#commercial cleaning examples

[housekeepinginfo]

The Ultimate Guide to Commercial Cleaning

Commercial cleaning is a professional service that specializes in cleaning and maintaining commercial properties, such as offices, retail stores, and industrial facilities. Unlike residential cleaning, commercial cleaning involves a more extensive scope of work, often requiring specialized equipment, cleaning agents, and trained personnel. This guide will delve into the meaning, benefits, and various aspects of commercial cleaning, providing insights into its profitability, services, and how to start and run a successful commercial cleaning business.

[reasonsforhope]

"In China, a landscape architect is reimagining cities across the vast country by working with nature to combat flooding through the ‘sponge city’ concept.

Through his architecture firm Turenscape, Yu has created hundreds of projects in dozens of cities using native plants, dirt, and clever planning to absorb excess rainwater and channel it away from densely populated areas.

Flooding, especially in the two Chinese heartlands of the commercial south and the agricultural north, is becoming increasingly common, but Yu says that concrete and pipe solutions can only go so far. They’re inflexible, expensive, and require constant maintenance. According to a 2021 World Bank report, 641 of China’s 654 largest cities face regular flooding.

“There’s a misconception that if we can build a flood wall higher and higher, or if we build the dams higher and stronger, we can protect a city from flooding,” Yu told CNN in a video call. “(We think) we can control the water… that is a mistake.”

Pictured: The Benjakitti Forest Park in Bangkok

Yu has been called the “Chinese Olmstead” referring to Frederick Law Olmstead, the designer of NYC’s Central Park. He grew up in a little farming village of 500 people in Zhejiang Province, where 36 weirs channel the waters of a creek across terraced rice paddies.

Once a year, carp would migrate upstream and Yu always looked forward to seeing them leap over the weirs.

This synthesis of man and nature is something that Turenscape projects encapsulate. These include The Nanchang Fish Tail Park, in China’s Jiangxi province, Red Ribbon Park in Qinghuandao, Hebei province, the Sanya Mangrove Park in China’s island province of Hainan, and almost a thousand others. In all cases, Yu utilizes native plants that don’t need any care to develop extremely spongey ground that absorbs excess rainfall.

Pictured: The Dong’an Wetland Park, another Turescape project in Sanya.

He often builds sponge projects on top of polluted or abandoned areas, giving his work an aspect of reclamation. The Nanchang Fish Tail Park for example was built across a 124-acre polluted former fish farm and coal ash dump site. Small islands with dawn redwoods and two types of cypress attract local wildlife to the metropolis of 6 million people.

Sanya Mangrove Park was built over an old concrete sea wall, a barren fish farm, and a nearby brownfield site to create a ‘living’ sea wall.

One hectare (2.47 acres) of Turenscape sponge land can naturally clean 800 tons of polluted water to the point that it is safe enough to swim in, and as a result, many of the sponge projects have become extremely popular with locals.

One of the reasons Yu likes these ideas over grand infrastructure projects is that they are flexible and can be deployed as needed to specific areas, creating a web of rain sponges. If a large drainage, dam, seawall, or canal is built in the wrong place, it represents a huge waste of time and money.

Pictured: A walkway leads visitors through the Nanchang Fish Tail Park.

The sponge city projects in Wuhan created by Turenscape and others cost in total around half a billion dollars less than proposed concrete ideas. Now there are over 300 sponge projects in Wuhan, including urban gardens, parks, and green spaces, all of which divert water into artificial lakes and ponds or capture it in soil which is then released more slowly into the sewer system.

Last year, The Cultural Landscape Foundation awarded Yu the $100,000 Oberlander Prize for elevating the role of design in the process of creating nature-based solutions for the public’s enjoyment and benefit."

-via Good News Network, August 15, 2024

[eniyilisanspazarim]

LADOOR - PLATİN (2)

The door surface is a critical element in the design and functionality of any door. It can significantly impact not only the aesthetic appeal but also the overall durability and maintenance of the door itself. Understanding the various types of door surfaces available can help you make an informed decision when choosing the right door for your needs.

One popular type of door surface is made from wood. Wooden doors often provide a classic, timeless look, and can be stained or painted to suit your decor. However, they require regular maintenance to prevent warping and decay, especially in moist environments.

Another common door surface option is fiberglass. These doors are known for their resilience and ability to imitate the look of wood without the drawbacks. Fiberglass doors resist cracking, splitting, and rotting, making them an excellent choice for homeowners looking for low maintenance.

Metal doors, often made from steel or aluminum, are another option to consider. They offer superior security and durability, making them an ideal choice for commercial applications. Additionally, metal door surfaces can be finished with various coatings to enhance their appearance and protection against rust.

It's also crucial to consider the texture and finish of the door surface. Smooth finishes are easier to clean but may show fingerprints and scuffs more easily, while textured surfaces can hide imperfections but might require more effort for cleaning.

In summary, the selection of a door surface is an essential aspect of door planning. Whether you opt for wood, fiberglass, metal, or a combination of materials, being aware of the features, maintenance needs, and aesthetic potential of each option can lead to a more satisfying purchase. Invest time in selecting the right door surface to ensure that it complements your design vision while providing the functionality you require.

Ladoor

The term Ladoor refers to a specific type of door that is not only functional but also enhances the aesthetic appeal of any space. These doors are designed with a combination of durability and style, making them a popular choice for both residential and commercial buildings.

Ladoor options are available in various materials, including wood, metal, and composite materials. Each material offers its own unique appearance and benefits. For example, wooden Ladoor can provide a warm, natural look and can be customized with different finishes. Metal Ladoor, on the other hand, offers strength and security, making them ideal for entry points that require additional protection.

Additionally, Ladoor can feature various styles, such as single doors, double doors, or sliding doors, enabling homeowners and architects to choose the design that best fits their space. Some Ladoor styles include traditional panel doors, modern flat doors, and elegant French doors, each offering its unique charm.

When choosing a Ladoor, it is essential to consider factors such as insulation, maintenance, and design coherence with the rest of the home. Proper installation is also crucial to ensure the door operates smoothly and efficiently, contributing to energy savings and overall longevity.

Incorporating a Ladoor into your space can significantly impact the functionality and design. Whether you are looking to upgrade your home or design a new one, exploring Ladoor options can lead to fulfilling architectural decisions that marry utility and aesthetics.

[gothhabiba]

please predict the various stages of the “are parades gentrification?” discourse

[based on this post]

Around Thanksgiving someone points out that the Macy's Day parade (in the 1920s and 30s usa) can be analysed as part of a push against ragamuffin parades, in which children dressed as houseless beggars would go around begging for candy. The anti-begging pro-commercial sentiment that regarded department-store-sponsored parades as good, clean fun, while regarding an earlier 'folk' tradition as an annoyance and a chaotic misuse of public space (especially since it evoked begging), is part of a pattern of corporatising and 'purifying' public space in NYC.

Someone vagueblogs about how obviously completely laughable it is to claim that "parades are gentrification" (even though the original post never used this term or framing). "The Village Holiday Parade is extremely queer, guys. And it's obvious that OP is a white person who has never heard of Carnival." From here a couple side-eddies of discourse break out about the usage of the term "queer" as an "umbrella term" and whether white people can go to Carnival.

People start sending the OP of the inciting post mawkish asks about how much they love their local nowhere town's special Thanksgiving parade and is it really, really wrong to go :(

Someone makes a post like "it is so clear that none of you have ever read anything on what the term 'gentrification' means and are just going by vibes."

People agreeing with the OP point out the corporatisation of Pride. This of course leads to discourse about kink at Pride, corporation floats at Pride, PDA and "straight-passing" couples at Pride, &c. The terms "homonationalism" and "pinkwashing" get thrown around. Someone claims that the very concept of such a thing as "pinkwashing" is homophobic since it ignores the fact that gay people are oppressed or something.

Someone is like um why are we arguing about whether Thanksgiving parades are good or bad while paying no attention to colonialism. Who cares if your parade on stolen land is queer or not. This gets completely ignored.

Some people argue that different parades in different locations take place for different reasons and promote different ideologies. This breaks off into another discourse tributary about various countries' Independence Day parades and whether nationalism on the part of an oppressed group or colonised nation is good or bad.

Most people however insist upon arguing about whether all parades are good or bad and take turns listing half-remembered examples of a parade being good or bad as though they are meaningfully arguing with each other.

At some point the discourse turns to whether Carnival is an example of "cultural Christianity."

The entire time no one will define what they include in their usage of the term "parade."

[skaruresonic]

The common rebuttal to "this reads like fanfic (derogatory)" is "read better fanfic," which is true in certain cases, but on the other hand, there is some grain of truth to the idea that you can tell when someone's primary mode of literary analysis is fanfic instead of... well... literally anything else. It's okay to like or even prefer fanfic, but if you want to take your craft seriously you also need to read books, dude. Published books will teach you a lot of stuff fanfic doesn't, like proper dialogue formatting and how to introduce your reader to unfamiliar characters. Even the crappiest book (well, if it's not After or 50 Shades, which started off as fanfic to begin with lol) will have been subjected to some sort of editing process to ensure at least the appearance of proper grammar. That's not a guarantee with your average fanfic, and hence why you can't always take all your writing cues from fanfic because it's "so much better" than commercially published original fiction or whatever. Frankly, fic writers tend to peddle some absolutist and downright bad takes sometimes. "Said is dead" is a terrible rule, though not because said is invisible and a perfectly serviceable tag; that's just part of it. Dialogue tags are a garnish, not a main dish that can be swapped out for more ostentatious words. If your characters murmur and mutter instead of simply saying stuff, your readers are going to wonder why nobody speaks up. "'I'm explaining some very plot-important shit right now lol,' she elaborated," likewise, is a form of telling. Instead of letting the reader extrapolate that "she elaborated" via the contents of the dialogue itself, you're telling them what to think about it. And that's why it's distracting: your authorial hand is showing. Writing is an act of camouflage. You, as the writer, need to make your presence as invisible as possible so as to not intrude on the reader's suspension of disbelief. That's the driving reason behind "show, don't tell." And overall, everyone could stand to cut down on the frequency of their dialogue tags anyway. Not every exchange needs "he said" or "she whispered" attached as long as you establish who is doing the talking before the exchange. Some people will complain of confusion if you go on for too long without a dialogue tag, and that definitely is a risk, but at some point you also need to resist the temptation of holding the reader's hand. If they can't follow a conversation between two people, chances are they weren't meeting you halfway and paying that much attention in the first place. In fact, you don't even necessarily need action beats in between every piece of dialogue, as Tumblr writing advice posts will often suggest as a fix. Pruning things often cleans them up just fine.

Another fanfic-influenced trend in writing is, I guess, beige prose? A heavy focus on internal narration with lots of telling. It's not a style I can concretely describe, but every time I click on a non-mutual's writing, I feel like it always has, like. This "samey" voice to it. There's no real attempt to experiment and use unique or provocative language, or even imagery half the time. It's almost a dry recital of narration that doesn't leave much room for subtext. I see this style most often in fanfic where you can meander and wax poetic about how the characters feel without ever really getting around to the plot. And it's like. DO something.

Other tells that the author is taking their cues from fanfic mores rather than books: >>too much minute description of eyes, especially their color and their movement >>doesn't leave much room for subtext (has a character speak their every thought aloud instead of letting the reader infer what they're thinking via action or implication) >>too much stage action ("X looked at Y. Y moved to push their seat in. X took a deep breath and stepped toward Y with a determined look on his face. 'We need to talk,' he said.") >>tells instead of shows, even when the example is about showing instead of telling ("he clenched his teeth in agony" instead of just "he clenched his teeth") >>has improper dialogue tag formatting, especially with putting full stops where there should be commas ("'Lol and lmao.' she said" instead of "'Lol and lmao,' she said." This one drives me up a wall) >>uses too many dialogue tags >>"em dashes, semi-colons and commas, my beloved" - I get the appeal but full stops are your friends. Too much alternate punctuation makes your writing seem stilted and choppy. >>"he's all tousled brown hair and hard muscle" and "she's all smiles and long legs." This turn of phrase is so cliche, it drives me up a wall. Find less trite ways of describing your characters pls. >>"X released a breath he didn't know he'd been holding" >>every fucking Hot Guy ever is described as lean and sinewy >>sobbing. why is everyone sobbing. some restraint, pls >>Tumblr in general tends to think a truism counts as good writing if you make the most melodramatic statement possible (bonus: if it's written in a faux-archaic way), garnish it with a hint of egotism, and toss in allusions to the Christian God, afterlife, or death. ("I will stare God in the face and walk backwards into hell," "What is a god to a nonbeliever?") It's indicative of emotional immaturity imo, that every emotional truth need be expressed That Intensely in order to resonate with people. >>pushes the "Oh." moment as the pinnacle of Romantic Epiphany >>Therapy Speak dialogue. why is this emotionally constipated forty-something man who drinks himself stupid every morning to escape gruesome war memories speaking about his trauma like a clinical psychologist >>"this well-established kuudere should Show More Emoshun. I want him to break down crying on his love interest's shoulder from all his repressed trauma" - I am begging u. stop >>"why don't the characters just talk to each other?" "why can't we have healthy relationships?" I don't know, maybe because fiction is not supposed to be a model for reality and perfect communication makes for boring drama?

>>improperly using actions as dialogue tags ("'Looks like we're going hunting,' he grinned") >>why is everyone muttering and murmuring. speak up >>too many adverbs, especially "weakly" and "shakily." use stronger verbs. ("trembled" instead of "shook weakly") >>too many epithets ("the younger man" or "the brunette detective") >>too many filter words ("he felt," "she thought," "I remembered")

>>no, Tumblr, first-person POV is not the devil; you're just using way too many filter words (see above) and not enough sentence variation to make it flow well enough. First-person POV is an actually pretty good POV (not just for unreliable and self-aware narrators) if you know what you're doing and a lot of fun crafting an engaging character voice. Tumblr's hatred of first-person baffles me, and all I can think is you would only hate it if your only frame of reference was, like, My Immortal. Have you tried reading A Book? First-person POV is just another tool in your toolbox, and like all tools, it can be used properly or improperly. But it's not inherently a marker of bad writing. The disdain surrounding it strikes me as about as sensical as making fun of the concept of characters. Oh, your work has characters in it? Ew, I automatically click off a fic if it has characters in it. like what.

[simsinlowspace]

Runcible Spoon - A Simlish Font

Happy New Year everyone! 🥂 I have a new Simlish font to share. Previews, details and download below.

Runcible Spoon is a serif font designed for display and copy. It comes in uppercase and lowercase, plus numbers, lots of symbols and three alternative ligatures (more about that below). I wanted to design something a little rustic and a little whimsical, but still clean.

Alternative Glyphs --------------------------------------------------------------

Runcible Spoon has three alternative glyphs for these combinations (you can see the examples just above): rq, rg, rp

You can use these alternative glyphs with: | = rq, \ = rg, / = rp

I kerned this one until I could kern no more; it's not perfect, but it's pretty damn good. Manual kerning is always recommended if possible. :)

Attribution is appreciated, and I’d love to see your projects if you use it! Please do not use for commercial purposes or redistribute the font itself.

DOWNLOAD (SFS) OpenType format + preview images.

Lots of love, Spacey

I'll have more content (including actual CC) soon...I think I need to reinstall my game though and I'm just ._____. at the thought of that right this second. But I do want to get more active again next year, so here's a start. :)

[astroismypassion]

✨PART OF FORTUNE IN SIGNS AND HOUSES SERIES: 6TH HOUSE✨

Credit goes to astrology blog @astroismypassion

ARIES PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Aries and Virgo Sun people in your life. You could make money via fitness training, personal training, firefighting, law enforcement, emergency healthcare services, competitive sports, trading, stockbroking, automotive repair, mechanics, tech startups. You feel abundant when you come up with new, fresh ideas.

TAURUS PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Taurus and Virgo Sun people in your life. You could make money via offering a service connected with pet sitting, tutoring or helping people to organise their kitchen, fridge, storage. You may also clean offices or make work environment more beautiful (for example putting on pictures, cleaning the computer). You feel the most abundant when you are stable on a daily basis and know what to expect from your daily schedule and when your work ethic, work relations are stable and grounded.

GEMINI PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Gemini and Virgo Sun people in your life. You could make money via freelance journalism, you can write for newspapers, magazines, online publications. You can have abundance via starting a podcast or YouTube channel. You may offer translation, interpretation or language teaching services if you are multilingual. You feel abundant when you organise a networking event or a conference even. You could also blog about your profession or teach people about what is it that your job entails.

CANCER PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Cancer and Virgo Sun people in your life. You could make money via blogging about topics related to home, family and well-being. You may start a blog or write for publications that focus on these areas. You would be an excellent planner! Planning and organising family-oriented events, such as weddings, birthday parties or even community gatherings in your local town. You could also offer pet sitting, dog walking or even start a pet grooming service.

LEO PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Leo and Virgo Sun people in your life. You could make money via voice acting or doing voice-over work for commercials, animations or audiobooks. You will find fulfilment, joy, success and wealth in activities that promote mental and physical wellness. You might make organic make up or creams. You feel the most abundant when you incorporate hobbies, interests and passion into your daily life. You could also be a health advocate.

VIRGO PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Virgo Sun people in your life. You could make money via starting your own online store selling products related to your interests connected to books, tech gadgets or dietetics/nutrition. You can set up a shop on Shopify or Etsy. You experience wealth by providing consulting services in your area of expertise. You may be a travel blogger or write travel articles, but more so on a local level, maybe also connected with short-distance travel.

LIBRA PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Libra and Virgo Sun people in your life. You could make money via providing recipes for lunches for working people, like easy DIY ideas. You may also create meal plans for school children. You can create wealth by selling prints, stock photos or offering photography services.

SCORPIO PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Scorpio and Virgo Sun people in your life. You could make money via working in alternative medicine or wellness, becoming a financial advisor or running your own cleaning business or provide services for neighbours or in your local town. You can offer cleaning or yard work services to neighbours or in your local community.

SAGITTARIUS PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Sagittarius and Virgo Sun people in your life. You could make money via working in non-profits, via wellness coaching, physical therapy, working in educational institutions, hospitality industry, tour guiding, working for airlines, travel blogging, working in media, especially related to educational content, travel, running a small business that involves sharing knowledge or providing specialized services.

CAPRICORN PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Capricorn and Virgo Sun people in your life. You could make money via farming, gardening, manual labor and agriculture, management, administration, working with your hands, project management, quality control and research. You definitely need to ask for a promotion.

AQUARIUS PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Aquarius and Virgo Sun people in your life. You could make money via information technology, software development, working with cutting-edge technologies, via astronomy or astrology, via social enterprise, digital marketing, advocacy work, activism and community organizing, via renewable energy, sustainable development or green technologies.

PISCES PART OF FORTUNE IN THE 6TH HOUSE

You feel the most abundant when you have Pisces and Virgo Sun people in your life. You make money via tarot, healing, holistic medicine, work with elderly people or at a hotel. You could find success in making jewellery, specializing in anklets. You feel acquire wealth through counselling, psychotherapy, psychology, nursing, holistic therapies (like reiki or acupuncture), teaching meditation, drama/music therapy or dance/movement therapy, caregiving, hospice work, starting a creative arts studio, a holistic wellness center or socially conscious business.

Credit goes to astrology blog @astroismypassion

[elliespectacular]

Any tips on how to correctly credit clips used in YTP? I'm very lost when it comes to finding copyright info and stuff like that.

The stakes are pretty low for YouTube Poop and crediting clips in the video/description is not standard practice - but it's a good thing to do! That said I am not an authority on this and even my method has some blind spots. These are just some generally good ideas for being a slightly-more-courteous-than-average shitposter.

The acknowledgement is the most important part, stating outright what the names of the sources are. Pay attention to the official titles of what you use and try to trace them to their original form - for example in The Price is Rice COMPLETE I wanted to credit the gamer-themed Dust-Off commercial I used in The Price is Rice Jr. Usually ads are more difficult to track down than other kinds of televised media, so often "___ TV Spot" does the job, but a quick peek at the official YouTube channel reveals that the ad's actual name was How to properly clean your gaming computer.

Then there's an acknowledgement of the owner. I try to list composers for music, directors for film, and of course artists for art. You aren't required to give an exhaustive list of every single contributor to the art you've sampled, but make sure you credit the person/company it belongs to at the very least. Going back to the Dust-Off example, the YouTube video contained a link to dust-off . com which now redirects to falconsafety . com - I lucked out because the top of the page indicates clearly that Dust-Off is a product owned by Falcon Safety Products Inc. but this info is often in the About section of a website or at the bottom of the page.

I like to throw the year on each YTP credit as well. Academic citations usually require a more precise publication date if available. Among other benefits it helps distinguish between things with the same name/owner that were rebooted later - for example there are multiple games called Sonic the Hedgehog owned by SEGA from different years (In fact in this example there are two games from 1991 so it's also important to note what system the game is for!) Generally your source credits should communicate to a viewer where to start looking for a specific thing or who to ask.

You can use Wikipedia to orient yourself if you need a lead on where to start tracking down copyright information for popular media, but make sure you cross-reference what's there with other sources. For Movies/TV I usually just look at the very end of their credits which usually has the copyright info. For music I use Discogs. Sometimes for more obscure or less-documented things I have to do some search-engine sleuthing.

If you're stuck, ask a friend for help! It can be fun and rewarding to track down something that isn't answered by a quick google search, and like most things turning it into a collaborative effort makes it less of a slog.

Copyright acknowledgement is tricky to do correctly and not every Best Practice applies to each situation. There may come a day when MLA-style citations become normal or required even for shitposts and your due diligence will become greater. Do your best, give credit where it's due, and you'll be fine :)

[ostrichmonkey-games]

Ostrichmonkey Hack: Layout Behind the Scenes

Been procrastinating on this enough! So here is a look at some of the process and decisions that went into doing the layout for the Ostrichmonkey Hack.

Let's start with the goals I had in mind:

Keep it simple.

Keep it easy to make.

With those goals set, next step is gathering materials and resources (not all of this was done as cleanly as I'm making it out to be, but this is the gist).

Materials used:

Classic Explorer Template

Affinity Publisher and Photo

Fonts

Art

The text itself

The Classic Explorer Template was critical in getting this layout done efficiently, since it does a lot of the work for you. It's not a replacement for having a rough idea on how to do layout, but it can serve as a nice tutorial/explainer on different elements of layout and typesetting, and honestly, is worth its (digital) weight in gold. There's a free version available if you want to check out what it offers.

I use the Affinity Suite for my layout work. It's a nice set of programs with a manageable learning curve, but there are plenty of other alternatives so go with whatever works for you (one of my favorite elements of using multiple Affinity programs is that within Publisher, you can access both Designer (vector illustration) and Photo (photo editing, illustration etc) functions, which is just a nice workflow).

Here's what my setup looks like, with all the guidelines/base grid stuff turned on;

Normally I start with some style tests and “sketches” to get a feel for what I want the layout to look like, but the Classic Explorer’s does a lot of that heavy lifting for me already so I get to skip this step for this project. Speed and efficiency is one of the main reasons I wanted to use the template - this was envisioned as a “I just need to get something done” kind of project.

So next up on getting it done, fonts!

There are lots of great places to get fonts from, just make sure you're getting them from legitimate sources. Do your homework and make sure that "free" font is actually free to use in commercial projects.

I pulled three fonts from the depths of my collection.

One for the title and main headers (Wallau Deutsch)

One for the second header (Rakkas)

One for the body text (PT Serif)

Technically a secret fourth font for some "bullet points" (1651 Alchemy)

I picked these fonts out because they work together well and are readable. The title/main header fonts are comparatively less readable, but you can get away with that since headers are Big and used less frequently. The second header (Rakkas) is a nice middle ground between a full on blackletter font like the main header, and the classic-y serif of the body text. It creates a transition between the two fonts.

I used PT Serif since it was already in the template, but it also had the bold/italics versions I knew I would need, is readable at a variety of sizes, and had all the special glyphs I would need (it actually did not, but whoops, we'll get to that later).

Normally when I start layout, I do a quick "sketch page" where I try out different fonts and style tests that can look something like this;

But that wasn't necessary for this project (another advantage of the using the template).

Now, let's get to some choices in formatting the text itself.

Each time a key term came up, it was highlighted by bolding and italicizing it. Any time after that, it was just normal text. I went back and forth on highlighting it every single time, but the current format just looked cleaner so it won out.

Additionally, in several places in the text, rather than introducing a third header (which just broke up the page too much, disrupting the flow and clean look), I instead put what would have been the new third header (HP or WOUNDS in the above example) in all caps and behind a colon. This ended up not disrupting the text too much, and was only necessary a handful of times. But when it was necessary, I made sure to stay consistent. Consistent and organized formatting is one of the key ways to make your layout look nice and clean.

Aside from changing some font choices, one of the other ways I tweaked the template was with some spacing (between "sections", like in the above text, introducing an extra line break between the Attributes and Staying Alive sections) and the "bullet points".

The large bullet points that accompany the second headers are actually a glyph pulled from a different font. I picked that one out specifically because its just a little irregular and handwritten looking (1651 Alchemy is a handwritten styled font), and it also helped pull you to the start of new sections, further enhancing the second header. It helps make each section discrete and more "modular".

Back to extra spacing for a second now. So each "chapter" of the text uses the main header to designate it as a full "chapter".

"Characters" up top there is one of those chapter headers. It's nice and big and special, and also takes up a good chunk of space. One a full spread, this also means that the second page of text begins higher up than the text on the first page (compare where Attributes starts vs where Dying starts).

I played around with the format of spreads that did not have a main chapter header on them, starting the first page text up toward the top to have it line up with the second page. Which, probably would have been totally fine, but I preferred the look when each spread had the same kind of spacing. But repeating the main header on each spread was too clunky. So the solution;

Bam! A line!

Blank empty space looked too empty, but slapping a quick line there took up just enough visual space for it to work. Then, I carried that line-design-language to other places (to separate footnotes from the body text, within the tables, and sort of on the cover). This then made the line choice feel even more cohesive and purposeful.

And speaking of footnotes, that was another extra tweak/flourish I added not present in the template (the sidebars are part of the template, but sidebars rule so they would have happened regardless). The footnotes served as a way to share specific references as an informal "works cited". A lot of NSR/OSR design is super iterative, so I thought it would be cool to shout out some of the more direct inspirations and references I used when making my game.

But the footnotes were also kind of not really my downfall. Turns out PT Serif didn't seem to have all the necessary footnote glyphs, nor did it want to make proper superscripts of integers past 3. So, rather than trying to find a new body font (or deal with the headache of using a font solely for superscript notation), I just fudged the formatting some and stuck to asterisks, and restarting "numbering" on each spread. Oh well.

Let's now briefly touch on laying out tables.

It sucks.

My advice is find an example of a really nice looking table and then try and figure out what makes it look nice, and then doing that forever. Luckily, the template saves me again by including multiple examples of tables, ripe for tweaking. Which ended up looking like this;

Nice and clean! Hooray!

Okay, there's a lot of small decisions that goes into making text properly formatted and look nice, but I skipped some of those decisions and didn't go ham on typesetting, but whatever. That all about covers the important parts regarding the text. Now let's talk about art.

Public domain art is your best friend.

I went and trawled through a bunch of art I've saved from the Met's Open Access collection (there's plenty of great open access collections out there, just happened to have some from the Met handy), and settled on this piece;

Which I then dropped into Affinity Photo and played around until I ended up with this;

Nothing too wild, but it Felt Right, so it's done.

I then immediately dropped that onto the cover page, slapped the title on, added a quick border (and also spent some time trying to fix some weird issues that ended up being solved by just rasterizing it, whoops) and bam;

And that's the only art piece used throughout the zine! But I made the most out of it. Between each chapter, I had a single splash page and dropped in different zoomed/cropped versions of the art. Like so (and even on the back cover!);

The original image was high resolution, so zooming in worked, plus the effects/distortions I created hid any imperfections.

So that's the art sorted and the zine finished!

Now, this is getting pretty long, so if there's anything anyone reading this is interested that I didn't touch on, shout in the notes!

[foodfightnovelization]

Every Real-World Brand Mascot in the Movie

Time for another interlude! Cool, huh? Okay, this admittedly isn't super interesting since it's just a game of "spot the cameo" with characters that are already in the movie, but I felt the need to trek my way through and point out just how many brand mascots (that is, ones based on actual grocery store products) we see throughout the movie. I'm aware there's already a list like this on Foodfight's Lost Media Wiki page, but it's slightly inaccurate and anyway, mine has pictures. So let's do this!

(Sidenote: This doesn't include products that appear in the movie but don't have a mascot. For example, we see Crest toothpaste on the shelves as the store closes, but there's no anthropomorphic tubes of toothpaste walking around so I'm not including it)

#1: The Vlasic Stork: Okay so this one is obvious since he's on the DVD cover and all, but he's also the first one we see in the whole movie, at around 1:50!

#2: Mr Clean. Again this one's super obvious and noticeable, I'm just listing all of these for completion's sake. I chose the screenshot of him with sewage on his clothes because I think it's funny.

#3: Mama Celeste. I'm talking about the woman in the foreground in a red dress and a white apron- she just looks like a regular old woman but she's actually the mascot for a bunch of microwavable meals (like Celeste Pizza For One, which a friend of mine says is a very sad meal for very lonely men)

#4: Punchy. Not much to say about this one, but it's Punchy, the mascot for Hawaiian Punch. He has no lines but he DOES perform his signature move of offering someone a drink before punching them in the face, and we all know punching people in the face is tight.

#5: Twinkie The Kid: The mascot for Twinkies, this character appears multiple times throughout the movie, but I'm just including the first time he shows up because it's easier (this is during a crowd scene early on where lots of cameos can be seen)

#6: Spammy. See, I wasn't even aware Spam had a mascot? But apparently they do, and he can be seen here staring right at you, the person reading this! He's basically just a can of Spam with a face and arms.

#7: The Dinty Moore Lumberjack. The mascot for Dinty Moore stew, he can be seen here waving his hands in the air and being stared at by a rabbi. (The rabbi in question is called Rabbi Kayman in case anyone's wondering, he's an original character created for the movie and is the mascot for a brand of granola bars and cookies. God, I know way too much about this movie)

#8 and #9: Tootsie Roll Owl and Tootsie Roll Man. In the background of the same scene, we can see these two characters. The owl, famous for the "How many licks does it take to get to the center of a Tootsie Pop?" commercials, and a walking Tootsie Roll (on the right) who Google tells me is just called the Tootsie Roll Man.

#10: The California Raisins. One of the more well-known mascots in the movie, in the scene pictured above they're in the Copabanana singing a cover of "I Heard it Through The Grapevine" which they often sang in commercials back in the 80s. They're also one of the only real-world brand mascots from the movie to actually get tie-in merchandise, as there was a plush released of one of them alongside all the original characters from the movie. (The only other real-world mascot to get a plush, or indeed any form of merchandise, was Charlie The Tuna. Speaking of...)

#11: Charlie The Tuna. The mascot for Starkist Tuna, he's notable for being one of the few brand mascots in the movie to actually get any dialogue. I like his Brooklyn accent, and as mentioned above he's one of only two real-world mascots to get any tie-in merchandise released. There were a whole line of plush toys released- Dex Dogtective, Daredevil Dan (I have this one!), Maximilius Moose, Cheasel the Weasel, Polar Penguin, a California Raisin, and Charlie the Tuna. He's also on the DVD cover! So Charlie the Tuna must be quite the star, getting his own plush and everything... either that or tuna companies typically don't get the chance to sell merchandise based around their canned fish mascot and jumped at the chance.

#12: Mrs Buttersworth. One of the only other brand mascots to get any dialogue, she throws pancakes at the Brand X army at one point and spills a glass of juice on Mr Clean. You have to wonder, with only three or four of these (relatively) popular characters getting speaking roles, if more of them had dialogue but it was cut before the movie was released. Mr Clean is credited as having a voice actor but never talks in the movie. Makes you think, right?

#13: Energizer Bunny. This one is a real "blink and you'll miss it" type cameo in the USDA meeting scene, but this is undoubtedly the Energizer Bunny. (Energizer Batteries also feature in a scene in the real-world grocery store)

#14: Mr Bubble. The mascot for a somewhat obscure brand of bubble bath, Mr Bubble appears multiple times throughout the movie but never does anything particularly noteworthy.

#15: Kid Cuisine Penguin. Another "blink and you'll miss it" cameo, the Kid Cuisine Penguin shows up in a few scenes, but he's really hard to spot- if you weren't actively looking, you'd have no idea he was in this at all. It's almost like they didn't want you to see him?

#16: Chef Boyardee. He shows up a few times at various points in the movie, and they've made sure to put the Chef Boyardee logo right on the front of his uniform, which is useful because otherwise he could easily just be mistaken for a regular nondescript chef.

#17: Hungry-Man. We're really getting into the pits of the cameos now. Hungry-Man is a brand of frozen dinners... but they don't have a mascot. I looked it up, they definitely don't and they never have. So for this movie they've created their own mascot for Hungry-Man by just taking a regular-looking guy and slapping a shirt that says "Hungry-Man" on him. The only interesting thing about this is it implies that in the world of Foodfight!, even products without mascots in the real world still have their own Ike in the Marketropolis.

#18: Duncan Hines. Okay, last one now. I watched this movie a BUNCH and I had idea who this was supposed to be, only to spot a logo on his apron right towards the end and realize this is supposed to be Duncan Hines. He doesn't look anything like the real-life Duncan Hines (a restaurant critic who definitely does not have a mustache) and as far as I know Duncan Hines cake mix doesn't HAVE a mascot. So for this movie I guess they just...created a mascot that looks nothing like the real-world man the company is named after? Okay, FINE.

So all in all that makes 18 cameos from 18 different brand mascots...in a previous post I said there were around 15 and that I'd have to pore through and catalogue them all at some point. And here I am! My guess was surprisingly accurate. A lot of these are so obscure and so easy to miss though, that I'd say they barely even count as cameos. The only notable ones are ones that get a shot specifically focused on them or a line of dialogue, like Charlie Tuna, Twinkie The Kid, Mrs Buttersworth and the Vlasic Stork. It makes sense they're the ones featured on the DVD cover and poster- they're the most recognizable of all these and some of the only real-world mascots with an actual role in the plot.

Sidenote: This particular variation of the DVD cover/poster (the same art is used for both) lists a bunch of cameos featured in the movie. Charlie Tuna, the Vlasic Stork, Twinkie the Kid, Mr Clean, Mrs Buttersworth, Hawaiian Punchy, California Raisins, Chef Boyardee and...Chiquita Banana? But the Chiquita Banana lady isn't in this movie at all! I should know, I just spent way too long going through every last second of it trying to pick out all the cameos. So either she was removed very late into production, or whoever wrote the text for this poster just got confused and made a mistake. I genuinely have no idea which though? The mystery of this movie really never ends...

[sreegs]

this started out as a short rant about non-stick cookware but i've got an infodump about cookware in general and suggestions for what's the most useful vs the least useful in the kitchen. the thing about cooking is you can do a lot with a little equipment, despite appearances to the contrary. however the vessels you cook in are the most used tools in the kitchen, aside from a chef's knife

ok, first my little rant about non-stick cookware:

it doesn't last, and that's the main flaw of non-stick cookware. whether it has a non-stick coating or it's a special material that is inherently non-stick (at first), eventually they wear down and the non-stick benefits you bought the pan for pretty much disappear.

that isn't to say non-stick cookware is not useful. I have one non-stick frying pan in my kitchen and I use it to cook eggs and other things that are notorious for sticking. i also use it to reheat leftovers just because it's easier to clean. that's all i use it for

so, if you're in the market for cookware because you're moving out or just finally getting a kitchen of your own, do not go buying all non-stick pots and pans. sauce pans, skillets, stock pots (the big pots you use for soup), sauté pans, etc, those actually need your food to stick in some cases, especially for soups and sauces. why's that?

it's about the fond. example: when you're making a soup you usually start by sautéing solid ingredients in the pan first. those get browned and they leave a bit of slightly-burned foodstuff on the bottom of the pot. that's called fond. it's super concentrated savory flavor. right before you add the stock to the soup, you "deglaze" the pan by adding a little bit of liquid to the bottom of the pot and gently scraping it off and integrating it into the soup. fond is also like the basis of all sauces and stews and gravies pretty much anything else you're cooking

where should you buy cookware? obviously you can always buy new, I suggest buying direct from the manufacturer if you really want new. you can also find good cookware at garage sales.

if you have access to them, restaurant supply stores have cheap cookware but it's also made to be beat to death in a commercial kitchen. it works just as well as the stuff aimed at the consumer because, well, metal pans are metal pans. it's not rocket science. but there is cheap bad cookware in the restaurant supply store so shop carefully

so what kind of cookware should you buy? here are options i recommend, but not in any particular order:

stainless steel

stainless steel pans are versatile and they last forever. they work on the stovetop and they go in the oven too. so not only can you use them to fry up some veggies, you can also use them to roast a beast in the oven. they're easy to keep clean, though they eventually get a patina especially on the bottom. use dish soap. the easiest way to get tough spots off them are gentle abrasives like Barkeeper's Friend. these range from cheap to expensive, and some of the expensive ones are worth it (but not too expensive. like $100-200 range for really nice ones. remember, they last forever, so it's like a one-time fee)

good stainless steel pans should be heavy. if you're out shopping for them, pick them up and compare how they feel. if you spot a really cheap one and it feels light like a non-stick pan, avoid it.

carbon steel

these got popular lately, and frankly i don't have too much experience with them since the one i had ended up being left behind in a move. however they're totally fine to work with and are easier to maintain than a cast iron pan. however they sometimes come with wooden handles (a lot of them are wok-shaped because, well, a lot of woks are carbon steel), so remember you can't put wooden-handle pans in the oven. also since they're thinner they're probably not as good for the oven as other materials in terms of both performance and longevity

taking care of them is a little harder than stainless steel, because after you wash and dry them, you have to coat them in a thin layer of oil to prevent rusting

cast iron

okay first i want to get the cleaning bit out the way: YOU CAN WASH YOUR CAST IRON PANS WITH DISH SOAP. that bullshit about only using salt and water and never getting soap on it is from an era when soaps were made of lye. MODERN DETERGENTS ARE NOT MADE OF LYE, THEY'RE NOT EVEN SOAP. HOWEVER: DO NOT SCRUB YOUR CAST IRON WITH METAL SCRUB SPONGES

now about cast iron itself: it's cheap and it's a long-term investment. your cast iron gradually becomes a non-stick pan over time if you maintain its seasoning. a cast iron pan becomes seasoned naturally over time as long as you wash it soon after it cools down from cooking (don't ever leave food or water in it, it will rust), and after it's clean, you cover it with an extremely thin layer of cooking oil.

you can re-season cast iron that has lost its seasoning too. i don't want to turn this post into a cast-iron infodump post so i'll leave it to you to google "how to season cast iron pans" and "how to maintain cast iron pans". just remember the "don't wash it with soap" line is bullshit unless you actually have dish soap that contains lye, like where'd you get that?

these are also great for cooking in the oven as well as the stovetop. their high-density and dark color make for good heat distribution. a lot of people swear by cast iron as the best material to sear meat with, however i never really noticed the difference between cast iron and stainless steel.

enameled cast iron

le creuset can sit on it and spin. don't buy their shit it's overpriced. enameled cast iron is much more affordable from companies like lodge who already make cheap, good, regular cast iron pans. it's a cast iron pan coated with ceramic. enameled cast iron is really good for even heat distribution, however you do have to be careful not to chip it. it may also, despite your best efforts, just wear down over time because ceramic isn't as wear-resistant as metal.

enameled pans can go in the oven as well.

non-stick pans

only buy one (1) non-stick pan. make it a frying pan or sauté pan. and do not spend a lot of money on it. like $40-50 tops. i've seen $100+ non-stick pans and i think someone made those as a joke. it's a grift. you will be replacing it on a semi-regular basis depending on how often you use it.

if your non-stick pan uses a coating, if it starts flaking it's time to get rid of it. those ceramic non-stick pans you just gotta toss it when they lose their smoothness

that's it. post over. go cook. if you have any questions send an ask

[racefortheironthrone]

Re zoning regulation reform: could you go into detail as what that would look like in terms of wiping the slate clean. I feel like it would be better to go the houston route and just be zoning free

You do not want to go the Houston route.

Houston may claim to be "zoning-free" - and to be fair, it doesn't have some of the more common regulations on land use, or density, or height restrictions (more on this in a minute) - but the reality is far more complicated and the status quo is not one that's friendly to the interests of working-class and poor residents, or to the possibility of sustainable urbanism.

The answer to NIMBYism isn't to abolish all regulations and let the free market rip, it's to surgically target zoning, planning, and litigation that is used against affordable housing, public/social housing, mass transit, clean energy, and walkable neighborhoods, and to replace it with new forms of regulation that encourage these forms of development.

So let's take take these categories in order.

Zoning

As I tell my Urban Studies students, zoning is both one of the most subtle and yet comprehensive ways in which the state shapes the urban environment - but historically it has been used almost exclusively in the interests of racism and classism. Reforming zoning requires going over the code with a fine-toothed comb to single out all the many ways in which zoning is used to make affordable housing impossible:

The most important one to tackle first is density zoning and building heights limitations. The former directly limits how many buildings you can have per unit of land (usually per acre), while the latter limits how big the buildings can be (expressed either as the number of stories or the number of feet, or as both). Closely associated with these zoning regulations are minimum lot size regulations (which regulate how much land each individual parcel of real estate has to cover, and thus how many how many housing units can be built in a given area), and lot coverage, setbacks, and minimum yard requirements (which limit how much square footage of a lot can be built on, and what kinds of structures you can build).

the other big one is use zoning. To begin with, we need to phase out "single use" zoning that designates certain areas as exclusively residential or commercial or industrial (a major factor that drives car-centric development, makes walkable neighborhoods impossible, and discourages the "insula" style apartment building that has been the core of urbanism since Ancient Rome) in favor of "mixed use" zoning that allows for neighborhoods that combine residential and commercial uses. Equally importantly, we need to eliminate single-family zoning and adopt zoning rules that allow for a mix of different kinds of housing (ADUs, duplexes and triplexes, rowhouses/terraced houses, apartment buildings).

finally, the most insidious zoning requirements are seemingly incidental regulations. For example, mandatory parking minimums not only prioitize car-dependent versus transit-oriented development but also eat up huge amounts of space per lot. The most nakedly classist is "unrelated persons" zoning, which is used to prevent poorer people from subdividing houses into apartments, which zaps young people who are looking to be roommates and older people looking to finance their retirements by running boarding houses or taking in lodgers, as well as landlords looking to convert houses from owner-occupied to rental properties.

So I would argue that the goal of reform should be not to eliminate zoning, but rather to establish model zoning codes that have been stripped of the historical legacies of racism and classism.

Planning

Similar to how zoning shouldn't be abolished but reformed, the correct approach to planning isn't to abolish planning departments wholesale, but to streamline the planning process - because the problem is that right now the planning process is too slow, which raises the costs of all kinds of development (we're focusing on housing right now, but the same holds true for clean energy projects), and it allows NIMBY groups to abuse the public hearings and environmental review process to block projects that are good for the environment and working-class and poor people but bad for affluent homeowners.

As those Ezra Klein interviews indicate, this is beginning to change due to a combination of reforms at both the state and federal level to speed up the CEQA and EPA environmental review process in a number of ways. For example, one change that's being made is to require planning agencies and environmental agencies to report on the environmental impact of not doing a project as well, to shift the discussion away from petty complaints about noise and traffic and "neighborhood character" (i.e, coded racism and classism) and towards real discussions of social and environmental justice.

At the same time, more is needed - especially to reform the public hearing process. While originally intended by Jane Jacobs and other activists in the 1970s as a democratic reform that would give local communities a voice in the planning process, "participatory planning" has become a way for special interests to exercise an unaccountable veto power over development. Because younger, poorer and more working class, and communities of color often don't have time to attend public hearing sessions during the workday, these meetings become dominated by older, whiter, and richer residents who claim to speak for the whole of the community.

Moreover, because community boards are appointed rather than elected and public hearings operate on a first-come-first-serve basis, an unrepresentative minority can create a false impression of community opposition by "stacking the mike" and dialing up their level of militancy and aggression in the face of elected officials and civil servants who want to avoid controversy. (It's a classic case of diffuse versus concentrated interests, something that I spend a lot of classroom time making sure that my students learn.)

Again, the point shouldn't be to eliminate public hearings and other forms of participatory planning, but to reform them so that they're more representative (shifting public hearings to weekends and allowing people to comment via Zoom and other online forums, conducting surveys of community opinion, using a progressive stack and requiring equal time between pro and anti speakers, etc.) and to streamline the review process for model projects in categories like affordable housing, clean energy, mass transit, etc.

Litigation

Alongside the main planning process, there is also a need to reform the litigation process around development. In addition to traditional tort lawsuits from property owners claiming damage to their property from development, a lot of planning and environemntal legislation allows for private groups to sue over a host of issues - whether the agency followed the correct procedures, whether it took into account concerns about this impact or that impact, and so forth.

As we saw with the case of Berkeley NIMBYs who used CEQA to block student housing projects over environmental impacts around "noise," this process can be used to either block projects outright, or even if the NIMBYs eventually lose in court, to draw out the process until projects fall apart due to lack of funding or the proponents simply lose their patience and give up.

This is why we're starting to see significant reforms to both state and federal legislation to streamline the litigation process. The categorical exemptions from review that I discussed above also have implications for litigation - you can't sue over reviews that didn't happen - but there are also efforts to speed up the litigation process through reducing what counts as "administrative record" or by putting a nine-month cap on court proceedings.

Again, this is an area where you have to be very surgical in your changes. Especially when the politics of the issue divide environmental groups and create odd coalitions between labor, business, climate change activists, and anti-regulation conservatives, you have to be careful that the changes you are making benefit affordable housing, clean energy, mass transit and the like, not oil pipelines and suburban sprawl.

[diphylla]

opening commissions :3

COMMISSIONS OPEN !! don't forget to read TOS here in the caption !! i will make a clean carrd page with all the info but it takes time plus i want to make it when i extend my commissions (chibis, emotes, adopts, detailed bgs...)

I'll appreciate any kind of interaction with this post !! you don't have to commission me to show support, enjoying what i do is enough, but i'd especially appreciate some engagement here !

obv for more art examples look at my posts ! im still finalising my art style but if u like anything that i drew in particular i can totally recreate something similar !

PAYMENT: Payment is currently only accepted via PayPal invoices. Payment is requested as soon as you take a slot. Must be paid in full at least until the sketch is finished, if not payed I will not continue to work on the piece until done so.


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terms of use

Commissions are for non-commercial use only. My art cannot be sold for monetary gain. If you're interested in commissioning art for commercial use, please discuss it with me.

You may use my art as a profile picture, repost it on social media (with credit) and print it for PERSONAL use !

[oneatlatime]

I’m curious as to how your blog works. In my mind it goes like this: you watch an episode, write down notes as you’re watching, go back to the episode to make screenshots, write down the episode summary/commentary, post it on tumblr, watch the next episode and repeat. But I wonder, do you actually only watch an episode once or do you go through multiple watches (full or partial)? And do you actually not watch the next episode until you’re completely done with the previous one? Regardless of your methods, it’s so much work and I really respect your self-control (I probably would have ended up binging the show.)

I watch, for the first time, with split screen between the show and where I type notes. With my hand hovering over the pause button like a coked out Jeopardy contestant, I pounce on places I want to make a comment, take a screenshot, and note down the time stamp and a vaguely point form, typo-riddled summary of what I want to say. Then it's back to watching. This doesn't quite work in particularly enthralling scenes, where I inevitably end up too involved in the show to remember to pause, in which case I rewind to my last timestamp and rewatch. Same applies if I can't catch a piece of dialogue. For example, in the scene in The Blind Bandit where Toph explains her earthbending, I watched that three or four times through before progressing on to the next scene because I was having difficulty understanding Toph's lines. Then after I've finished watching, I go through and translate my word vomit into something legible, clean up the screenshots if needed, throw in a 'keep reading' break and some tags, and then it's good to go. I watch, take notes, edit, and post all in one session, based on only one watch through (albeit with some scenes repeated if necessary).

This is what I've done for all episodes so far, except The Storm. I lost count of how many times during The Storm I forgot that I was supposed to be taking notes. I was far too sucked in. And then the post autosave function malfunctioned and I hit the wrong button and the whole thing disappeared. Luckily I had an archived version of the text on my hard drive, but I did have to go through and retake the screenshots, so I watched that episode twice through while blogging about it. I've also watched it once since, just for entertainment.

I figure the choppiness this approach inevitably introduces into the viewing experience mimics what it actually would have been like to view these episodes the first time they aired, since (to my knowledge) Nickelodeon had and still has commercial breaks.

And yes! I am resisting the urge to watch ahead. I watch one at a time, usually devoting my evening to it. Sometimes between posts I'll rewatch episodes I've already seen and blogged about. I've seen Bato of the Water Tribe an embarrassing number of times, and episode 1 at least 4 times. But I'm not watching ahead, and I'm doing the closest thing to liveblogging that the medium allows.

I used to do freelance transcription (and may go back), so I'm very used to making a direct line between the content on the screen and my keyboard. It's a useful skill!

It is a lot of work, and I'm sure there's a more efficient way to do it, but I enjoy it. I can spend two hours typing up a post and it will feel like 20 minutes.

[blazehedgehog]

Do you think there might be some problems that could develop with SAGE showcasing indie games? SAGE was created as an event for the Sonic fandom to make fan games, but now indie games have become part of it. Nothing against it on principle, but what about the legal area? SAGE is still tied to Sonic's image, would it count as using Sonic to sell other products? Or would it be a Chip 'n Dale's Movie Sonic case?

Top comment on the showcase trailer video:

If there were problems, Sega would be the ones causing them, and that's the official Sonic brand account giving their sign of approval.

SAGE was created, speaking as the creator of SAGE here, to demystify fangaming and show the world it had a positive effect on the world. Fangames were seen as illegal bootlegs when I started the event, and I sought to change that perception.

Now, yes, generally speaking, I think if you're trying to stay on the up and up, disconnecting your fangame from commercial promotion as much as humanly possible is the best way to keep your nose clean. Don't run ads on your website, don't run ads on gameplay footage, DEFINITELY do not in any way even LOOK at crowdfunding or paying employees. Stay away from any and all money I/O. Which is very difficult if not impossible because even hosting a website means you are exchanging money with someone in order to distribute your game.

So you have to decide an acceptable level to compromise your morals if you hope to put your game out there, and how much risk that creates for you depends on the company in question, I guess.

Hosting your game on Itch.io? Well, as long as you create a standalone account separate from any real monetized game creation you plan on doing, that might be okay. They don't run ads on Itch.io that I know about.

Hosting your game on Game Jolt? Slightly more risky, because Game Jolt serves ads on their download page.

Mediafire? More risky, because I feel like Mediafire shows extra invasive ads, including, last I heard, those ads that have fake download buttons on them. So not only is Mediafire making money, they are engaging in active deception.

Hosting it on a Patreon? Way more risky. Even if you have the post set to $0, you are bringing people to a page where they can give you money for your services.

I technically do this with some of my very old game projects, but none of those are anywhere close to finished games, and they are all almost universally just fragments of unimportant side projects. For example, I do not have builds of TFH up there, or MarioWeen. It's mostly just software I started and did not finish, mixed in with a couple of like, early alpha engine tests if I remember right.

I've also thought about just straight up taking them down and hosting them somewhere else (the itch.io archive might be my best bet, or even archive.org). It does make me uncomfortable to have them up there, but it was a stable, clean place to host things like that when I first launched that Patreon, like, what, 8 years ago? Now they're buried at the very very very bottom of my post list and I'm probably the only person who remembers that they're there.

Anyway, if it was a problem, I think Sega would let us know. And I say "let us know" instead of, say, just stomping their boot all over SAGE and killing it without recourse. I think, given what a positive force it is not just in the community, but in the indie gaming space, if it was a problem, they could talk it out with whoever is running the show that year.

But this is a place to cultivate future game developers. It is good for the game industry. And I've said it here, or maybe other places, but I've often wondered if Steam's multiple demo events they host every year was inspired by something like SAGE. It's kind of become a big deal, and it keeps growing to be a bigger deal every year, and at least so far, nobody's abused or exploited it yet.

Not that they even could -- SAGE is curated. Not a lot, but enough that I know there were booths rejected for 2024. You can be, and people have been, kicked out of SAGE for being abusive. Participating in SAGE is a privilege, not a public service.

So I think everything will be fine.

[pb-dot]

Film Friday: Interstella 5555

The process I employ to figure out what movie to cover on this little column of mine is more of an art than a science. Some times it has me scrolling mindlessly through my letterboxd or netflix history looking for a movie I feel strongly enough about to write about. Other times, I decide to listen to Alive 2007 and realize Daft Punk is one of the best musical acts of all time. So, with that in mind, let's talk about that time they made a movie.

As one might expect for an almost feature-length movie to the 2001 Daft Punk album Discovery, Interstella follows the story of a group of alien musicians who find themselves abducted by extrasolar interlopers, shortly revealed to be humans who takes our blue-skinned friends to earth. Once there, the Interstella gang are brainwashed and disguised as humans in order to work for a skeezy producer slash symphonic orchestra conductor, later revealed to have struck a Faustian bargain with some sort of space satan for eternal life and riches provided he can sacrifice 5555 golden records, and the artists who produced them with it.

It's not the most complex story once you get over the novelty of the reverse alien abduction and space satanism bits, but that is perhaps inevitable, considering this movie has no spoken dialog apart from the odd line or lyrics that is meant to be diegetic. Secondary protagonist who I have dubbed as "guitar spaceship guy," for example, sings Digital Love to himself while cleaning said guitar-shaped spaceship and day-dreaming of the alien band's bass player before receiving his call to action.

The movie probably shines the hardest when there's lot of mechanical stuff going on. The sequence when the Interstella crew gets their brainwashing and humanface disguises, the mechanical beats Harder, Faster, Better, Stronger makes it seem like a How It's Made episode from a much MUCH darker timeline.

It's also interesting to me how the brainwashing does seem to take just fine, but the crew, now under the name Crescendolls, seem morose, still every bit as able to make killer tracks as in their pre-abduction days, but without the clear and apparent joy. Granted, the hardships of being a Commercial Super Hit Artist does probably play into it, but even before that, there's a profound malcontent in them. I almost find myself wishing there was some expository dialog here to explore this. Do they know on some level that they don't belong on earth? That they're being made to do the thing they once loved wholeheartedly for someone else's gain?

It's hard not to speculate on the auteur side of this. The context that Discovery was a departure album from Daft Punk's established house music style, and arguably their entry into the attention of wider pop culture, is similarly hard to ignore. Considering Daft Punk adopted their now-iconic robot mask personae at the same time, it's not hard to read a fear of becoming part of the Pop Machine in Interstella 5555.

If I can now only take a brief digression to talk about the music. Discovery is one of my favorite albums of all time. Filing off the rough edges and at times consciously abrasive soundscapes from earlier releases makes for a compulsively listenable album. I'm particularly fond of how Daft Punk uses vocal performance, primarily through samples as a musical element. The sample of Barry Manilow's paranoid cuckold anthem Who's Been Sleeping In My Bed in Superheroes is somehow both basically incomprehensible and instantly iconic, and the thought of having ears keen enough and musical intuition sharp enough to pick up on it in the first place is one of those genius moves that I understand, but could not replicate for all the gold in the world.

If Interstella 5555 has any flaws, apart from annoyingly being 5 minutes too short to be classified as a feature length film at 65 minutes, it's probably the slightly disposable tragedy of Guitar Spaceship Guy, who's doomed but heroic quest to save Interstella 5555 arguably could have been cut in its entirety. His infatuation with Interstella's bass player plays out in this structurally sound but kind of lifeless romance by the songs Digital Love and Something About Us, and the fact that GSG and Bass Player Lady doesn't actually know each other becomes impossible to ignore. His dying... dream sharing or whatever else is going on there feels like it's following a character arc that isn't there. Bass Player Lady doesn't know him, and crucially, he doesn't know her. It's all parasocial, and he dies shortly thereafter. It's not to say something beautiful couldn't grow from this, and I think that's what they're getting at with the Something About Us sequence, but it does feel like mourning what Didn't Happen, and if we're getting started on that we'll be here all day so let us move on.

Speaking of flaws, the movie does drag a little in the third act. Part of this is the Act 2 Climax feeling more fitting for that sort of thing than the actual climax. It is admittedly a little sweet that the plot resolves when immortal conductor guy's plot is discovered and humanity reacts by rightfully pointing out that a crime has been committed, and hasten to help the Interstella gang find their way home, that's not normally how these plots go, but the slight nuance given to the abduction/humans are the villains plot is very heartening. Seeing our blue alien friends seen off as beloved heroes feels very correct, and similarly, their rediscovery of the joy of music and new role as interplanetary ambassadors is one of those "fuck yeah a better world is possible" things that I'll take a million times over more cynical Dark Forest scenarios.

Speaking of drag, though, the Too Long segment, feels a bit like a lengthy coda to the story we don't need, which is, coincidentally what I think about the song's role on the album as well. All the same, it must be said that while the final showdown by immortal conductor's guy in psychedelic FTL space is pretty cool, and while it still doesn't work for me, Guitar Spaceship Guy helping out the Crescendolls one final time from beyond the grave does endear me ever so slightly to that whole subplot.

Interstella 5555 is an interesting watch, it's clearly a project of way more creative freedom than most animated fare is allowed to be, and it's wild that I can say the phrase "it's also exciting that the movie straight out states that Mozart, Ella Fitzgerald and... I believe Flea of Red Hot Chilli Peppers (?) all were sacrificed to Space Satan." This isn't important to the plot at all, but I feel it just needed to be said. So in short, check it out. Among it's many strengths, the soundtrack kicks some serious ass.