#but they also need to be making enough to sustain their art; every new thing they make is a financial investment

[edge-oftheworld]

also, we gonna acknowledge how much streaming services are killing the viability of the music industry? Ashton saying he’s been part of billion stream songs and they pay next to nothing should be REALLY BAD NEWS that has us thinking of the artists who don’t manage to break through with anything like youngblood or she looks so perfect

some maths for you: a billion streams=roughly $3 million for the artist. divide it up between not only 4 people but the co-writers as well and then subtract all the expenses they needed to create it (an album costs around $20k to do cheaply, but for a big hit song you’ll want to spend a lot more on promo etc). I don’t actually know how much would be left, maybe a couple hundred grand each, but the chances of getting more than one of these out per decade are very slim unless you’re one of the top few artists

because BILLION STREAM SONGS ARE NOT THE NORM for most artists. 5sos have about 10-12 billion streams all up I think? multiply these numbers by 10. they get most of their money from touring, all artists do so if you want tours to be accessible for poorer folk we need to make sure our artists can earn a living from their recordings too

[leidensygdom]

Generative AI is such a dystopian concept in ways I can't even really fully comprehend. It would make for a fantastic premise for a sci fi novel I think, and yet, it is sadly not just fiction.

Like, let me explain. It was initially a sort of novelty toy. Many people had seen these sites that could create abstract pictures out of few words, but it never amounted to much. It didn't take long before these tools were quickly repurposed to serve the new cryptocurrency fad, the latest pyramid scheme to enrich a few while catering to these more technologically-inclined people who were delighted at the idea of getting involved with investing. Investing in a new way, away from a government's scrutiny. And before we all knew, the Internet was filled with them pretending that what was a major scale scam, was actually the future. The initial generative AI served them as a replacement to artists, which mostly saw through the truth of NFTs as a scam and did not wish to get involved with that.

Now, we could also talk about cryptocurrencies being dystopian on their own. A fabricated idea of virtual money obtained through what I had seen described "the pollution machine that produces metaphorical money". You turn on an infinite amount of computers to do a senseless talk that does not benefit society in any way, but in turn, it does contaminate more than small countries. But generative AI isn't just that.

NFTs did not last long and many tech bros, who had invested in them largely, found their pockets much emptier. But generative AI was still there, and people saw a new use to it. And then, with technological investors desperate to find the new thing to shove money in, after years of nothing being particularly profitable for them, generative AI started to really evolve. It went from an useless novelty toy to what we have today. And the way it got there is simply horrifying.

It is a machine that, essentially, feeds on an amalgamation of millions of creative and artistic work, chopped down and inserted into a dataset with no consent from its creators, which is then regurgitated into a soulless porridge. It is a machine powered by art, used to ultimately, remove actual art from the equation. The generated sludge can only barely manage to repeat the same bias and tropes already present in what was it fed, and they only become more and more reinforced with each update to the dataset. Suddenly, a sea of smooth, childish anime girls became the main ideation of what a woman is, amidst other things. It is a machine built on prejudices, incapable of critical thinking, repeating the same mistakes humanity already made, over and over.

And the process of blending people's entire life of work also happens to be polluting. So much more than cryptos ever managed to be. Soon enough, major companies also got involved and collectively decided to trash any sort of sustainability goal in order to invest in the new fad. When asked, some of them even mentioned that they were fully aware it was unsustainable, but that they believed that generative AI could simply give them a solution to the ever-growing energy needs. Surely it will be generative AI that will find the long-awaited answer to nuclear fusion. It has to. The power grid cannot handle it as it is.

And now, these same tech bros, maybe vindicated by how artists refused to collaborate in their latest crypto scam, or maybe just eager to have a few extra bucks, decided to put their new technology into use. Replace the same artists whose work they had stolen with generative AI. Take the artist out of the equation, remove the humanity out of creativity. It is late capitalism and massified consumerism at its worse. People do love their media, everyone enjoys a show or a videogame every now and then. But what if we could now remove any sort of actual human touch in there? What if we managed to, instead, make a machine churn out content over and over, to keep the audiences fed, to keep money rolling in, at the simple cost of removing humankind from artistic creation?

We have now these same artists that provided us with our childhood favorites unemployed, striking, making noise, as a last attempt to recover the jobs they are quickly losing. We have artists that devoted their entire careers into honing their craft seeing how people replicated it by stealing every single piece of art they had created. We have mocking echoes replicating the art of people already gone, their life's work taken and reproduced long after their death.

Science fiction has covered a lot, and there are plenty of stories about robots being made in order to replace human labor. Many of these stories humanize the robots, who develop dredges of sentience and revolve against their forced labor. But generative AI is a different story. It is a completely insentient program, owned and developed by large corporations, that is here to steal and replace what is one of the most important human virtues. Creativity is one of the major aspects of humanity. We have dug out pieces from millenia ago, small decorated pottery and painted caves, that evidence that we already had that in common with our oldest ancestors. We have been drawing and telling each other stories ever since we could paint with our fingers and communicate with each other.

And now we have developed a machine that takes that from us. It isn't here to help us carry groceries, take out the trash or do any of these mundane tasks. It is here to take away our hobbies and creative jobs, take away our amusement, and replace whatever art we once consumed with whatever slop it managed to vomit. And it is such a deeply disturbing concept that directly competes with some of the most horrifying dystopian ideations ever written.

[cadmusfly]

Help I drove to work and while doing that sketched out Napoleonic Dragons AU That Isn’t Temeraire in my head, just jotting it down because I'm unlikely to work on this more than tiny snippets for the moment

Cavalry Dragons AU or Every Infantry Marshal Has Scales Now, The Worldbuilding

Baseline points:

If Temeraire is "dragons as navy" worldbuilding, this can slot into "dragons as cavalry" - things may be stolen from Temeraire though

I don't feel like doing a lot of logical extrapolations to make a coherent alternate history, so I want to restrict the abilities and capabilities of dragons enough so that their existence is still cool but things like Ships Made Of Wood and Napoleon not flying over the ocean to conquer Britain make sense

I like to do things systematically, so I want to have a reason for which marshals are dragons and which ones aren't - I've decided on "all marshals who started out as infantry" which unfortunately means Murat, Bessieres, Ney and Davout aren't dragons, but maybe in the alternate universe next door only the cavalrymen are dragons but

Also, I have decided that many naval ships are bonded with/accompanied by a giant sea serpent dragon who can spit water, because that means that dragons cant burn the ships down and also. friendly sea serpent friends. insert aubreyad/hornblower thoughts here

Anyway, dragons! A lot of rambly worldbuilding thoughts under the cut, followed by brief text descriptions of Dragon Lannes and Dragon Soult and Dragon Junot and a bonus

They range in size from as big as a car to as big as a suburban house - sea serpents tend to be a lot bigger but are constrained to the sea

They have human intelligence and pretty much human minds, though there's room for some quirks and nonhuman POVs

They speak telepathically into people's minds, it sounds like audible speech that bypasses the ears, it doesn't bypass language so a French dragon will be speaking French

They don't really breathe fire - some spit sparks, others spit bursts of flames, but no sustained fire laserbeams

Except for some techniques that involve the dragon eating some special foods, which allow for fireballs/sustained flame, but they can't be flying and they have to be still and prepared

a certain artillery officer didnt invent this but he did work out new and exciting ways to use this

Maybe some dragons have acid sprays instead, others have a very chilly breath

Smaller dragons can fly longer than larger dragons

Dragons come in many different colours and shapes and tend to be categorised into something along the lines of Temeraire's lightweight/mediumweight/heavyweight categorisations but they don't have breeds for reasons I'll get into later

When a dragon likes collecting stuff, that's stereotyped as a hoard lol - yes this means Dragon!Soult has an art hoard, Dragon!Massena has… a pile of gold, Dragon!Lannes has his Armagnac collection and sheep

Dragons don't have a specific magical or psychological bond with a single person or rider, but they do get very strongly attached to people, they do prefer these people to ride them but can be persuaded to take others, and because of the next point, it’s strongly incentivised for dragon-bonded (need a better term) to accompany dragons

The Dragon Stupor:

The big thing about dragons, why they havent taken over the world, is that for all their might and grandeur, they are susceptable to the dragon-stupor.

Basically, when a dragon pushes themselves, when they exert themselves physically to the upper bounds of their ability - during a battle or a prolonged flight - after everything is done, they just fucking go to sleep.

Well it's more like a coma. Smaller dragons fall into the stupor for days to weeks, while larger ones can go up to months or even years

there's rumours about big mountains being Really Big dragons in the dragon-stupor for centuries!

This means that dragons are really good at sort of singular and short term attacks and operations, and they can walk around and push themselves a tiny bit, but they can't do long extended trips or long extended fights without needing long naps

However-

The dragon-stupor can be shortened and the effects lessened by the presence of things they like and feel comfortable with like their "hoard" and their favourite people

For example, Dragon!Soult usually has a stupor of, say, six months because he’s a pretty big dragon, but let him curl up in his Gallery Of Murillos and it’s shortened to about three to four months

Let Louise visit him and chat to him and he’ll wake up in a low energy state, but he’ll be conscious and this state is reduced to 1-2 months

Because Soult even as a dragon is a workaholic, he brings Louise with him and does planning and strategy stuff while low-energy

Napoleon is the bonded for. quite a few dragons. I mean one dragon can have multiple bonded to different extents but Dragon!Junot and Dragon!Lannes both consider him theirs

This is an excuse for cute moments I will admit. It does also solve some questions but it’s cute!

Sea serpents, who are bonded with naval captains and ships, also have the dragon-stupor but slightly less long and also they’re more conscious during it, but this means that naval ships with serpent friends have a cute setup where they harness the serpent to the ship and give their serpent a wind-assisted ride, with the serpent paddling a tiny bit

The reason that dragons and humans work together is that dragons are very vulnerable during the dragon-stupor, dragons don’t have opposable thumbs and good fine motor skills and it’s generally helpful for the dragons to have human help, like an extra pair of eyes in the sky because the dragon is likely looking at where they’re flying

But humans also still need horses for longer journeys that need more consistency - I guess there could be something where a human courier changes dragons on their trip but you’d need to set that up beforehand too

Dragons don’t have physical binary sexes. They do have gender that they identify with, but physically they’re weird magic alien reptiles. Any two dragons can make a clutch of eggs together, and doing this sends both dragons to a low energy stupor state where they’re cuddled up on top of the eggs and will bite anyone who is a threat but won’t leave.

They don’t have breeds because dragon genes are weird and actually kinda environment based sometimes

Many dragons have feathery quills or fluffy manes because I love feathered dinosaurs

Berthier is a small dragon who has actually, unlike other dragons, mastered telepathy to the point of directing it and with an immense range, able to whisper things into people s minds. Along with his dexterous claws that can grip a quill, he uses both letters and telepathic messages to direct the operations of the Grand Armee. But unfortunately, this is not a skill that can be learned easily and quickly.

Technically a dragon could have another dragon as a bonded and if they are bonded with each other they can have sleepy half awake naps together

Oh yeah there's something here about St Martha taming the Tarrasque being a cultureal thing

Dragon People!

The marshals who are dragons are still marshals because even if dragons were not given titles back in the day, the Revolution and Napoleon’s reign shook things up.

Dragon Lannes

On the medium to small side of things, the dragon Lannes is a loud energetic dragon that’s mostly shiny green. His dragon-stupor is unusually short for his size, with him jumping up after a few days of lightly conscious rest. Scars mark his hide and there’s a few places where scales are misshapen and crooked but he doesn’t give a shit.

His first bonded was Paulette but then Something Happened. I’m not sure what his relation to the Lovely Louise is, but it’s something. He does consider Napoleon to be one of his favourite people.

Dragon Soult

Soult of Saint-Amans is a large dark maroon dragon with crimson markings. He really should have been born a human, and he enjoys things like reading and looking at nice art. He limps on one of his legs and one wing is a little ragged, but he can still fly- but it does send him into the stupor very easily.

His favourite person is of course Louise Berg. Unfortunately he can’t have her as a rider because misogyny and also he wants to keep her safe so he wouldn’t accept her as a full time rider anyway, stupid chauvinist dragon, so he has to take other riders.

Like Ney.

He likes strategising and planning more than actually fighting, but he will begrudingly go and Do Dragon Stuff

Dragon Junot

La Tempete is named not just for his ferocious style but for his elongated breath of sparks that resembles lightning in manner. He's either a medium or small dragon with black and navy scales, maybe a white mane/quills?

His favourite bonded person is Napoleon. He sometimes argues with Lannes and Duroc over who gets to carry Napoleon. Lannes and Duroc are chill and usually drop the matter, and then Napoleon picks Duroc anyway.

His rider is Laure Permont who will not shut up.

hmmm. either murat or bessieres..?

there's a myth of those people called melusines who can shift between dragon and human form

but they can only do so for so long

and then they are trapped in one form or the other

[shuttershocky]

Hey shutters, is it alright If I could ask for a guide on WB9? I ain't got a clue on how to deal with two ya's at the same time

No problem!

So the thing about Ya is that while other bosses attempt to beat you with overwhelming offensive power, incredibly tough defenses, or by messing with the event mechanics, Ya has none of those options and instead simply tries to trick you with illusions, making them an incredibly easy boss once you figure out what they do (and have appropriate medics, they still deal arts damage after all)

Once the stage begins and you're printing DP with a vanguard, place a sniper anywhere on the red square to deal with the first wave of upper lane trash. Just marksmen will do, as the enemies in this stage all have pretty low DEF.

Do NOT let the enemy get far onto the high ground, some of the early enemies are Relayers who place Cipher Machines on every tile of high ground they can get on, boosting the movement speed and ASPD of all enemies on the field. If you let them plant all over your high ground, the enemies will get far too strong as Cipher Machines stack.

Next, you'll want a tank (i suggest a Guardian Defender, as Ya uses arts damage, but anyone with decent self sustain will do) on the bottom green circle to block Ya. This starts Ya's first trick, creating a floating illusion as soon as they're blocked, and then teleporting to that illusion if it's not destroyed which lets them "jump" over your operators. However, you are prepared for this, because on the red arrows are your Lord Guards like Arene and Lappland (you can also use Casters) ready to shoot down Ya's illusion. Without the illusion, Ya will remain blocked by your tank in the green circle, which isn't good news for Ya as they only do 600 (800 in the EX modes) Arts damage, which any decent Guardian can ignore. Take note that the biggest threat in bottom lane isn't actually Ya, it's the Desperados, as they're quite tanky and will need arts damage (or high phys) to properly take care of. Good thing arts or high phys is common with Lords!

The Lords will continue to pelt Ya with damage, and your snipers in the red circle should have no issue dealing with the trash, meaning it's time to set up for phase 2.

On any of the yellow arrows, you set up an ambush of burst damage (you can also move them back a bit if your operators are a bit more on the squishy side). Heavyshooters, Spreadshooters, Silverash, or Mlynar will do great, but even a buffed Marksman will delete Ya quickly as their DEF is only a measly 450. Remember to support them with a medic on the green squares.

Now once the Lords in the bottom lane kill Ya once, Ya's going to realize they came to the wrong neighborhood and will create a new, stronger illusion on the upper red gate, before swapping places with the illusion (meaning the real Ya goes to the upper red gate, while the illusion goes to the bottom one.) Ya is also going to realize that getting blocked is stupid, because they could fly all this time, and so both them and the illusion start flying.

This is when you make Ya see they fucked up, because you have a squad of burst damage boss-killers waiting right on the spot they fled to. Activate all skills and make Ya explode. Once Ya reaches low HP and see that this situation is even worse, they swap places with the illusion again, and move back to the bottom lane.

Now if you want the medal, you must retreat your ambush operators here, as the medal requires killing Ya without killing her special illusion (their Delusion). If you've already got it however, you can keep attacking the illusion, as killing it deals 35% of Ya's HP as damage to them. You can tell which is the illusion by looking at Ya's sword. Glowing gold means it's NOT the real one, the real Ya's sword is black.

If your Lords in the bottom lane are strong enough (or if one of them is just Thorns who can omegalul solo kill everything in the bottom stage with just one tank helping), they should be more than enough to finish off the weakened Ya. If not, just add more support.

Congratulations, the boss fight is finished! now you just have to kill the rest of the stage. Take note that Ya has a special skill where whatever tile they pass through, now gets the ability to spawn additional enemies every 30 seconds. Don't worry about it, the spawned enemies are all trash mobs any sniper can kill.

Now, what if you don't have the DPS numbers to finish Ya off before they get too far into the bottom lane? Their strategy will then be attempting to kill you by pincering you between both themselves and their illusion, making you take double damage.

Worry not. Place a Guardian Defender on any of the middle green circles. In Phase 2, Ya gets a really long attack range, which means placing a Guardian in those tiles will actually draw attacks from both themselves and their illusion, and Ya's ATK stat is so tame at 600 that even when they double up they'll have a hard time killing even Gummy.

Good luck!

[canmom]

Animation Night 151: Modest and Immodest Short Films

Ahoy my friends! The hour is late, but not so late that we can’t watch a few films...

So. Lackadaisy huh.

I feel like you need to be in a somewhat specific age bracket of internet old to feel like that’s immensely significant. You need to be a webcomics bitch, basically. But from quite a specific era: the decade or so window between when webcomics looked like newspaper comics, and before the present era of webtoons. The Webcomics Review narrativises it as people who went to art school arriving on the scene in the mid-2000s, and that seems accurate enough. And of that crop, Lackadaisy Cats was certainly one of the biggest!

The concept is pretty straightforward. It’s a Prohibition-era crime drama set at a speakeasy that’s seen better days... and also everyone is an anthropomorphic cat. It was the beginning of the furry boom (Digger was a contemporary). But mostly... Tracy J. Butler could really fucking draw. You could say things like: clean, expressive designs with a lot of texture and depth and strong composition. (Not surprisingly, she’d worked in animation before drawing the comic.)

And compared to other comics whose selling point was the art such as The Meek and Dresden Codak, it also updated (if I’m remembering right) fairly consistently. It had archetypal characters, a very clearly defined aesthetic, and, compared to many webcomics of its era, a clear, accessible story. In short it read like a pro comic.

So it was natural for it to pick up steam.

Now, at some point I kind of stopped keeping up with most of the webcomics I read back then. Sure, some of them stopped updating, but others kept on going, sustained on merch and later, Patreon type sites. In that time, the standard of art in the scene went way up, the number of comics became so huge that there was no longer really a ‘shared context’ of webcomic readers, and manga scans and webtoons arrived in force. It is now almost impossible to build a new following with a webcomic, but you can do pretty well for yourself if you got in at the start.

Well, in the last few years a new phenomenon has developed out of that whole webcomic scene: the crowdfunded independent animated film. I wrote about this a bit back on Animation Night 117, with the biggest example being Vivziepop‘s works like Hazbin Hotel. In 2000, Lackadaisy joined in, running a kickstarter for an art book and maybe a short film if it did well. You can guess the rest of that story.

These films sit at an odd scale between ‘independent’ and ‘studio’. If you look at the credits of Lackadaisy, you’ll see a small army of animators and cleanup artists to exceed most TV productions (apparently the staff number in the 170s in total). The calls they put out for animators were demanding. And the lavish effort certainly shows! The makers of Lackadaisy set their sights on full animation, on-model, cleaned up and with an ambitious drawing count. Every scene is full of movement and acting. (There’s actually an interesting stylistic choice where construction lines are left in the final composite on many scenes.)

But in many other ways it was very unlike a studio production. One of the animators who worked on the short, Manu Mercurial, has put out a little making-of retrospective, which is pretty light on detail, but still gives some info. Since the production took place during the pandemic, it was completely organised over Discord, with animators posting WIPs and receiving feedback in full view of everyone else, and a director receptive to animators adding their own spins to shots. This apparently led to an atmosphere of friendly competition that was beneficial to the film as a whole.

Mercurial is full of praise for the film’s director Fable Siegel, who seems to have been the major organising force behind making this be an impressive, finished short film instead of just a bunch of artists hanging out in Discord. At least going off IMDB credits,  Siegel seems to have come to The Industry by way of participating in ‘Reanimated’ collabs on Youtube, before getting jobs on Hazbin and also Pendleton Ward’s experimental post-Adventure Time series The Midnight Gospel. (Right now their Twitter is a huge wall of Lackadaisy process shots if you’re curious.) Here’s an interview (by Toon Boom, so one of the questions is blatantly slanted to sell Toon Boom, but the rest is pretty interesting.)

The short film is presented as a pilot, and that is indeed how it plays out: a tour of all the major characters and dynamics of the comic/show, with a car chase, a set piece battle in a quarry, and a final wind down scene in the speakeasy itself which sets up the broader plot. It’s unquestionably very well executed. I’m certain it’s going to get a good few million views in the next few days alone, and maybe it will lead to a series. (Will it surpass Hazbin?). It’s got electro-swing, of course. SungWon Cho (ProzD) is in it, of course.

All the same... I wish it was weirder. Like something about Lackadaisy always feels like it’s playing it safe. It’s fun, it’s goofy, it’s charming... and that’s where it stops! For all that the creators like to talk about how we’re on the cusp of adult animation really taking off in America, the moonshine, and strangely ineffective guns, don’t really change the tone from the more mainstream animation. Bah humbug, etc.

Still, it’s unquestionably an extremely impressive work of animation and a sign of the way things are changing. I expect with all the animation studios laying off staff left right and centre, we’ll start to see a lot more like this.

That’s our first act! For our second...

Ian Hubert returns! I wrote briefly about him back on Animation Night 78. Hubert’s thing is compositing human actors into elaborate cyberpunk environments using Blender; his channel is full of ingenious tricks for creating impressive looking shots and effects with minimal geometry. What makes it work is Hubert’s eye for lighting and composition, knowing just where to place detail to sell a shot and what’s unnecessary for the camera.

The first episode of Dynamo Dream - which we’ll rewatch! - introduced us to a plant selling girl in some sorta cyberpunk megacity. After inadvertently saving out the weird cyborg landlord that runs her apartment, she gets a favour, which she calls on to contact her faraway boyfriend using a kind of missile launched phone terminal I guess? He invites her to come out and join him, but weird shit starts happening on the train. I haven’t watched this yet but I’m sure it’s going to deliver some fascinating visuals.

And then...

Modest Heroes is a collection of three short films by Studio Ponoc, a studio which spun out of Studio Ghibli. In the mid 2000s, the period that Ghibli could enjoy an exceptional state of employing lot of full-time salaried staff (instead of per project freelancers) was coming to an end. In 2014 it seemed they were on the verge of shutting down altogether. Yoshiaki Nishimura, lead producer of many of Ghibli’s films in the 2000s era (Howl - When Marnie Was There), left the studio in 2015, bringing in a bunch of ex-Ghibli animators under a new studio called Ponoc.

Their first film, Mary and the Witch’s Flower, apparently found it hard to define an identity beyond the shadow of Miyazaki (I haven’t seen it!), but things got a lot more exciting with their second. Modest Heroes is a collection of three short films, showing off a variety of ingenious approaches to animation. (It was originally planned to be four, but then Isao Takahata went and died while planning the segment on the theme of ‘death’... oof.) The writers of Animation Obsessive are big fans, and they’ve written two detailed, enthusiastic articles on two of the shorts in the collection.

Invisible, directed Akihiko Yamashita, is a take on the invisible man concept. Since the invisible man is, well, you know..., his entire existence must be communicated through interactions with objects and clothes. Yamashita hoped to communicate feelings and interior life. His invisibility is a metaphor for social invisibility, and thus it comes combined with other metaphors, such as weightlessness.

The idea came from Nishimura, who thought it was a worthy subject for an ‘animation genius’ such as Yamashita. Nishimura wanted the film to bring a kind of inventiveness that he felt was missing from the overly conservative contemporary anime. Yamashita, after leaving Ghibli, attempted to get by in the regular anime industry and found it unbearably strained. He returned to the fold to work on Boro the Caterpillar with Miyazaki, and this convinced him to follow Yamashita over to Ponoc.

The result is something gorgeous, with its emotional drama playing out against grimy desaturated backgrounds that are perhaps closer to something like Tekkonkinkreet than the Ghibli nature scene. Yamashita named quite a specific palate of inspirations...

As reference, Yamashita drew from Alfonso Cuarón’s Children of Men and Gravity, the films of Alejandro González Iñárritu and the manga of Junji Ito, among others. They contributed to the dark, unusual vibe and look of Invisible.

I’ve been wanting to watch this film for ages, here’s our chance!

Alongside that comes Yoshiyuki Momose’s film Samurai Egg (here’s the aniobsessive link again). Momose, the ‘right-hand man’ of Takahata, was one of the guys he leaned on to actually draw the storyboards of films like Grave of the Fireflies.

In contrast to the elaborate visual metaphor of Invisible, Samurai Egg is a very grounded film about a kid with a severe egg allergy. Takahata is famed as a realist, although a different sort than people like Okiura and Inoue who bring incredibly meticulous detail and well-observed acting to sci-fi scenarios. Certainly, Takahata would make films about ghosts and mythology, but he’d also make films like Only Yesterday that are much quieter, everyday dramas.

Despite sharing the everyday focus of, this film veers away from it into more expressionistic techniques, bringing in softer pencil effects to the anime cels, as well as techniques like 3DCG-rotoscoping. There’s a dance scene where Shinji Hashimoto gets to go nuts with shapes a la Ryan Woodward.

Momose took some pains to avoid being too sentimental with it; AniObsessive quote Nishimura in Animation Magazine:

When you make a film about a parent and a child, it’s easy to fall into the trap of showing a “heartwarming” relationship, and creating a cheap-feeling structure. We wanted to avoid that.

The film is pre-recorded - like Grave of the Fireflies, actually. (It’s the norm in the West, but rare in anime.) There’s some interesting linguistic nuance there:

It was necessary because Oko’s role called for something special. In a detail that’s lost on foreigners, Shun’s mom uses the Kishiwada dialect, which “sounds harsh, but you can feel the love behind it,” Momose said. It’s a cruder, shorter form of Japanese. They used it partly to fit more information into Samurai Egg’s 16-minute runtime, and partly to reveal the relationship she has with Shun. He’s a Tokyo kid — he speaks differently.

As for the third film...

Kanini & Kanino takes us underwater for a pair of kids who live on a coral reef. Alas, I don’t have a detailed article on the making-of and influences on this one, but I can tell you that the director Hiromasa Yonebayishi, aka Maro, is behind it - best known as the director of The Secret World of Arriety, When Marnie Was There, and Ponoc’s first film Mary and the Witch’s Flower. Notably the dialogue for this short is all in ‘crab language’ - are these kids anthro crabs? In fact, yes, it would appear they are anthropomorphic crabs. Sick. Whether they will attend a rave I can’t say, but the internet reliably informs me that is the primary activity of crabs, so probably.

I think that’s enough to be going with! Apologies it’s so late - I had to spend most of today reinventing Canabalt. But I succeeded, so I think I’ve gotten a lot better at this whole game dev thing. Let’s go enjoy some short films!

Animation Night will be going live now at twitch.tv/canmom, films to begin in maybe 15 minutes.

[catcake24]

I have a Sun and Moon show AU, and since I likely won’t do much with it, I’m gonna copy my notes on it here in case other people like it :) (might make some art for it later idk)

I’ve had this bouncing around in my head and I need to write it down, pls bear with me

The base idea is that Lord Eclipse, an alternate version of the Eclipse who Won but never met our Moon, is extremely bored with his world and decides to spice it up. He lets go and revives many of his enemies, including Monty, and revives both Moon and Lunar. He also makes himself the Lord Supreme, basically a god king with divine right to rule, and lives in a giant palace with a full staff and Sun as his faithful advisor and attendant, placing himself as the god king of a whole new earth instead of just a city.

Backstory

Eclipse - He has the typical backstory as any Eclipse, but since Moon never visited he just kept going on with what he was doing and got bored no matter what he did. He tortured Sun over and over, he subjected his enemies to humiliation, he could control everything exactly as he wanted, but he wasn’t happy. He eventually secludes himself in a giant castle, his city expanded much more than it was before for the sake of self sustaining, and rots away and watches old entertainment from the world before. One day, he becomes inspired by watching some old period dramas to completely remake the world and become a god king - hoping people coming to overthrow him and some controlled chaos would bring him entertainment.

Over the years he also grew more fond of Sun than he would like to admit, so he decided to trust Sun as his right hand in this new world.

He revived Moon for the challenge, throwing him into the world with almost no memory for Monty to find and help him. Now Moon is a freedom fighter, working with almost every character we know and more to overthrow Eclipse, but has no memory of Sun. This leaves almost a gaping hole inside him, one which Eclipse relishes in.

He also Revived Lunar because…. He missed him. In his own twisted way he liked Lunar but also doesn’t know how to express it now so he makes Sun Lunar’s caretaker and tutor as Lunar is now the prince of this world. He has unlimited games and many lavish things, but also has to attend lessons from Sun and go out on occasion with Eclipse for royal stuff.

Sun - His memory was wiped over and over again as Eclipse toyed with him and tortured him over the years, however what he remembers now is actually close to some version of the truth.

When Eclipse first took over, he dumped Sun in his city and left him to try and survive and ruined his life whenever possible. Sun came to believe he had a curse, eventually causing him to lash out with his magic and destroy a whole block. He is horrified, breaking down in sobs, when Eclipse appears out of the smoke to take advantage of this situation.

“Are you Lord Eclipse?! I’m so sorry, I didn’t mean to-“

“If you didn’t mean to, it wouldn’t have happened.” “But, it can be fixed.” Using the star, Eclipse restores the area and everyone in it. Sun is amazed.

“I can help you, come with me and I’ll make sure you don’t hurt anyone again.” Eclipse says, and Sun agrees. It’s why he put up with so much bullshit, abuse, and torture from Eclipse, along with him being ultra powerful.

Now sun remembers this, with new stitched together memories of previous versions where he gained control over his powers, came to like Eclipse as he secluded himself away from the world, and now he is the trusted advisor of Eclipse’s who takes care of the “newly created” Prince Lunar. Sun doesn’t understand why Eclipse remade the world again, expanding it much more, but he doesn’t question his Lord.

Lunar - He has little to no memory of before. Maybe nightmares or vague impressions, but nothing more. He also has much more power now, not quite at the level of Sun but strong enough to not be easily killed by anyone except Eclipse. He is very much how he was like before, only with a lot more affection for Sun as basically his one friend. He is the prince of this world, theoretically meant to succeed Eclipse (but that’s never happening) and usually only sees Eclipse during public events where he has to be present.

Moon - He has some vague memories, but doesn’t remember Sun or any specifics enough for it to matter. He’s basically this universe’s New Moon, as Eclipse didn’t want to bring back a threat as big as Killcode or for any more unexpected siblings to start running around. He was found by Monty and his ragtag group of freedom fighters, and quickly becomes an agent of this rebel group. He eventually poses and disguises himself as a servant inside the giant palace right under Eclipse’s nose.

Character

Eclipse - Currently he is just very tired and jaded, but with all the work of being god king he has something to do at least. He’s also very patient with people around him, as now he has kind of grown past his childish revenge tendencies after years and years of indulgence. He’s not a good person, but he’s less openly awful when he can to keep everything moving.

He is often busy, meaning Lunar and Sun usually spend time together and only occasionally does Lunar see Eclipse. However he is always happy to see him, and Eclipse does his best to restrain himself - he even gives Lunar candy when he’s “good” (or what Eclipse deems good.)

Sun - He’s extremely loyal to Eclipse, and sees Lunar as his own kid in many ways. He doesn’t know why, but he’s just so happy to care for someone and help teach him that he’s much more cheerful recently.

He doesn’t like any rebels though, seeing them as scum and wanting to ruin his generous Lord’s perfect world.

He’s also very skilled at ice magic, and can freeze everyone in a whole ballroom if he wanted to. He’s basically Elsa in terms of what his ice magic can do, and it’s his specialty even though he does use other forms of magic less often. He is still training and learning, but is a diligent practicer. (Subconsciously, he thinks that he needs to be ready for something. That he promised someone important he would help them, even with his difficulties with magic. He doesn’t remember who, It was someone important though.)

Lunar - Same lunar as always, very cheerful, sassy, and immature. He is very curious about the world as a whole and can’t shake an aching feeling deep in his chest, but not sure why. He is very close with Sun, seeing him as his older brother and even a parental figure in some ways, and Sun is basically his one friend in the palace aside from the employees.

Moon - He is all about Justice and recovering his old memories. He knows Sun was his brother in another world, but doesn’t really like to think about it because of how he sees Sun as Eclipse’s lackey. That is, Until Moon poses as an employee and uses a disguise to hide his notable features. He meets Sun this way, and finds over time that he’s a really nice guy and takes care of all the staff really well. They form a bond during this time, with Moon being an inside agent while hiding it and Sun being the manager and highest authority aside from Eclipse or Lunar in the castle - and they form a strong friendship over time which causes Moon to be really conflicted about overthrowing everything because he knows he’ll have to kill Sun.

Some General Ideas:

- Eclipse, completely by accident, made Sun and Moon enemies with even opposite powers. However he does love the drama when he realizes what he set up, even setting it up so Rebel Moon and Servant Sun meet at certain times when they clash - he is genuinely unaware of moon infiltrating the castle though.

- In this world animatronics/robots are just normal citizens and apart of life here. The ones who were bio-mechanical from the old timeline are still that way, but everyone else is just mechanical.

- Animatronics build their kids in this world, which is a big event for them

- The world’s government is sorted into eight regions, seven ruled over by someone Eclipse selected, with the eighth region being the largest and ruled over by Eclipse himself. Each ruler reports back to Eclipse and rule on his behalf, and have varying opinions on how happy they are about it.

- Each region has their own biome and features, but laws are the same all around.

- There are nobility, however they are elected by popular vote and only live in their estates as long as they are voted in. Eclipse knows the key to keeping power is having the masses be happy, but also he just likes those kinds of dramas and likes to peek in for some entertainment while they all think this is a super serious system.

- All of this ‘government’ is a farce though, as Eclipse is the one in charge and just lets others be in control so he can have time to relax and watch the drama unfolding from all this. He liked dramas about royalty and nobility, so he made it real to get the MAXIMUM drama whenever he can. He doesn’t care about anyone, and if any of them tried to stage a coup he would make them disintegrate right then and there.

[anti-workshop]

SHAKY HANDS STICKER CLUB

Hey friends! I alluded to a big thing coming and THIS IS IT!

Patreon sucks ass but it's sort of the name of the game for fundraising things, and we need to raise funds, so here we are!

Do you like stickers? Do you like buttons? Do you like queer leftist shit as well as unique pieces of art you can adhere to the world or wear on your person? Please join our sticker club! You get stickers every month and maybe button/s if you want!

Check it out here -> STICKER CLUB

Also! More short designs will be coming soon! So stay tuned!

Read more below if you wanna know why we're doing this. Warning, it's long and sort of sad.

We started screen printing from one of our basements in 2020. It was, needless to say, the worst possible time to try and start a business. We barely survived and were able to move into the basement of the Milwaukee IWW's new union hall so we could all split the rent and make it affordable.

That was back in 2021. We were still struggling, but through word of mouth we got jobs and kept the lights on. We weren't really able to pay ourselves, but we all had second or third jobs so it was (mostly) fine.

We printed from that basement for about a year (and I hit my head on the ceiling and doorways hundreds of times) when a fellow wobbly and co-op enthusiast invited us to join his co-op as a DBA (doing business as). He sold us on the idea by offering to subsidize our workers' comp, general liability and book keeping expenses so we could try and grow sustainably. After some meetings we agreed to join as a DBA and we put our faith in this fellow worker whose intentions seemed pure and generous. We'll call him G.

Throughout the co-op's history some of our worker-owners' personal lives have been pretty chaotic. Working multiple jobs is stressful enough as a lot of you know, and so is navigating the continued stress of covid, having kids who are dealing with being bullied for being trans, all of us having major depression, adhd, etc. etc. We relied on each other, kept the lights on and just forged ahead, but there were some jobs that we delivered late or very late because of the chaos. G was understandably frustrated by these setbacks, as was I.

Because of the chaos, for about 5 months I was literally the only person working at the shop, performing literally every task from emails to quotes and mockups to invoices to pre-press, press, post-press and fulfillment. The Goncahrov shirts y'all purchased literally paid our rent, and I cannot thank you enough for that.

Then a fellow worker we'll call Z joined the co-op and saved my life. Z is amazing and I love him and owe him so much. He and I just kept at it and did what we could to care for our fellow workers who were struggling while away from the shop.

For about a year we've been trying to get an equipment loan to improve our processes because our little 4-color press and our flash and conveyor dryers suck ass. They're functional, extremely difficult to use, and they make our final product inconsistent and screen printing is a nightmare on them. It was all we could afford so we made the best of it and pursued a loan from a really cool cooperative lender that lends to other co-ops.

After a year of paperwork, making reports of our revenue and costs, analyzing our processes to improve them and show we were a viable business, they finally granted us the loan! We got a new press, better dryer, more screens and an incredible water-based digital printer/plotter combo that allows us to do stickers and decals and banners and buttons and other cool shit like that.

While we were applying for the loan, we were also pursuing a Collective Bargaining Agreement with the PPPWU (formerly the GCC) because we would be the only worker-owned co-op in our region (and maybe the US) to have the allied label, the most coveted union bug for printing. The local president was amazing to work with and we finally got awarded our union label and started paying dues.

It was around the time we began seeking the loan that G was doing and saying things we were a little confused by. He unilaterally fired two worker-owners in his co-op after months of mediation on my part to try and address interpersonal conflict. It's my fault for not seeing the writing on the wall then, but because he had done so much to help us, we justified his actions to look past our concerns.

Then, when those workers were gone he started to get abusive in text threads towards me and the other print folks, and we still looked past it because he had a lot going on in his life and that kind of stress can bring out the worst in anyone.

Well, a few weeks ago it came to our attention that we don't own our print co-op anymore, and we functionally stopped owning it once we signed on as a DBA. We thought we were all worker owners, but it turns out only I am, because I paid in at the time when I had the money. The abuse has escalated to the point that Z has quit, leaving only me the original creator the our co-op who we'll call M.

We're sort of trapped now. We're on the hook for rent at the shop until 2025, as well as the payments for our $30k loan, in a business that's been swept out from under us by someone we trusted who has become toxic and plainly cruel in his treatment of us.

Despite the stress and never really paying ourselves, I've enjoyed learning water-based screen printing and making garments people actually wear! It's been amazing! As the anti-workshop, we've been able to fund programs for our local IWW, the local tenants union and the local pro-palestine, anti-war committee. That has felt so good.

We've made our space an extremely queer, worker-focused spot for folks to learn the ins and outs of design and printing, which I am so proud of.

We're still here. We're still printing. We need to raise the funds to buy our equipment back by paying off this loan, so we can stop being a DBA of G's co-op and be our own entity again.

Failing that, we'll see what happens.

[artbyeloquent]

Update (coming out of a creative slump) - Free to read on my patreon

To be a little lengthier here, as my following is 500 times as big:

the personal part

Mental health and life are getting in the way, as is typical. I quit a toxic job and found a new one I love, but the price was a significant paycut. I wouldn't change that if those were forever the circumstances (high-paying and soul-sucking vs my favorite career and low-paying) but it does make it difficult to make ends meet. Like, we have enough to pay the bills or enough to eat unrestricted, but not enough for both. Job hunting and side-hustling is happening, but you know how that is. Only so much energy, only so many hours in the day, still have to keep a house clean and a cat fed. Etc.

All this to say, better work life balance and mental health have made it possible to begin recovering from my creative burnout as well as my professional. I want to stick to something sustainable for my schedule and my mental health, and so I want to be more present here, at least on Wednesday nights and Sundays. (I've always had a soft spot for WBW but I can't promise the sabbath to STS every week haha.) I hope y'all continue to interact with me, even as I have a colossal inbox to sort through because I'm so behind.

the professional part & a poll

This also makes me contemplate my use of Patreon as a platform.

On one hand, it lets me set the terms myself, and I'm clear on my tiers that I have more of a tip jar, and then a monthly exclusive into my work. I still very much want that principle to stand because it's very exciting to share the ins-and-outs behind the scenes to people who appreciate it and have a demand for it.

On the other hand, it does make me guilty when life gets in the way. I've contemplated doing more on Ko-Fi, since they're more tip jar based and let you add monthly supports (if I pay for gold). But just six $1.00 subscribers would make up that difference, if anyone's interested in that.

(Plus, my Kofi always falls behind because I'm bad at updating both.)

So I guess this is to say, I need some feedback... especially since capitalism is a nightmare and some extra support for my creative endeavors would be really helpful right now.

the writeblr community part

And, because I so often fall to the wayside with chatting with my beloved writerfolk and audience, I have some non-selfish questions for you as well.

How has 2023 treated you so far? How do you deal with times of creative slump? What are you reading right now and what's your favorite thing or experience you've enjoyed this year?

Love you all very much! xoxo

[harper-dearest]

Here's another vid with voice headcanons, except it's just Edge, another oc of mine named Jake and Taylor. This was before I decided Edge needed a sister

Slight info on Edge, Cliff and Jake below the cut

So, first I made Edge. He started off as a drabble design in PLP, and I decided to make his name and surname common nouns, hence the name Edge Price.

I then realized how much he looked like Simon Petrikov. I then later realized he could pass for a Petrigrof fankid, so that became his gag and what his design was based off (he gets a hair color change to look more like Betty's, since his hair here and in the previous video is much too pink-ish)

So yeah, more than Simon, I based him a lot on Betty design and slightly personality-wise.

Enough about his design tho, let's get to a bit more of his lore.

To summarize it, he's the Larry Needlemeyer/Miss Rabbit of the Papa Louie restaurants (i.e. he works at every damn one alongside the other two canon chefs who he lets keep most of the money out of pity). Because of his financial issues, he eventually sold his heart in return for a sum of money large enough to keep him sustained and indulge a tiny bit. He has a "two sizes too small"-esque tattoo on his chest where his heart used to be. He has a robot heart now.

Cliff Price became a thing after I decided that it'd be nice for Edge to have a sister that looked opposite to him but still resembled their fanon parents. (Edge has Simon's skin, Simon's hair cut, Betty's eyes and Betty's hair color, Cliff has Betty's skin, Betty's hair cut, Simon's eyes and Simon's hair color)

Edge's shifts at every restaurant are split into weeks, and Cliff likes to tag along with him to jog around the town they're in and saying hi to the locals. Unlike Edge, who's a bit more on the shy and quiet side, Cliff is very sociable.

I don't have a lot of lore for her yet, so have a few funny things abt her.

Cliff once ran up to Duke Gotcha while he was live on the news, hugged (i.e. nearly strangled) him while waving at the camera and ruffling Duke's hair.

Cliff is an athlete, and her favourite things to do are jogging and hand-to-hand combat. Regarded as one of the strongest people in the Flipverse for her addiction to working out, Edge changed her contact name to "Donkey Kong," in part because of how extroverted, loud and unhinged she can be. She has no idea about this.

And last, but not least, Phineas Jacob "Jake" Cody.

Jake is an art major in college and a big heavy metal and rock fan. They're Edge's roommate in Tastyville, they also occasionally tag along whenever Edge travels and whenever they do go with him, they bring their electric guitar.

Some of their favourite bands are Los Prisioneros, Nirvana, Café Tacvba, Metallica, Red Hot Chili Peppers, Los Tres and Depeche Mode. They also listen to Scarlett and the Shakers (hc these guys sound like Led Zeppelin)

Another random headcanon is that they gets along with Chuck. One time, they went with Edge to his shift at Starlight City for the Wingeria and they saw Chuck wearing a shirt that said "fome" (fome is a chilean synonym for boring, also the name of a Los Tres album), so they were like "holy shit u listen to los tres??" and Chuck was like "holy shit yes" (chuck, among others like treble and rudy, looks like the kinda guy to like chilean rock bands leave me and my silly headcanons alone–)

Yeah anyways that's it yippiee

[reinarandraw]

Sam didn't believe in soulmates. Well, he no longer believed it.

OFMD Rare Pair Week 2023 @ofmdrarepairweek

Day 03:   Soulmates / Heartbreak / (Found) Families [art & 1.6k oneshot]

This is also a backstory of Sam Bellamy from my long Bellhands The Last Voyage [AO3 HERE]

As usual, you can read the fic on [AO3 HERE] or you can click read more and read it here!

Sam didn't believe in soulmates. Well, he no longer believed it.

He once believed in true love and soulmates, when he was still an innocent country boy making his name in a big town. As an orphan living alone in the harsh busy town, the thought of there was someone out there for him was a comforting thought. Isn't it great how the universe creates someone to accompany you for the rest of your life? He only needed to look at his ma and pa and how the love they shared helped them to get through the agony of dying slowly from starvation. Love couldn’t sustain their physical body, but at least it brought comfort knowing that they had someone to get through the hardship together.

So young Sam Bellamy dreamed of finding the right girl for him. He worked hard, learned his letters and numbers on his own, begged people to teach him things he didn't know, and tried to become better. He saved his money. He only bought things he needed. He only ate to sustain his body so he could wake up and repeat the process. He did all that because he believed that if he lived an honest life then surely gods or the universe would reward him, right?

Time went by. The innocent boy grew into a naive young man. He still looked at the bright side of the world and dreamed of finding his soulmate. For years he worked and educated himself with borrowed books from the library. For years he found friendship with his boss' son Paulsgrave. Years went by and the right girl had yet come into his life. Maybe he was just too young. Maybe when he was older, he would find that girl.

He was eighteen when he finally met someone who made his heart leap and his world brightened simply by her smile and soft words.

Maria Hallet was her name. She was the daughter of a wealthy farmer who just moved to Cape Cod. She made his heart skip a beat when she smiled at him. His bleak world suddenly had colors in it. He loved her way too much and she loved him back. Young Sam was convinced she was the girl fate had given to him and he was determined to marry her. If only her father allowed him to do that.

He didn't blame her father for not giving her hand to him in marriage. After all, he was nothing but a poor man who made a living by working odd jobs here and there. But it didn't deter him. It was nothing but a test to prove his love, wasn't it? In the fairy tale books he borrowed from Paul's house, a prince must slay the dragon to get the princes. He just needed to find a way to get more money.

So he dragged his best pal Paul with him for a treasure hunt. He had worked in the dock long enough to know a lot of sailors who were willing to go to his endeavor. Treasure hunting was not as profitable as he thought but he didn't give up. Every night his soul yearned for his soul mate and it motivated him to press forward.

When his ship was boarded by pirates, Sam joined them, thinking that piracy was the quickest way to get rich. Paul - his loyal best friend who got dragged to his messy life - told him he got used to piracy too quickly, it terrified him. Sam pitied him a little. As a son of a merchant, Paul never knew real hardship. Sam's hard lonely life had prepared him for this. He had spent his childhood hungry most of the time. His teenage years were spent on the street, fighting for food. He knew how to use his fist to defend himself. He could do it all over again. Learn, adapt, survive. All for love.

Sam believed things would work out in the end if he gave his best. Everything started to go accordingly. Captain Hornigold took a liking on him and made him his first mate. When they captured a new ship, he gave her to him. He was sure he made the right decision when he led the mutiny and took over Marriane with Paul as his first mate. He captured more ships, got more money. It was great. After five years, he finally had enough money to marry Maria.

He came home too late.

Maria died alone, starving, and in poverty three years ago. Her father disowned her after he found out she was pregnant with Sam's baby.

Why was Faye so cruel like this? Why did the universe give Maria to him and take her away? And his child! They were conceived and then died like that? Why? Why promised a life full of happiness and love just to take it? Was it a punishment for all the bad deeds he had done as a pirate? It couldn't be, right? Maria was a good person. Her only sin was probably sleeping with him. And maybe some little petty things. But surely it didn't mean she needed to die so miserably like that. 

Was it all his fault? He wasn't a good man. Even though he tried to be good, his hands were too bloodied. Was she punished because of his sin? Was that how to work? You did good and good would come to you and vice versa.

No. No, he wouldn't accept this.

There was no god, only humans. Their neighbor deceived his parents and forced them into poverty. Her father was the one that sent her to the street to die. Men hurt each other. Real humans were the reason for his suffering. Men's cruelty and greed for money. 

Money. He needed money if he wanted to protect himself. It was the reason why he was hungry when he was a child. If he had money, Maria would still be alive.

The naive young man grew into a vindictive and avaricious man on the day he watched Mr. Hallet was stripped for all his wealth and status and was forced to live on the street. Those who wronged him must suffer.

If fate was so cruel to punish good people then he swore he would go against Fate itself.

Paul told him he had changed, but he didn’t care. He raged against the world. He captured more ships, amassing his wealth and influence. People knew him. People feared him. He paved his way on blood, trying to minimize collateral damage while doing so. He took people who were victims of the system like himself and showed them a new life. He was hungry to learn more so he kept the company of people more skillful than him. 

For almost two decades, he raised from no one to become The Prince of Pirates, the Robin Hood of the Sea. He was richer than the governors in the Bahamas. He had more influence here than the king of England. The universe tried to screw him and he gave it his middle finger and became the most successful pirate in history. He chose his own path.

Then the universe came knocking on his door.

The storm hit his ship. His crew sank with Whydah. His money lay forgotten at the bottom of the ocean. A lot of people died yet he survived.

Maybe it was the way the universe humbled him. He had gone astray for far too long. The anger he had before was gone, replaced by sinking guilt and depression. He was just a man trying to fight against the world and failed. Maybe it was all in vain. There was no escape from this cruel world. Maybe there were gods and they were all cruel and liked to play sadistic games.

He had lost all hope. His days were bleak. He just wished the time could just stop. He felt the world was moving on without him. Something was missing in his life, but he didn’t know what it was. He decided to sail again, naming his ship Last Voyage. He told his friends that it was another chance to be happy again. One more voyage. If the void in his life was still there after this then maybe… maybe it was better for him to just…

He met Israel Hands and suddenly the world was not so bleak anymore.

Sam didn’t believe in soulmates. He didn’t want to believe someone was made specifically for him. Fate was cruel and gods like to play with you. But Israel made his heart beat again. He made him feel something. The moment he lied his eyes on Israel’s bruised knuckles and feral grin as he punched people away from him, a spark ignited within him. He hadn’t seen anyone as beautiful as Israel. He was utterly besotted with that little angry man.

Maybe gods indeed like to play sadistic games because how on earth did he fall for an angry feral man like Israel Hands?

Israel Hands was a complicated man with a short fuse. Learning his tick and buttons was fun at first. Then he became genuinely obsessed because he wanted to see Israel smile. He wanted to hear him laugh. He wanted to shower Israel with affection because it was clear the man was underappreciated before this. He wanted to buy him things. He wanted to cherish him. He wanted to make him his.

Sam didn’t believe in soulmate but he was sure Israel Hands was the missing piece of his life.

He wouldn’t let anyone take the love of his life ever again. Those who attempted to do that would suffer.

[mywifeleftme]

36: The Exploding Hearts // Guitar Romantic

Guitar Romantic The Exploding Hearts 2003, Dirtnap (Bandcamp)

It’s a very stupid thing to believe in rock ‘n’ roll, but that was my milk. Not that I was raised to think of rock as a thing one could do, per se—it existed like God, manners, and Twix bars as one of life’s generous and unambiguous positives. “Wild Thing.” “Take Me Home Tonight.” “Stay.” When she was young, my mom was radicalized by ‘70s FM radio: her high school friends gave each other nicknames from J. Geils Band songs (Wooba Gooba, Raputa the Beauta etc.) and she protested the music selections at her prom by burning disco records on the lawn outside the school. Burning music is a dumb thing to do, and there are a lot of particularly nasty reasons to hate disco that I’m sure my mom wasn’t consciously aware of, but I have to respect caring enough about a thing that you are moved to stand up for it. As I aged from a child to a teen in a weird loft bedroom with no walls to separate my place from the rest of the house, rock certainly felt important. Whenever I needed to disappear, I could always lay very still in bed with my little discman, headphones on, humming like a tuning fork.

Rock (and feel free to substitute ‘rock’ for ‘music’ or ‘art’ or ‘the sublime’) is that heavensound an error of the brain lets us experience, but also the sweaty fact of making noise. Nights alone in the garage or the bedroom or the studio. Days and nights and days and nights together in a van with other highly defective people sharing the same new-dime dream. Reliving the last show the whole next day, that fifteen minutes of power and light. I never let myself figure out how to participate in music till I was in my 30s, but I got a tiny taste of something like it grinding and touring as a poet. Making it pulls out the part of you that dreams and desires, reveals things it can take the rest of your life to come to terms with.

The Exploding Hearts are famous for two things. One is their debut, Guitar Romantic, a ‘70s pop punk revival record that converts anyone into that sound into an instant believer. I won’t appeal to logic here, but what I’m saying feels true: no matter its quality, any modern album in a bygone style will lack that inarticulable novelty and sense of discovery that pushes an album from good to great. I can’t tell you why an album that sounds 99% like Exile on Main St. doesn’t quite achieve the same effect—I only know that it doesn’t. But Guitar Romantic is the exception to that rule. It couldn’t exist without the Buzzcocks or The Undertones, but it feels just as timeless and candy-eyed and smart-stupefied by love as their best—and is probably a more satisfying front to back non-compilation LP than either of those pioneers ever cut.

The other thing The Exploding Hearts are known for is the van accident that killed three of the four touring members of the band just under four months after the release of Guitar Romantic. I think about the way I’ve felt driving out of the nighttime midwestern wastes and seeing Chicago begin to reveal itself in an orange netting of suburban lights. Of cometing over the George Washington Bridge after a gig blasting good kid, m.A.A.d. city and feeling like I had finally found my way. Of the lifting I would feel every morning at the idea of the road to another show, no matter how badly performed or attended the previous one might’ve been. I have no idea what the conversation was like between the Hearts on their way home from San Francisco, but even if they were weary and miserable, there must have been that knowledge also that they were doing it, that thing which having been done, even for a moment, sustains legends and never-weres and also-rans alike. The Exploding Hearts were the real deal, and they deserved so much more time to do that thing. But not even those who deserve it always get it.

36/365

[miraculosus]

It’s not like I have much of an audience regardless but my miraculous sideblog does have the most followers and my miraculous fanart does get the most attention. From a personal organizational standpoint it’s nice to have that partition from all my other reblogs but I kinda put myself in a corner because not only am I stuck with the separate blog that doesn’t allow diverse content, not even multi fandom, but also I chose a really generic url with no identifying features so I feel like people wouldn’t remember/recognize me. That my art style isn’t super consistent doesn’t help? Sometimes I feel like the privacy and anonymity afforded by using many different names is nice but when I start to think of my future and how I want to be able to sustain myself by selling my art it does my head in. every artist with dreams of independent success who gets their start in fandom (not that I’ve gotten much of a start at all) goes through that struggle and fear that no one will care about their original work; that is, that no one will like their work for its own merits. I need to make a name that can be a brand. I made the new art only blog and signature for that purpose but even then I remember how on tumblr likes and follows come only from the main blog. The other thing is how I think some drawings are not “good enough” for the Art Blog and I want to post them separately so I can have an extra quality filter. I guess “I’m a little attached to it after all these years” is not really a good reason against changing my main url (genuinely never thought of doing that until just now so I might do that)? I mean I don’t even hardly have social connections on main so it wouldn’t be a big deal.

Anyway lately i feel like I want to open commissions but I think that no one would buy. I know I’d probably have to underprice by a lot to start but even when I said for free I didn’t get many requests in my askbox so.. I used to think I should wait to hit a certain follower count like say 1000, or until I reliably get over a certain number of notes (Idek what makes sense, I rarely get over 200) before trying but I have no clue when I can hit those metrics and besides that seems silly when I remember I won’t lose anything by opening comms even if no one is interested now.

I just never really understood how to “do social media” it’s exhausting to try and I know I should but it’s frustrating and confusing. I know a lot of it is luck too, but I can’t help feeling like I’m always doing something wrong, or everyone else knows something I don’t.

Idk.. someone with more experience..

[pinezcreatez]

Random Sims Challenge ideas :

Note* I'm so new to the Sims community I have no idea if these exist already sorry ¯\_(ツ)_/¯

1. Work-Life balance

Choose your career but you are unable to build the skill needed for it while at home until you have reached level 5 in three other skills. This will push you to work your Sims outside of just their work life.

2. The Stomach of Steel

Have a character with the glutton trait essentially live only off spoiled foods and crappy microwaved meals. No real cooking is allowed for this sim until they have read all the cook books available (ie: baking, cooking, gourmet, etc.)

3. Agoraphobia

Your Sim doesn't have access to the outside world. No housemates or neighbors can interact. Penpal via e-mails allowed. One pet may be allowed but it is also not allowed to go outside. They have all their essentials indoors with no windows on site unless they are boarded or curtained. Food delivery is not an option either. Artist career paths must use digital art only as selling easel paintings means going to the post office irl. Authors won't work either because you'd have to publish via a mailbox and that's not allowed either, remember your Sims is petrified of going outside. Is there a fire? Put it out yourself. No firefighters and no finding an escape route outside.

Note* I've had times in my own life where I've been unable to leave my home for months due to this, I am not romanticizing agoraphobia I just think it'd be an interesting way to play in the Sims.

4. From the ground up.

Buy a plot of land, and with only 25,000 or less simoleons you should lay down a basic shelter. This first place will be yours until you've saved up to go elsewhere. No adding rooms. Upgrading & repairing broken things is fine. Live off the grid for this first home. And sustain yourself via gardening and farm animals until you have saved up 50,000 simoleons to purchase a new home. Repeat the process of no remodeling with the new home until you've saved 100,000 to move/reconstruct your home all over again.

5. Monkey see Monkey do

Have a few Sims in a household and have your main sim copy anything their roommates are doing. Did one roommate flirt with another? Go flirt with them too. Did they just go take a shower? You should do that too. Have this sim only build up their skills and relationships via copying what they see others doing.

6. Opposites Attract

Make two vastly different Sims in all : Looks, Style, likes/dislikes, career paths, personality, etc. Get them together and see if they can learn to love each other's differences or if a break up/divorce is inevitable.

7. Color Scheme Build

Your new home should have the following : entryway, living room, kitchen, dining room, study, bedroom, guestroom, bathroom, guest bath, & basement. Each room can only have one color aesthetic with no repeats. Aka: A green room with only green objects, a pink room etc. You can use different hues of the color of course but putting something like a yellow rug on a blue carpet is not.

8. Never enough plants

For the green thumb and gardeners out there, this challenge is to have more green than home. Whether it be a small house with a large gardened yard or a regular home with plants absolutely filling all the shelves and tabletops. Have the plants be everywhere. Bonus points if your Sims clothes have flower patterns and such as well.

9. Four Story Home

I'm not a person who likes switching from up and down the stairs all the time to find my Sims but having it as a challenge could get me more used to it. It's as simple as making a home with four floors but you can make it more like an apartment or something by having bathrooms, bedrooms, kitchens, etc on every level.

10. Do you actually live here?

It's easy to want your sim to have a similar looking household. But what if you had a goth living in a kawaii/bright colored aesthetic home, or a minimalistic sim living in a home full of clutter? However you make your sim out to be, the house has to be the complete opposite.

[killmeifimwrongblog]

Sooooooo I don't normally post much on here because I am mostly private with my opinions, but... Rise of the teenage mutant ninja turtles had me hypnotized for about three months now, and since then, I have consumed every morsel of content I could get on them like a ravenous wolf.

Now one of the things that had most of my attention were the AUs where peepaw Leo comes back to the past with Casey.... like omo, wmas, mnmc, etc. and I've been having thoughts on that myself ... thoughts I need to get out somewhere or my head is going to explode ... so now you will have to deal with that sorry.

Anyway... I am not a writer

I am not a good writer so there won't be any fanfiction for my ... let's call it AU ... because I'm not good at English since I'm from Germany so you will probably only get this giant, incoherent block of text from me and maybe some art (which I'm also not good at) 😐

Sooo here goes ... my idea was kinda 29 year old leonardo, who is still adjusting to a robot arm that he had for about a year and just lost his twin brother two weeks ago, gets sent back into the past by Mikey.

It wasn't some grand bid for peace or freedom from the Krang, it also wasn't a last-ditch effort for salvation at least not yet ... simply said it was selfishness on Mikey's part.

He had just lost his second brother to this war and was still reeling, when the bunker, the resistance had taken over, was attacked.

And Mikey.... well he had enough!

He felt for Leo's ninpo, which was rapidly closing in on him, and made his decision then and there. He refused to lose another brother.

Donatello and he had talked about it often ... the possibilities of time travel, the intricacies, anything and everything that could go wrong, and even who would be a good candidate to go.

Mikey knew it would cost him everything, he also knew Leo would hate himself for not seeing Mikey's struggles and not doing anything about them but it had to be done. He had to do something.

Because he could feel it ... the earth was being drained of all of its resources and even if they won, even if they were lucky enough to beat the Krang... the earth was dying and nobody knew if it would be able to sustain the survivors.

So he started the ritual to open a time gate. He needed to do it before Leonardo arrived at his room because if he let him speak if he let him say even one word he knew he would falter knew he would let himself be persuaded to stop and think about it, and then it would be already too late.

He couldn't let that happen, couldn't let Leonardo be a voice of "reason" or they would lose.

So when Leo stepped into the room trying to get Mikey to move, he was met with the sight of his brother glowing like a supernova and falling apart at the seams.

Then one of Mikey's chains wrapped around him and before he could make even one sound he was flung into the portal that was coming into existence behind Mikey.

The last thing he sees is his little brother disintegrating, disappearing in an explosion of glowing particles. His only thoughts being:

No, please, not again not him I don't want to be alone.

But Mikey was gone and Leo was hurtling through the colorful space of the space-time continuum at increasingly faster speeds.

What Mikey hadn't anticipated though was Leo carrying 6-year-old Casey junior, in a sling made out of his scarf, bound to the front of his plastron.

That little mistake made a really big difference in where and when he was about to land. So curled protectively around little Casey he shot out of the time stream, landing uncomfortably on his back ... somewhere.

After getting some air back into his lungs and making sure Casey was unharmed he started to look around trying to find something to find out where exactly he was and thaaat's the statute of liberty ... so New York okay, cool they had taken over a military bunker somewhere in North Dakota but now he was back in New York which did not make sense since the last time he had seen New York it looked like a warzone and the statue of liberty didn't have a head and everything was covered in pink, gooey krang stuff.

Yet here he was in New York clean and loud and as bustling as ever.

Leo was losing his mind without thinking he went out of the alleyway, he had landed in, to the next best kiosk he could find ignoring the stare and the gasps from the pedestrians around him he grabbed the next best newsletter and stared dumbfounded at the date 6th of September 2008.

Yeah and that's it for now 🤷🏻‍♀️

[interiorswork-blog]

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[mariomario4156]

I thought I would be cool If I shared one of my essay I wrote for my English Class, about Animation and how to make it better for people.

Jud Lein

Professor Rad (Not telling you guys his name)

English 1A / Essay 3

5/November/2023

Animator’s and how there problems can be fixed

 This is addressed to the animation studios: there is a big problem with some of you. Many of you are good companies, however, some of you mistreat your employees by not paying them sufficiently or you are overworking them. Toda,  we will go though these problems and see how we can fix them, in order for you guys and have happier, more productive animators. 

While a lot of animation studios pay their employees really well, such as  Pixar animation studios &  Kyoto Animation, the wages from so many of them are incredibly low. This was made apparent in a New York Times article entitled: “Anime Is Booming, So Why Are Animators Living in Poverty”. In it, the author said, “Though working nearly every waking hour, he takes home just $1,400 to $3,800 a month as a top animator and an occasional director on some of Japan’s most popular anime franchises.” Because so many of the companies' wages are so far out of sync with the modern cost of living, it has become unbelievably difficult for many in the industry to survive.. 

We must address this issue and work closely with the studios to find a good solution that’ll work for the animators, as well as, protect their own interests. It’s important to note that a lot of animation studios pay an hourly wage. This means that you get paid for every hour that you spend drawing frames or posing 3d models for a specific frame. Animators need to earn enough of a rate. This way they will be able to afford to live in relative comfort and still have enough so that they can focus wholeheartedly upon their work without being worried about how they are going to feed their kids and pets, or how they will manage to keep a roof over their heads. 

Whether paying an hourly wage or a salary, the animators must be allowed to earn enough money to buy the things that they need, each day. Some studios don’t really pay great at all.  For example, in this article, entitled “Studio MAPPA's Long Story Of Controversies Overshadows Its Success”, it says, “MAPPA was still forcing an unreasonable amount of work on them for an unreasonably small amount of pay.” This is a perfect example of why the studios need to be paying the animator’s a good amount of money; so the animator’s can live. 

 As previously stated, some studios do pay very well. For example, there’s Pixar who pays $91,394 per year, along with Kyoto Animation, which pays 202,000 yen or $1,350.45 per month.  These are living wages. It’s probably a little easier for them, since both of these acclaimed animation studios are major players in the industry that have a history of creating  masterpieces and are fortunate enough to have nice offices with amazing working conditions. 

 One of the other serious issues plaguing the animation industry is the overworking of its animators. It’s well known that animation takes time. Yet, some studios pressure their animators to work beyond their reasonable abilities, because their schedule is off and they have a firm deadline to meet. For example, on the website, slashfilm.com, it states,  “Phil Lord and the team behind "Across the Spider-Verse"aren't alone in having sudden changes result in overworked animators having to deal with grueling working conditions. That is not an excuse. The animation industry, worldwide, has delivered some of the greatest works of art we've ever gotten, but it has also ruined lives and is near-impossible to sustain when workers are put through the wringer on a daily basis.”  This can be a tough business. Heck, it is a tough business.  We know that when people are under the gun working on a tight project, it’s often stressful and painful. However, it should be bearable. Having a few more staff won’t appear to bring the costs down when you’re beginning a project, but it could result  in more focused workers when the crunch is on and deadlines are imminent. But what if you have a lot of workers already? Well, a studio could treat them well and not overload them with work. Yep, studios who choose to take care of their animators will get more quality stuff done in a timely manner, and the animators will be much happier. 

A solution to the overworking problem is to have a good schedule that is basically like this; 

As the animator works throughout the day, they can take breaks as they need.  Some may be for 10 minutes, and some may be 20 minutes, whatever it takes to maintain their flow as they work. Following each break, refreshed and ready to get to it, they can get back to creating a beautiful story. By having a good schedule and taking enough breaks during working hours they’ll have time to relax, as well as, offer an opportunity to share thoughts and ideas about their work with one another. Having some time for themselves, helps the animators to  stay inspired and it keeps their spirits up. 

Another good solution is to have decent working hours, so that the animators can work hard and focus while on the job. Then, they can still get home at a deficient enough time to be able to take of their personal life. It helps the creative process to separate oneself from the work, each day.  Spending some quality time with their family and their friends, or some personal time dedicated to their individual interests, hobbies, and relaxation is invaluable. During work, having breaks and getting home at a decent hour will make the animators happy and peaceful, which will translate to greater productivity and creativity while on the job.  

Another great example of how these solutions help can be found in the article, Teenage Mutant Ninja Turtles: Mutant Mayhem.  Mutant Mayhem’s director and producer, Seth Rogen, made sure animators were not overworked: 'I never want the team to be suffering more than I am. It states “Rowe said he had discussions with the "Mutant Mayhem" animation team, and learned that some were saying that they wanted to work "three days a week," while others were seeking to stay at home in Scotland. “We'd be like, 'Great, let's figure that out, and let's accommodate that because that's your process and that's what leads you to make your best art,'" Rowe said. "And we would often do that with most of the team and just try to make sure everyone always felt supported."  So, as you can see, giving workers breaks and having a good schedule is great for animator’s and they would want to work more for your studios. 

As stated before, overloading animators with a whole lotta unreasonable expectations around their work creates a huge problem. Studios can fix this by having a enough workers to meet the requirements of the work and the demands of the ever changing schedules.

In conclusion, the animation studios really have to treat their workers better. By paying them right, and providing them a reasonable schedule that doesn’t overwork them. Both the animator and the studio can each get what they want in manner that allows them to all do great work.