up on screen is not what they all think they are making. They all think they are making a slightly different show.

And the widest gap is between what Mofftiss had in their heads and what was on screen. Next down the pecking order is what Martin and Ben thought they were doing. In light of TFP there are acting choices and editing choices over which take of a scene to use (going by the commentaries) that suggest there was no 3rd party with the authority to hear their conversations and say, have you considered that the actors understand the characters better than you do? If that’s true, how might they see the path they are on? Do you realize that if you use this take you are placing an emphasis you should then follow through on.

And no one had the power to point it out and not be shrugged off. So in retrospect, there are scenes that now seem totally overplayed or emotionally on the wrong foot. And the problem is, which ones were out of character in light of TFP? Because I think that’s up for debate.

This was a show attempting to be very clever and yet apparently was very much NOT thought through. The fundamental fan error was assuming stuff could not possibly be coincidence. Others went further and assumed not just endgame narrative but an incredibly intricate conspiracy that they were hiding in plain sight so the fans could guess what the end game was.

But that was never the only option. The one thing that kept getting sidelined was the possibility that they thought they all knew what they were doing but didn’t. That their plans were flawed. And that it wasn’t that they were intentionally writing a narrative that fans could subtextually read. Rather the creators could not see it. Which produced a ton of unintended coincidences. They wrote it and acted it and designed around it and scored it and could not see the wood for the trees. Because what Mofftiss said ultimately ruled at the end. And that is paradoxically *why* the love story works. Why there are so many coincidences. Because the story we read fitted the rules of storytelling even while Mofftiss tried to defy those very rules. To insist they weren’t telling it. They simply ignored what many others could see - the story they were telling in spite of themselves. They assumed their intent was more powerful a force. And in that burned the heart out of their own show. So that the finale focused on Sherlock and Eurus in a self indulgent Bond meets gothic horror genre fantasy when in fact this was always meant to be about Sherlock and John. Even platonically, they failed in TFP to deliver on that adequately. They shoved it to the side so it was virtually a subplot. The wrote the wrong kind of ending for a story they were all unconsciously writing, acting, directing, designing, scoring. The very heart of ACD’s stories. The bond between the 2 heroes. A love story, even if one that was limited in its physical or sexual expression.

They tried to refocus at the end on John and Sherlock and in their fast cut blink and you miss it montage they made yet another massive error. A huge one. They gave Mary the voice that rightly belonged to go back to John - the Boswell, the blogger, the original storyteller. So he could explain what he and Sherlock are. They did it in TAB. Sherlock understood that in TAB. That John’s public narrative is not the truth. That there is an emotional story the public doesn’t see. An emotional Sherlock the Strand reading or blog reading public doesn’t see. They should have let Sherlock’s intuition and unconscious insight be proven right in real life in the 21st century. They should have replayed that aspect of TAB in the real world. Instead, confusingly, they did the exact opposite - so much so John couldn’t tell if Sherlock was faking his own self destruction. He couldn’t tell the story if he tried. He needed a second opinion. A big clue that they had made a mistake - the same mistake that led them to introduce Mary’s DVD messages:

Mary was never the storyteller. But they tried to make her one. It was a very flawed decision. One of so many. All interlinked. And all ultimately as result of not thinking it through. They stopped serving the core story and served themselves on a personal fan boy level. They tried to be clever and completely missed the emotional context which they claimed was what this show was supposed to all be about. At a surface textual level. And a brief montage of the future feels like a rushed and inadequate pay off to that original intent. With the wrong narrator - with Mary as our intermediary - we are now inexplicably kept more at a distance from them than we were at the start. After going through hell with them.

I suspect that around TRF they began to lose the plot. They began to think details don’t matter. Even though they then discovered fans were weaving intricate explanations for how sherlock lived they persisted in letting details go. Waving it all off to please themselves and evade scrutiny. Mistake. All the contradictions in cast and crew commentaries and interviews point to that. And fans, me included, assumed they were smarter than that. We kept trying correct the story to make it make sense by assuming they must be telling a different story. Problem was we didn’t give enough air time to imagining a trash ending and looking for clues of what it might be. We wrote far too generous meta. We gave them way more credit than they were due. They really weren’t the storytellers we thought they were. They were just fan boys amusing themselves for a rug pull that was in the end not very interesting or as original as they think. And certainly not groundbreaking. Rather than correcting what everyone else got wrong, they hatched up an inadequate plan and made poor decisions. Everyone else put far too much trust in them as writers. And it all culminated in an ending that throws up huge retrospective questions about swathes of what preceded it. It potentially breaks the story so that a rewatch will not make sense.

I see little or no reason to come to any other conclusion. It fits all the rules of probability. They just weren’t good enough writers. They put ego before the heart of the narrative and were indulged by too many others.

There may be other probable conclusions. But the least generous is the most sense making one to my mind right now. It requires no leaps of logic.

[viralstation]

#1YearOfBaahubali2: How this non-Hindi film provided invaluable changes in Bollywood!

New Post has been published on http://viralstation.org/1yearofbaahubali2-how-this-non-hindi-film-provided-invaluable-changes-in-bollywood/

#1YearOfBaahubali2: How this non-Hindi film provided invaluable changes in Bollywood!

#1YearOfBaahubali2: How this non-Hindi film provided invaluable changes in Bollywood!

I don’t think I can ever forget April 28, 2017. It was a rare moment when I went to see a film with tons of expectations and received a lot more in return. I don’t think such an occurrence happens often. As I came out of the PVR IMAX screen at Lower Parel, Mumbai, I knew this film is going to rewrite box office records. Yet, I don’t think anyone then could have guessed that this classic film would go on to earn Rs. 510 crores nett simply in its Hindi version!

There are so many lessons to be learnt from the mega success and insane popularity for this film. One of the reasons is that our film often fail in bringing people to theatres is because the language, the setting, the problems of the character, way of life etc. all seem alien to many of the moviegoers. Even today, a very big chunk of audiences are not watching American television or shows on Netflix. Their mode of entertainment is still the daily soaps. Even in films, many of them prefer watching south dubbed films. No wonder almost all major movie channels are showing south dubbed remakes on a daily basis. This is because these films are pure entertainers – simplistic, dramatic and action-packed.

Baahubali 2 – The Conclusion was also on the same lines but much better than all these South remakes. The setting might not be relatable but it’s nothing new to the audiences as they have been exposed to period films involving kings, politics over usurping the throne etc. Also, B R Chopra’s epic TV Show ‘Mahabharat’ had made the whole setting very popular. Moreover, the exhilarating and whistle-worthy moments are aplenty. Right from Baahubali’s heroic entry to Devasena’s magnificent entry to Baahubali supporting himself in the midst of the bulls to Devasena getting into the boat with the help of Baahubali’s broad shoulders to the eye-popping intermission sequence to the sudden beheading sequence to the finale where Baahubali’s army use a novel trick to enter Mahishmati and a lot more – all these sequences made viewers broke into seetis and taalis! Some of these scenes also got brickbats and ridicule, but audiences had no reason to complain. It’s also important to note that director S S Rajamouli and his team treaded a thin line. If they had done a bit extra, it would have not worked. But they exactly knew where to stop and kudos for that understanding!

The character of Devasena, played by Anushka Shetty, was royal, beautiful, sensitive and brave. The women empowerment bit came out very nicely and that was also another reason why this film became all the more special. There was a bit of tu-tu main-main angle between the ‘saas’ Sivagami and ‘bahu’ Devasena. But again, the execution was just perfect and nobody said that it reminded them of any ‘saas-bahu’ TV show!

An analysis of Baahubali 2 – The Conclusion would be incomplete without the mention of the songs. There were only five songs and all of them were original compositions and fit very well in the narrative. The title track had to be exciting but what was unexpected was 'Soja Zara'. The manner in which a parallel was drawn between Lord Krishna and Baahubali was excellent. I must have seen the video of this song hundreds of times and I was happy to meet people who are also as crazy about this track. 'Veeron Ke Veer Aa' had a beautiful and VFX-laden dream sequence that made for a great watch on the big screen. ‘Shivam’ added a nice touch to the already excellent opening credits while 'Jay-Jaykara' made viewers smile and cry. It’s been a year and yet this soundtrack is still popular and that definitely speaks volumes after how much viewers have lapped it up.

Thankfully, the blockbuster success of Baahubali 2 – The Conclusion has opened the eyes of Bollywood. Films like Kesari, Brahmastra, Rannbhoomi and even Housefull 4 got green lit or got a boost somewhere thanks to the way audiences reacted to Baahubali 2 – The Conclusion. It might not be wrong to say that perhaps even Aamir Khan got motivated to make his dream project Mahabharat after witnessing the euphoria created by this film. And this is very good news for Bollywood that was really suffering from too many flops and films that had an urban, restricted appeal. Also, these biggies will have the required scale and grandeur that would make them ideal for big screen viewing. And this is very important in today’s times when footfalls have fallen drastically in theatres. Hollywood understood this long back and hence, it keeps churning out big-scale action extravaganza, Avengers: Infinty War being the latest example. However, mere scale won’t help – the film has to be entertaining and simplistic. Someone sitting in Juhu should also enjoy the film as much as someone sitting in Jaunpur. Baahubali 2 – The Conclusion achieved this incredible feat and hence, the makers have to be absolutely sure that the script is such before spending more than hundred crores on their ventures. And this is quite possible. Our mythology is full of amazing stories. Our heroes in the pages of history have achieved great heights. Most of these are popular among people. Or we can make a wholly original film- we have some of the best writers after all. Let’s not copy a Baahubali but let’s at least understand why it succeeded and use the same factors to our advantage. Let’s create more such big-scale king-sized entertainers in Bollywood. Let’s ensure that the film to cross the Rs. 1000-crore nett milestone in India in a single language is a Hindi film. As my college motto goes, we will and we can!

Also Read: Baahubali 2: The Conclusion to hit the screens in China on May 4Read Original Article

[mariaaklnthony]

The King vs. Pawn Game of UI Design

If you want to improve your UI design skills, have you tried looking at chess? I know it sounds contrived, but hear me out. I’m going to take a concept from chess and use it to build a toolkit of UI design strategies. By the end, we’ll have covered color, typography, lighting and shadows, and more.

But it all starts with rooks and pawns.

I want you to think back to the first time you ever played chess (if you’ve never played chess, humor me for a second—and no biggie; you will still understand this article). If your experience was anything like mine, your friend set up the board like this:

And you got your explanation of all the pieces. This one’s a pawn and it moves like this, and this one is a rook and it moves like this, but the knight goes like this or this—still with me?—and the bishop moves diagonally, and the king can only do this, but the queen is your best piece, like a combo of the rook and the bishop. OK, want to play?

This is probably the most common way of explaining chess, and it’s enough to make me hate board games forever. I don’t want to sit through an arbitrary lecture. I want to play.

One particular chess player happens to agree with me. His name is Josh Waitzkin, and he’s actually pretty good. Not only at chess (where he’s a grandmaster), but also at Tai Chi Push Hands (he’s a world champion) and Brazilian Jiu Jitsu (he’s the first black belt under 5x world champion Marcelo Garcia). Now he trains financiers to go from the top 1% to the top .01% in their profession.

Point is: this dude knows a lot about getting good at stuff.

Now here’s the crazy part. When Josh teaches you chess, the board looks like this:

King vs. King and Pawn

Whoa.

Compared to what we saw above, this is stupidly simple.

And, if you know how to play chess, it’s even more mind-blowing that someone would start teaching with this board. In the actual game of chess, you never see a board like this. Someone would have won long ago. This is the chess equivalent of a street fight where both guys break every bone in their body, dislocate both their arms, can hardly see out of their swollen eyes, yet continue to fight for another half-hour.

What gives?

Here’s Josh’s thinking: when you strip the game down to its core, everything you learn is a universal principle.

That sounds pretty lofty, but I think it makes sense when you consider it. There are lots of things to distract a beginning chess player by a fully-loaded board, but everything you start learning in a king-pawn situation is fundamentally important to chess:

using two pieces to apply pressure together;

which spaces are “hot”;

and the difference between driving for a checkmate and a draw.

Are you wondering if I’m ever going to start talking about design? Glad you asked.

The simplest possible scenario

What if, instead of trying to design an entire page with dozens of elements (nav, text, input controls, a logo, etc.), we consciously started by designing the simplest thing possible? We deliberately limit the playing field to one, tiny thing and see what we learn? Let’s try.

What is the simplest possible element? I vote that it’s a button.

This is the most basic, default button I could muster. It’s Helvetica (default font) with a 16px font size (pretty default) on a plain, Sketch-default-blue rectangle. It’s 40px tall (nice, round number) and has 20px of horizontal padding on each side.

So yeah, I’ve already made a bunch of design decisions, but can we agree I basically just used default values instead of making decisions for principled, design-related reasons?

Now let’s start playing with this button. What properties are modifiable here?

the font (and text styling)

the color

the border radius

the border

the shadows

These are just the first things that come to my mind. There are even more, of course.

Typography

Playing with the font is a pretty easy place to start.

Blown up to show font detail.

Now I’ve changed the font to Moon (available for free on Behance for personal use). It’s rounded and soft, unlike Helvetica, which felt a little more squared-off—or at least not as overtly friendly.

The funny thing is: do you see how the perfectly square edges now look a tad awkward with the rounded font?

Let’s round the corners a bit.

Bam. Nice. That’s a 3px border radius.

But that’s kind of weird, isn’t it? We adjusted the border radius of a button because of the shape of the letterforms in our font. I wouldn’t want you thinking fonts are just loosey-goosey works of art that only work when you say the right incantations.

No, fonts are shapes. Shapes have connotations. It’s not rocket science.

Here’s another popular font, DIN.

With its squared edges, DIN is a clean and solid workhorse font.

Specifically, this is a version called DIN 2014 (available for cheap on Typekit). It’s the epitome of a squared-off-but-still-readable font. A bit harsh and no-nonsense, but in a bureaucratic way.

It’s the official font of the German government, and it looks the part.

So let’s test our working hypothesis with DIN.

How does DIN look with those rounded corners?

Well, we need to compare it to square corners now, don’t we?

Ahhh, the squared-off corners are better here. It’s a much more consistent feel.

Now look at our two buttons with their separate fonts. Which is more readable? I think Moon has a slight advantage here. DIN’s letters just look too cramped by comparison. Let’s add a bit of letter-spacing.

When we add some letter-spacing, it’s far more relaxed.

This is a key law of typography: always letter-space your uppercase text. Why? Because unless a font doesn’t have lowercase characters, it was designed for sentence-case reading, and characters in uppercase words will ALWAYS appear too cramped. (Moon is the special exception here—it only has uppercase characters, and notice how the letter-spacing is built into the font.)

We’ll review later, but so far we’ve noticed two things that apply not just to buttons, but to all elements:

Rounded fonts go better with rounded shapes; squared-off fonts with squared-off shapes.

Fonts designed for sentence case should be letter-spaced when used in words that are all uppercase.

Let’s keep moving for now.

Color

Seeing the plain default Sketch blue is annoying me. It’s begging to be changed into something that matches the typefaces we’re using.

How can a color match a font? Well, I’ll hand it to you. This one is a bit more loosey-goosey.

For our Moon button, we want something a bit more friendly. To me, a staid blue says default, unstyled, trustworthy, takes-no-risks, design-by-committee. How do you inject some fun into it?

Well, like all problems of modifying color, it helps to think in the HSB color system (hue, saturation, and brightness). When we boil color down to three intuitive numbers, we give ourselves levers to pull.

For instance, let’s look at hue. We have two directions we can push hue: down to aqua or up to indigo. Which sounds more in line with Moon? To me, aqua does. A bit less staid, a bit more Caribbean sea. Let’s try it. We’ll move the hue to 180° or so.

Ah, Moon Button, now you’ve got a beach vibe going on. You’re a vibrant sea foam!

This is a critical lesson about color. “Blue” is not a monolith; it’s a starting point. I’ve taught hundreds of students UI design, and this comes up again and again: just because blue was one color in kindergarten doesn’t mean that we can’t find interesting variations around it as designers.

“Blue” is not a monolith. Variations are listed in HSB, with CSS color names given below each swatch.

Aqua is a great variation with a much cooler feel, but it’s also much harder to read that white text. So now we have another problem to fix.

“Hard to read” is actually a numerically-specific property. The World Wide Web Consortium has published guidelines for contrast between text and background, and if we use a tool to test those, we find we’re lacking in a couple departments.

White text on an aqua button doesn’t provide enough contrast, failing to pass either AA or AAA WCAG recommendations.

According to Stark (which is my preferred Sketch plugin for checking contrast—check out Lea Verou’s Contrast Ratio for a similar web-based tool), we’ve failed our contrast guidelines across the board!

How do you make the white text more legible against the aqua button? Let’s think of our HSB properties again.

Brightness. Let’s decrease it. That much should be obvious.

Saturation. We’re going to increase it. Why? Because we’re contrasting with white text, and white has a saturation of zero. So a higher saturation will naturally stand out more.

Hue. We’ll leave this alone since we like its vibe. But if the contrast continued to be too low, you could lower the aqua’s luminosity by shifting its hue up toward blue.

So now, we’ve got a teal button:

Much better?

Much better.

For what it’s worth, I’m not particularly concerned about missing the AAA standard here. WCAG developed the levels as relative descriptors of how much contrast there is, not as an absolute benchmark of, say, some particular percentage of people to being able to read the text. The gold standard is—as always—to test with real people. AAA is best to hit, but at times, AA may be as good as you’re going to get with the colors you have to work with.

Some of the ideas we’ve used to make a button’s blue a bit more fun and legible against white are actually deeper lessons about color that apply to almost everything else you design:

Think in HSB, as it gives you intuitive levers to pull when modifying color.

If you like the general feel of a color, shifting the hue in either direction can be a baseline for getting interesting variations on it (e.g., we wanted to spice up the default blue, but not by, say, changing it to red).

Modify saturation and brightness at the same time (but always in opposite directions) to increase or decrease contrast.

OK, now let’s switch over to our DIN button. What color goes with its harsh edges and squared-off feel?

The first thing that comes to mind is black.

But let’s keep brainstorming. Maybe a stark red would also work.

Or even a construction-grade orange.

(But not the red and orange together. Yikes! In general, two adjacent hues with high saturations will not look great next to each other.)

Now, ignoring that the text of this is “Learn More” and a button like this probably doesn’t need to be blaze orange, I want you to pay attention to the colors I’m picking. We’re trying to maintain consistency with the official-y, squared-off DIN. So the colors we go to naturally have some of the same connotations: engineered, decisive, no funny business.

Sure, this match-a-color-and-a-font business is more subjective, but there’s something solid to it: note that the words I used to describe the colors (“stark” and “construction-grade”) apply equally well to DIN—a fact I am only noticing now, not something done intentionally.

Want to match a color with a font? This is another lesson applicable to all of branding. It’s best to start with adjectives/emotions, then match everything to those. Practically by accident, we’ve uncovered something fundamental in the branding design process.

Shadows

Let’s shift gears to work with shadows for a bit.

There are a couple directions we could go with shadows, but the two main categories are (for lack of better terms):

realistic shadows;

and cartoon-y shadows.

Here’s an example of each:

The top button’s shadow is more photorealistic. It behaves like a shadow in the real world.

The bottom button’s shadow is a bit lower-fidelity. It shows that the button is raised up, but it’s a cartoon version, with a slightly unrealistic, idealized bottom edge—and without a normal shadow, which would be present in the real world.

The bottom works better for the button we’re crafting. The smoothness, the friendliness, the cartoon fidelity—it all goes together.

As for our DIN button?

I’m more ambivalent here. Maybe the shadow is for a hover state, à la Material Design?

In any case, with a black background, a darkened bottom edge is impossible—you can’t get any darker than black.

By the way, you may not have noticed it above, but the black button has a much stronger shadow. Compare:

The teal button’s shadow is 30%-opacity black, shifted 1 pixel down on the y-axis, with a 2-pixel blur (0 1px 2px). The black button’s is 50%-opacity black, shifted 2 pixels down on the y-axis, with a 4-pixel blur (0 2px 4px). What’s more, the stronger shadow looks awful on the teal button.

Why is that? The answer, like so many questions that involve color, is in luminosity. When we put the button’s background in luminosity blend mode, converting it to a gray of equal natural lightness, we see something interesting.

The shadow, at its darkest, is basically as dark as the button itself. Or, at least, the rate of change of luminosity is steady between each row of pixels.

The top row is the button itself, not shadow.

Shadows that are too close to the luminosity of their element’s backgrounds will appear too strong. And while this may sound like an overly specific lesson, it’s actually broadly applicable across elements. You know where else you see it?

Borders

Let’s put a border on our teal button.

Now the way I’ve added this border is something that a bunch of people have thought of: make the border translucent black so that it works on any background color. In this case, I’ve used a single-pixel-wide border of 20%-opacity black.

However, if I switch the background color to a more standard blue, which is naturally a lot less luminous, that border all but disappears.

In fact, to see it on blue just as much as you can see it on teal, you’ve got to crank up black’s opacity to something like 50%.

This is a generalizable rule: when you want to layer black on another color, it needs to be a more opaque black to show up the same amount on less luminous background colors. Where else would you apply this idea?

Spoiler alert: shadows!

Each of these buttons has the same shadow (0 2px 3px) except for different opacities. The top two buttons’ shadows have opacity 20%, and the bottom two have opacity 40%. Note how what’s fine on a white background (top left) is hardly noticeable on a dark background (top right). And what’s too dark on a white background (lower left) works fine on a dark background (lower right).

Icons

I want to change gears one more time and talk about icons.

Here’s the download icon from Font Awesome, my least favorite icon set of all time.

I dislike it, not only because it’s completely overused, but also because the icons are really bubbly and soft. Yet most of the time, they’re used in clean, crisp websites. They just don’t fit.

You can see it works better with a soft, rounded font. I’m less opposed to this sort of thing.

But there’s still a problem: the icon has these insanely small details! The dots are never going to show up at size, and even the space between the arrow and the disk is a fraction of a pixel in practice. Compared to the letterforms, it doesn’t look like quite the same style.

But what good is my complaining if I don’t offer a solution?

Let’s create a new take on the “download” icon, but with some different guiding principles:

We’ll use a stroke weight that’s equivalent (or basically equivalent) to the text weight.

We’ll use corner radii that are similar to the corner radii of our font: squared off for DIN, rounded for Moon.

We’ll use a simpler icon shape so the differences are easy to see.

Let’s see how it looks:

I call this “drawing with the same pen.” Each of these icons looks like it could basically be a character in the font used in the button. And that’s the point here. I’m not saying all icons will appear this way, but for an icon that appears inline with text like this, it’s a fantastic rule of thumb.

Wrapping it up

Now this is just the beginning. Buttons can take all kinds of styles.

But we’ve got a good start here considering we designed just two buttons. In doing so, we covered a bunch of the things that are focal points of my day-to-day work as a UI designer:

lighting and shadows;

color;

typography;

consistency;

and brand.

And the lessons we’ve learned in those areas are fundamental to the entirety of UI design, not just one element. Recall:

Letterforms are shapes. You can analyze fonts as sets of shapes, not simply as works of art.

You should letter-space uppercase text, since most fonts were designed for sentence case.

Think in HSB to modify colors.

You can find more interesting variations on a “basic” color (like a CSS default shade of blue or red) by tweaking the hue in either direction.

Saturation and brightness are levers that you can move in opposite directions to control luminosity.

Find colors that match the same descriptors that you would give your typeface and your overall brand.

Use darker shadows or black borders on darker backgrounds—and vice versa.

For inline icons, choose or design them to appear as though they were drawn with the same pen as the font you’re using.

You can thank Josh Waitzkin for making me a pedant. I know, you just read an entire essay on buttons. But next time you’re struggling with a redesign or even something you’re designing from scratch, try stripping out all the elements that you think you should be including already, and just mess around with the simplest players on the board. Get a feel for the fundamentals, and go from there.

Weird? Sure. But if it’s good enough for a grandmaster, I’ll take it.

http://ift.tt/2BnocDc

[its-no-biggie]

im starting to think the sole purpose of this game is to psychologically torment edgeworth until he has a mental breakdown

[joannlyfgnch]

The King vs. Pawn Game of UI Design

If you want to improve your UI design skills, have you tried looking at chess? I know it sounds contrived, but hear me out. I’m going to take a concept from chess and use it to build a toolkit of UI design strategies. By the end, we’ll have covered color, typography, lighting and shadows, and more.

But it all starts with rooks and pawns.

I want you to think back to the first time you ever played chess (if you’ve never played chess, humor me for a second—and no biggie; you will still understand this article). If your experience was anything like mine, your friend set up the board like this:

And you got your explanation of all the pieces. This one’s a pawn and it moves like this, and this one is a rook and it moves like this, but the knight goes like this or this—still with me?—and the bishop moves diagonally, and the king can only do this, but the queen is your best piece, like a combo of the rook and the bishop. OK, want to play?

This is probably the most common way of explaining chess, and it’s enough to make me hate board games forever. I don’t want to sit through an arbitrary lecture. I want to play.

One particular chess player happens to agree with me. His name is Josh Waitzkin, and he’s actually pretty good. Not only at chess (where he’s a grandmaster), but also at Tai Chi Push Hands (he’s a world champion) and Brazilian Jiu Jitsu (he’s the first black belt under 5x world champion Marcelo Garcia). Now he trains financiers to go from the top 1% to the top .01% in their profession.

Point is: this dude knows a lot about getting good at stuff.

Now here’s the crazy part. When Josh teaches you chess, the board looks like this:

King vs. King and Pawn

Whoa.

Compared to what we saw above, this is stupidly simple.

And, if you know how to play chess, it’s even more mind-blowing that someone would start teaching with this board. In the actual game of chess, you never see a board like this. Someone would have won long ago. This is the chess equivalent of a street fight where both guys break every bone in their body, dislocate both their arms, can hardly see out of their swollen eyes, yet continue to fight for another half-hour.

What gives?

Here’s Josh’s thinking: when you strip the game down to its core, everything you learn is a universal principle.

That sounds pretty lofty, but I think it makes sense when you consider it. There are lots of things to distract a beginning chess player by a fully-loaded board, but everything you start learning in a king-pawn situation is fundamentally important to chess:

using two pieces to apply pressure together;

which spaces are “hot”;

and the difference between driving for a checkmate and a draw.

Are you wondering if I’m ever going to start talking about design? Glad you asked.

The simplest possible scenario

What if, instead of trying to design an entire page with dozens of elements (nav, text, input controls, a logo, etc.), we consciously started by designing the simplest thing possible? We deliberately limit the playing field to one, tiny thing and see what we learn? Let’s try.

What is the simplest possible element? I vote that it’s a button.

This is the most basic, default button I could muster. It’s Helvetica (default font) with a 16px font size (pretty default) on a plain, Sketch-default-blue rectangle. It’s 40px tall (nice, round number) and has 20px of horizontal padding on each side.

So yeah, I’ve already made a bunch of design decisions, but can we agree I basically just used default values instead of making decisions for principled, design-related reasons?

Now let’s start playing with this button. What properties are modifiable here?

the font (and text styling)

the color

the border radius

the border

the shadows

These are just the first things that come to my mind. There are even more, of course.

Typography

Playing with the font is a pretty easy place to start.

Blown up to show font detail.

Now I’ve changed the font to Moon (available for free on Behance for personal use). It’s rounded and soft, unlike Helvetica, which felt a little more squared-off—or at least not as overtly friendly.

The funny thing is: do you see how the perfectly square edges now look a tad awkward with the rounded font?

Let’s round the corners a bit.

Bam. Nice. That’s a 3px border radius.

But that’s kind of weird, isn’t it? We adjusted the border radius of a button because of the shape of the letterforms in our font. I wouldn’t want you thinking fonts are just loosey-goosey works of art that only work when you say the right incantations.

No, fonts are shapes. Shapes have connotations. It’s not rocket science.

Here’s another popular font, DIN.

With its squared edges, DIN is a clean and solid workhorse font.

Specifically, this is a version called DIN 2014 (available for cheap on Typekit). It’s the epitome of a squared-off-but-still-readable font. A bit harsh and no-nonsense, but in a bureaucratic way.

It’s the official font of the German government, and it looks the part.

So let’s test our working hypothesis with DIN.

How does DIN look with those rounded corners?

Well, we need to compare it to square corners now, don’t we?

Ahhh, the squared-off corners are better here. It’s a much more consistent feel.

Now look at our two buttons with their separate fonts. Which is more readable? I think Moon has a slight advantage here. DIN’s letters just look too cramped by comparison. Let’s add a bit of letter-spacing.

When we add some letter-spacing, it’s far more relaxed.

This is a key law of typography: always letter-space your uppercase text. Why? Because unless a font doesn’t have lowercase characters, it was designed for sentence-case reading, and characters in uppercase words will ALWAYS appear too cramped. (Moon is the special exception here—it only has uppercase characters, and notice how the letter-spacing is built into the font.)

We’ll review later, but so far we’ve noticed two things that apply not just to buttons, but to all elements:

Rounded fonts go better with rounded shapes; squared-off fonts with squared-off shapes.

Fonts designed for sentence case should be letter-spaced when used in words that are all uppercase.

Let’s keep moving for now.

Color

Seeing the plain default Sketch blue is annoying me. It’s begging to be changed into something that matches the typefaces we’re using.

How can a color match a font? Well, I’ll hand it to you. This one is a bit more loosey-goosey.

For our Moon button, we want something a bit more friendly. To me, a staid blue says default, unstyled, trustworthy, takes-no-risks, design-by-committee. How do you inject some fun into it?

Well, like all problems of modifying color, it helps to think in the HSB color system (hue, saturation, and brightness). When we boil color down to three intuitive numbers, we give ourselves levers to pull.

For instance, let’s look at hue. We have two directions we can push hue: down to aqua or up to indigo. Which sounds more in line with Moon? To me, aqua does. A bit less staid, a bit more Caribbean sea. Let’s try it. We’ll move the hue to 180° or so.

Ah, Moon Button, now you’ve got a beach vibe going on. You’re a vibrant sea foam!

This is a critical lesson about color. “Blue” is not a monolith; it’s a starting point. I’ve taught hundreds of students UI design, and this comes up again and again: just because blue was one color in kindergarten doesn’t mean that we can’t find interesting variations around it as designers.

“Blue” is not a monolith. Variations are listed in HSB, with CSS color names given below each swatch.

Aqua is a great variation with a much cooler feel, but it’s also much harder to read that white text. So now we have another problem to fix.

“Hard to read” is actually a numerically-specific property. The World Wide Web Consortium has published guidelines for contrast between text and background, and if we use a tool to test those, we find we’re lacking in a couple departments.

White text on an aqua button doesn’t provide enough contrast, failing to pass either AA or AAA WCAG recommendations.

According to Stark (which is my preferred Sketch plugin for checking contrast—check out Lea Verou’s Contrast Ratio for a similar web-based tool), we’ve failed our contrast guidelines across the board!

How do you make the white text more legible against the aqua button? Let’s think of our HSB properties again.

Brightness. Let’s decrease it. That much should be obvious.

Saturation. We’re going to increase it. Why? Because we’re contrasting with white text, and white has a saturation of zero. So a higher saturation will naturally stand out more.

Hue. We’ll leave this alone since we like its vibe. But if the contrast continued to be too low, you could lower the aqua’s luminosity by shifting its hue up toward blue.

So now, we’ve got a teal button:

Much better?

Much better.

For what it’s worth, I’m not particularly concerned about missing the AAA standard here. WCAG developed the levels as relative descriptors of how much contrast there is, not as an absolute benchmark of, say, some particular percentage of people to being able to read the text. The gold standard is—as always—to test with real people. AAA is best to hit, but at times, AA may be as good as you’re going to get with the colors you have to work with.

Some of the ideas we’ve used to make a button’s blue a bit more fun and legible against white are actually deeper lessons about color that apply to almost everything else you design:

Think in HSB, as it gives you intuitive levers to pull when modifying color.

If you like the general feel of a color, shifting the hue in either direction can be a baseline for getting interesting variations on it (e.g., we wanted to spice up the default blue, but not by, say, changing it to red).

Modify saturation and brightness at the same time (but always in opposite directions) to increase or decrease contrast.

OK, now let’s switch over to our DIN button. What color goes with its harsh edges and squared-off feel?

The first thing that comes to mind is black.

But let’s keep brainstorming. Maybe a stark red would also work.

Or even a construction-grade orange.

(But not the red and orange together. Yikes! In general, two adjacent hues with high saturations will not look great next to each other.)

Now, ignoring that the text of this is “Learn More” and a button like this probably doesn’t need to be blaze orange, I want you to pay attention to the colors I’m picking. We’re trying to maintain consistency with the official-y, squared-off DIN. So the colors we go to naturally have some of the same connotations: engineered, decisive, no funny business.

Sure, this match-a-color-and-a-font business is more subjective, but there’s something solid to it: note that the words I used to describe the colors (“stark” and “construction-grade”) apply equally well to DIN—a fact I am only noticing now, not something done intentionally.

Want to match a color with a font? This is another lesson applicable to all of branding. It’s best to start with adjectives/emotions, then match everything to those. Practically by accident, we’ve uncovered something fundamental in the branding design process.

Shadows

Let’s shift gears to work with shadows for a bit.

There are a couple directions we could go with shadows, but the two main categories are (for lack of better terms):

realistic shadows;

and cartoon-y shadows.

Here’s an example of each:

The top button’s shadow is more photorealistic. It behaves like a shadow in the real world.

The bottom button’s shadow is a bit lower-fidelity. It shows that the button is raised up, but it’s a cartoon version, with a slightly unrealistic, idealized bottom edge—and without a normal shadow, which would be present in the real world.

The bottom works better for the button we’re crafting. The smoothness, the friendliness, the cartoon fidelity—it all goes together.

As for our DIN button?

I’m more ambivalent here. Maybe the shadow is for a hover state, à la Material Design?

In any case, with a black background, a darkened bottom edge is impossible—you can’t get any darker than black.

By the way, you may not have noticed it above, but the black button has a much stronger shadow. Compare:

The teal button’s shadow is 30%-opacity black, shifted 1 pixel down on the y-axis, with a 2-pixel blur (0 1px 2px). The black button’s is 50%-opacity black, shifted 2 pixels down on the y-axis, with a 4-pixel blur (0 2px 4px). What’s more, the stronger shadow looks awful on the teal button.

Why is that? The answer, like so many questions that involve color, is in luminosity. When we put the button’s background in luminosity blend mode, converting it to a gray of equal natural lightness, we see something interesting.

The shadow, at its darkest, is basically as dark as the button itself. Or, at least, the rate of change of luminosity is steady between each row of pixels.

The top row is the button itself, not shadow.

Shadows that are too close to the luminosity of their element’s backgrounds will appear too strong. And while this may sound like an overly specific lesson, it’s actually broadly applicable across elements. You know where else you see it?

Borders

Let’s put a border on our teal button.

Now the way I’ve added this border is something that a bunch of people have thought of: make the border translucent black so that it works on any background color. In this case, I’ve used a single-pixel-wide border of 20%-opacity black.

However, if I switch the background color to a more standard blue, which is naturally a lot less luminous, that border all but disappears.

In fact, to see it on blue just as much as you can see it on teal, you’ve got to crank up black’s opacity to something like 50%.

This is a generalizable rule: when you want to layer black on another color, it needs to be a more opaque black to show up the same amount on less luminous background colors. Where else would you apply this idea?

Spoiler alert: shadows!

Each of these buttons has the same shadow (0 2px 3px) except for different opacities. The top two buttons’ shadows have opacity 20%, and the bottom two have opacity 40%. Note how what’s fine on a white background (top left) is hardly noticeable on a dark background (top right). And what’s too dark on a white background (lower left) works fine on a dark background (lower right).

Icons

I want to change gears one more time and talk about icons.

Here’s the download icon from Font Awesome, my least favorite icon set of all time.

I dislike it, not only because it’s completely overused, but also because the icons are really bubbly and soft. Yet most of the time, they’re used in clean, crisp websites. They just don’t fit.

You can see it works better with a soft, rounded font. I’m less opposed to this sort of thing.

But there’s still a problem: the icon has these insanely small details! The dots are never going to show up at size, and even the space between the arrow and the disk is a fraction of a pixel in practice. Compared to the letterforms, it doesn’t look like quite the same style.

But what good is my complaining if I don’t offer a solution?

Let’s create a new take on the “download” icon, but with some different guiding principles:

We’ll use a stroke weight that’s equivalent (or basically equivalent) to the text weight.

We’ll use corner radii that are similar to the corner radii of our font: squared off for DIN, rounded for Moon.

We’ll use a simpler icon shape so the differences are easy to see.

Let’s see how it looks:

I call this “drawing with the same pen.” Each of these icons looks like it could basically be a character in the font used in the button. And that’s the point here. I’m not saying all icons will appear this way, but for an icon that appears inline with text like this, it’s a fantastic rule of thumb.

Wrapping it up

Now this is just the beginning. Buttons can take all kinds of styles.

But we’ve got a good start here considering we designed just two buttons. In doing so, we covered a bunch of the things that are focal points of my day-to-day work as a UI designer:

lighting and shadows;

color;

typography;

consistency;

and brand.

And the lessons we’ve learned in those areas are fundamental to the entirety of UI design, not just one element. Recall:

Letterforms are shapes. You can analyze fonts as sets of shapes, not simply as works of art.

You should letter-space uppercase text, since most fonts were designed for sentence case.

Think in HSB to modify colors.

You can find more interesting variations on a “basic” color (like a CSS default shade of blue or red) by tweaking the hue in either direction.

Saturation and brightness are levers that you can move in opposite directions to control luminosity.

Find colors that match the same descriptors that you would give your typeface and your overall brand.

Use darker shadows or black borders on darker backgrounds—and vice versa.

For inline icons, choose or design them to appear as though they were drawn with the same pen as the font you’re using.

You can thank Josh Waitzkin for making me a pedant. I know, you just read an entire essay on buttons. But next time you’re struggling with a redesign or even something you’re designing from scratch, try stripping out all the elements that you think you should be including already, and just mess around with the simplest players on the board. Get a feel for the fundamentals, and go from there.

Weird? Sure. But if it’s good enough for a grandmaster, I’ll take it.

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