#core set 2020

[mtg-cards-hourly]

Glint-Horn Buccaneer

Artist: Zack Stella TCG Player Link Scryfall Link EDHREC Link

[magicmalcolm]

Negate

“As one, nature lifts it's voice to tell you this: ‘No’.”

[haaaaaaaaaaaave-you-met-ted]

Lightning Stormkin by Rudy Siswanto

[joansblondells]

Grace Van Dien as Ellie Lansing in LADY DRIVER (2020)

[yuyu-bubu]

shoutout to helplessness, gotta be one of the top ten worst emotions fr fr. i am but a poor Webkinz plush a child has decided to pour milk on and throw against the wall

[sheep-in-the-attic]

Okay so which one of you bitches put us all in a time machine and sent us back to 2020, because there's no reason i should be feeling the same way I did back then

[isaacathom]

my dice collection, which I just went through resorting and putting away :)

My current count is 27 full sets (3 of which are metal, and i think 3 of which are sharp edge in some capacity), 30 d20s (1 of which is The Big Metal One, and 1 is obsidian), 12 d12, 7 d%, 23 d10, 6 d8, 29 d6 (1 of which is the Big Wood One, and 1 is amethyst), and 8 d4 :)

I've also included at the bottom the 'character sets' im currently using my two ongoing campaign characters, Naielle Odelia and Zimri Maier respectively. They each have a core set (clear with pink-flower-esque inclusions and translucent blue-pink with gold inclusions, respectively) and then a bunch of other dice pilfered from my other sets. Zimri should arguably have way more d6, but I'm gonna start rolling most of their spells digitally because On God.

[glutenfreedragonpotion]

My "bad take" that I'm too scared to say on another site is that himi gauche sets are shite because they mold so easily

If you paint daily or weekly you'll be fine but if your like any other artist that only paints when depressed or feeling like shit. Himi gauche isn't for you.

That thing is so moldy but I refuse to throw it away cause I'm making the most of the £16.50 of my universal credit

[mostlysignssomeportents]

Epic Systems, a lethal health record monopolist

Epic Systems makes the dominant electronic health record (EHR) system in America; if you're a doctor, chances are you are required to use it, and for every hour a doctor spends with a patient, they have to spend two hours doing clinically useless bureaucratic data-entry on an Epic EHR.

How could a product so manifestly unfit for purpose be the absolute market leader? Simple: as Robert Kuttner describes in an excellent feature in The American Prospect, Epic may be a clinical disaster, but it's a profit-generating miracle:

https://prospect.org/health/2024-10-01-epic-dystopia/

At the core of Epic's value proposition is "upcoding," a form of billing fraud that is beloved of hospital administrators, including the "nonprofit" hospitals that generate vast fortunes that are somehow not characterized as profits. Here's a particularly egregious form of upcoding: back in 2020, the Poudre Valley Hospital in Ft Collins, CO locked all its doors except the ER entrance. Every patient entering the hospital, including those receiving absolutely routine care, was therefore processed as an "emergency."

In April 2020, Caitlin Wells Salerno – a pregnant biologist – drove to Poudre Valley with normal labor pains. She walked herself up to obstetrics, declining the offer of a wheelchair, stopping only to snap a cheeky selfie. Nevertheless, the hospital recorded her normal, uncomplicated birth as a Level 5 emergency – comparable to a major heart-attack – and whacked her with a $2755 bill for emergency care:

https://pluralistic.net/2021/10/27/crossing-a-line/#zero-fucks-given

Upcoding has its origins in the Reagan revolution, when the market-worshipping cultists he'd put in charge of health care created the "Prospective Payment System," which paid a lump sum for care. The idea was to incentivize hospitals to provide efficient care, since they could keep the difference between whatever they spent getting you better and the set PPS amount that Medicare would reimburse them. Hospitals responded by inventing upcoding: a patient with controlled, long-term coronary disease who showed up with a broken leg would get coded for the coronary condition and the cast, and the hospital would pocket both lump sums:

https://pluralistic.net/2024/06/13/a-punch-in-the-guts/#hayek-pilled

The reason hospital administrators love Epic, and pay gigantic sums for systemwide software licenses, is directly connected to the two hours that doctors spent filling in Epic forms for every hour they spend treating patients. Epic collects all that extra information in order to identify potential sources of plausible upcodes, which allows hospitals to bill patients, insurers, and Medicare through the nose for routine care. Epic can automatically recode "diabetes with no complications" from a Hierarchical Condition Category code 19 (worth $894.40) as "diabetes with kidney failure," code 18 and 136, which gooses the reimbursement to $1273.60.

Epic snitches on doctors to their bosses, giving them a dashboard to track doctors' compliance with upcoding suggestions. One of Kuttner's doctor sources says her supervisor contacts her with questions like, "That appointment was a 2. Don’t you think it might be a 3?"

Robert Kuttner is the perfect journalist to unravel the Epic scam. As a journalist who wrote for The New England Journal of Medicine, he's got an insider's knowledge of the health industry, and plenty of sources among health professionals. As he tells it, Epic is a cultlike, insular company that employs 12.500 people in its hometown of Verona, WI.

The EHR industry's origins start with a GW Bush-era law called the HITECH Act, which was later folded into Obama's Recovery Act in 2009. Obama provided $27b to hospitals that installed EHR systems. These systems had to more than track patient outcomes – they also provided the data for pay-for-performance incentives. EHRs were already trying to do something very complicated – track health outcomes – but now they were also meant to underpin a cockamamie "incentives" program that was supposed to provide a carrot to the health industry so it would stop killing people and ripping off Medicare. EHRs devolved into obscenely complex spaghetti systems that doctors and nurses loathed on sight.

But there was one group that loved EHRs: hospital administrators and the private companies offering Medicare Advantage plans (which also benefited from upcoding patients in order to soak Uncle Sucker):

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8649706/

The spread of EHRs neatly tracks with a spike in upcharging: "from 2014 through 2019, the number of hospital stays billed at the highest severity level increased almost 20 percent…the number of stays billed at each of the other severity levels decreased":

https://oig.hhs.gov/oei/reports/OEI-02-18-00380.pdf

The purpose of a system is what it does. Epic's industry-dominating EHR is great at price-gouging, but it sucks as a clinical tool – it takes 18 keystrokes just to enter a prescription:

https://jamanetwork.com/journals/jamanetworkopen/fullarticle/2729481

Doctors need to see patients, but their bosses demand that they satisfy Epic's endless red tape. Doctors now routinely stay late after work and show up hours early, just to do paperwork. It's not enough. According to another one of Kuttner's sources, doctors routinely copy-and-paste earlier entries into the current one, a practice that generates rampant errors. Some just make up random numbers to fulfill Epic's nonsensical requirements: the same source told Kuttner that when prompted to enter a pain score for his TB patients, he just enters "zero."

Don't worry, Epic has a solution: AI. They've rolled out an "ambient listening" tool that attempts to transcribe everything the doctor and patient say during an exam and then bash it into a visit report. Not only is this prone to the customary mistakes that make AI unsuited to high-stakes, error-sensitive applications, it also represents a profound misunderstanding of the purpose of clinical notes.

The very exercise of organizing your thoughts and reflections about an event – such as a medical exam – into a coherent report makes you apply rigor and perspective to events that otherwise arrive as a series of fleeting impressions and reactions. That's why blogging is such an effective practice:

https://pluralistic.net/2021/05/09/the-memex-method/

The answer to doctors not having time to reflect and organize good notes is to give them more time – not more AI. As another doctor told Kuttner: "Ambient listening is a solution to a self-created problem of requiring too much data entry by clinicians."

EHRs are one of those especially hellish public-private partnerships. Health care doctrine from Reagan to Obama insisted that the system just needed to be exposed to market forces and incentives. EHRs are designed to allow hospitals to win as many of these incentives as possible. Epic's clinical care modules do this by bombarding doctors with low-quality diagnostic suggestions with "little to do with a patient’s actual condition and risks," leading to "alert fatigue," so doctors miss the important alerts in the storm of nonsense elbow-jostling:

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5058605/

Clinicians who actually want to improve the quality of care in their facilities end up recording data manually and keying it into spreadsheets, because they can't get Epic to give them the data they need. Meanwhile, an army of high-priced consultants stand ready to give clinicians advise on getting Epic to do what they need, but can't seem to deliver.

Ironically, one of the benefits that Epic touts is its interoperability: hospitals that buy Epic systems can interconnect those with other Epic systems, and there's a large ecosystem of aftermarket add-ons that work with Epic. But Epic is a product, not a protocol, so its much-touted interop exists entirely on its terms, and at its sufferance. If Epic chooses, a doctor using its products can send files to a doctor using a rival product. But Epic can also veto that activity – and its veto extends to deciding whether a hospital can export their patient records to a competing service and get off Epic altogether.

One major selling point for Epic is its capacity to export "anonymized" data for medical research. Very large patient data-sets like Epic's are reasonably believed to contain many potential medical insights, so medical researchers are very excited at the prospect of interrogating that data.

But Epic's approach – anonymizing files containing the most sensitive information imaginable, about millions of people, and then releasing them to third parties – is a nightmare. "De-identified" data-sets are notoriously vulnerable to "re-identification" and the threat of re-identification only increases every time there's another release or breach, which can used to reveal the identities of people in anonymized records. For example, if you have a database of all the prescribing at a given hospital – a numeric identifier representing the patient, and the time and date when they saw a doctor and got a scrip. At any time in the future, a big location-data breach – say, from Uber or a transit system – can show you which people went back and forth to the hospital at the times that line up with those doctor's appointments, unmasking the person who got abortion meds, cancer meds, psychiatric meds or other sensitive prescriptions.

The fact that anonymized data can – will! – be re-identified doesn't mean we have to give up on the prospect of gleaning insight from medical records. In the UK, the eminent doctor Ben Goldacre and colleagues built an incredible effective, privacy-preserving "trusted research environment" (TRE) to operate on millions of NHS records across a decentralized system of hospitals and trusts without ever moving the data off their own servers:

https://pluralistic.net/2024/03/08/the-fire-of-orodruin/#are-we-the-baddies

The TRE is an open source, transparent server that accepts complex research questions in the form of database queries. These queries are posted to a public server for peer-review and revision, and when they're ready, the TRE sends them to each of the databases where the records are held. Those databases transmit responses to the TRE, which then publishes them. This has been unimaginably successful: the prototype of the TRE launched during the lockdown generated sixty papers in Nature in a matter of months.

Monopolies are inefficient, and Epic's outmoded and dangerous approach to research, along with the roadblocks it puts in the way of clinical excellence, epitomizes the problems with monopoly. America's health care industry is a dumpster fire from top to bottom – from Medicare Advantage to hospital cartels – and allowing Epic to dominate the EHR market has somehow, incredibly, made that system even worse.

Naturally, Kuttner finishes out his article with some antitrust analysis, sketching out how the Sherman Act could be brought to bear on Epic. Something has to be done. Epic's software is one of the many reasons that MDs are leaving the medical profession in droves.

Epic epitomizes the long-standing class war between doctors who want to take care of their patients and hospital executives who want to make a buck off of those patients.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/02/upcoded-to-death/#thanks-obama

Image: Flying Logos (modified) https://commons.wikimedia.org/wiki/File:Over_$1,000,000_dollars_in_USD_$100_bill_stacks.png

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

[robertreich]

Why Trump Is Partnering With Christian Nationalists

Donald Trump is portraying himself as a religious savior. He says Election Day will be: …”the most important day in the history of our country, and it’s going to be Christian Visibility Day.”

Trump has repeatedly compared his criminal trials to the crucifixion of Jesus, promoted videos calling his reelection “the most important moment in human history,” and that describe him as a divinely appointed ruler.

He claims to be a holy warrior against an imaginary attack on Christianity.

TRUMP: They want to tear down crosses//But no one will be touching the cross of Christ under the Trump administration. I swear to you.

He’s even selling his own version of the Bible.

Trump is playing to a rising white Christian Nationalist movement within the Republican Party.

Christian Nationalists believe that the law of the land is not the Constitution, but instead the law of God as they interpret it. Under this view, atheists and people of other faiths (including Christians of other denominations) are all second-class citizens.

Trump’s supporters are increasingly overt in their calls to replace democracy with a MAGA theocracy.

The idea that the will of voters is irrelevant because God has anointed Trump was a recurring message in the efforts to overturn the 2020 election.

In previous videos, I’ve highlighted how MAGA Republicans have embraced core elements of fascism. They reject democracy, stoke fear of immigrants and minorities, embrace a gender and ethnic hierarchy, and look to a strongman to lead and defend them.

The combination of fascism and Christian Nationalism is called Christofascism, a term first used half a century ago by the theologian Dorothee Sölle. Fascists rise to power by characterizing their opponents as subhuman. Christofascists take it a step further by casting opponents as not just subhuman, but actually demonic.

Framing opponents as enemies of God makes violence against them not only seem justifiable, but divinely sanctioned, and almost inevitable.

Christofascists want to strip away a wide range of rights Americans take for granted. Former Trump staffers involved in developing plans for a second Trump term have called for imposing “Biblical” tests on immigration, overturning marriage equality, and restricting contraception.  

And MAGA-aligned judges are already setting their dogma ahead of the Constitution. In his concurring opinion on the case that declared frozen embryos are people, Alabama Supreme Court Justice Tom Parker cited God more than forty times and quoted the Book of Genesis and other religious texts.

Nothing could be more un-American than the Christian Nationalist vision. So many of America’s founders came here as refugees seeking religious freedom. The framers of the Constitution were adamant that religion had no role in our government. The words “God,” “Jesus,” and “Christ,” don’t appear anywhere in the Constitution. And the very first words of the Bill of Rights are a promise that “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof.”

Christofascism, or any religion-based form of government, is a rejection of everything America has aspired to be — a secular, multi-racial society whose inhabitants have come from everywhere, bound together by a faith in equal opportunity, democracy, and the rule of law.

Beware.

[solaireez]

untitled

Luke Castellan x fem!reader

warning: smut, sub!luke if you squint, not very good writing, not proofread😭

wc: 1.1k

a/n: i was bored and i want to post it so 🤷‍♀️ kinda slow build up towards the actual smut part. i had no idea how to transition from a non sexual setting so, mac n' cheese.

i apologize if my writing is poor, the only thing i’ve wrote besides this was a Draco malfoy fanfic back in 2020 which was so much worse. and i’ve never posted anything on tumblr.

Summer air fills my lungs, camp was being more calm as usual. The campfire glowed dimly beneath the daylight. Luke sat next to me, eating through his lunch. His left hand placed delicately on my right thigh. I glanced up at him, his dark curls practically poking through his eyes.

“you should let me cut it.” I laughed, raising my right hand to push his hair away from his face.

 I took a strand and pulled, measuring how far his hair went. It sat right below his eye. He looked up at me. He smiled despite his mouth being full of mac n’ cheese. His scar scrunching up as he tried to hold his laugh. He quickly tried to swallow his food so he could reply.

“fuck, no” he pulled his head away from my grasp on his hair, laughing.

“why?” I asked firmly. My hand reached back up to mess up his hair.

He grasped on my wrist, both of them. He pushed them away from him. We stopped abruptly, staring at each others eyes. His drifted briefly to my lips. Our breaths were heavy. His grip still tight against my wrist, I was sure he could feel my pulse. He let go, chugging the glass of water before standing up and dragging me to his cabin.

It was empty. It was just us.

My back gently hit the wall by his bed. His hands falling down from my neck down to my waist. Our lips crashed, my hands reached back into his hair. The sounds of people screaming from afar was drowned out by our own breaths. I hummed, pulling away. My fingers traced his scar, I felt him twitch from the touch. He rested his forehead on mine. I pushed against him, guiding him to sit down on the bed. He followed my lead, looking up to me from his position. I stood in front of him, my hand stayed on his cheek, his hand still on my waist.

I slowly climbed on him. Carefully setting each knee beside him. Our eyes still locked. Our breaths still thick around us. I settled above him, refusing to sit on his lap. He had his head tilted back to look at me. My hand supporting the back of neck. Our lips met again, I pulled his head further up. I deepened the kiss, causing him to fall back to the bed. He laid down, watching me sit above him, his eyes never left me. I reached the hem of my shirt, slowly raising it to reveal my skin. That was when his eyes left mine for the first time. He watched me slowly remove the bright orange shirt. His breath hitched as I revealed my tits. His eyes were hungry. Hungry for me. I stepped off the bed, letting him reposition himself on the bed. I unbuttoned my shorts, watching his eyes try to decide where to look. The way I slid my shorts off forced a moan out of Luke. His eyes staring back to mine. He took his bottom lip between his teeth. His hands quickly took off his shirt, then his pants. He was naked before I made my way back on the bed. I still had my bra and panties on. I was on my knees above him. His hand reached behind, fiddling with my bra clasp. I smiled, letting him know he could take it off. He quickly did, with one hand, while the other rested on my waist. I let my bra fall down my body. His eyes falter, falling to my bare tits. my hands trace along the hem of my panties, the stop on each side of my waist. I pull them down slowly, purposely teasing Luke. He took a deep breath as I reveal my pussy. His cock twitched against his abs. I got back up, completely removing my panties.

I finally settled down on his thighs. The base of his cock sat inches from my core. I moved closer to his face, he moved forward, expecting me to kiss him. I held his head in place, roughly cupping his chin, causing his lips to part.

“open.” I commanded.

His mouth opened wider. I inched closer, and closer. I let our lips almost touch, before I shoved my tongue in his mouth. This kiss was different. We were desperate. I sat up, my left hand going down and guiding his cock into me. We moaned into each others mouths. We felt dirty. I lifted my hips, before slamming back down. His hands now gripping my ass. His grasp limiting my movements. He slowly pushed my body toward him, making me grind on his dick. Our mouths still latched on each other. He kept his place on my ass, helping me move. Our moans filling the empty cabin. I pulled away from him. My head lowered to his neck, biting down on his adams apple. His head fell back, allowing me more access. I chuckled at him, my lips kissed the skin. Occasionally biting down, hard enough to leave marks. Every time my teeth sank down, a whimper make its way out his throat.

“fuck…” he whispered, his nails digging into my skin. My hips maintained a rhythm against his cock. His hands leave my ass, moving up to my back. Then he was hugging me. His head falling, he rested his head on my collarbone.

“Luke.” His name left my mouth like a plea. He lifted his head, looking back to my eyes. We kissed again, this time it was softer. It felt reassuring. My arms sat around his neck. Our movements became sloppier, the rhythm lost within the pleasure. I felt his cock twitch inside me. A familiar feeling bloomed in my stomach. Our faces rest against each other as we caught our highs. His cum spilling inside me.

We let our breaths slow, embracing each other. My forehead touching his. I kissed his face, every part I could reach without moving too much. He softly gripped my hips. I understood what he meant. I got off from my place on his lap, his cock slipping out of me. He carefully laid down, leaving space for me in his arms.

“I’m pretty sure we have archery right now.” He groaned at my reminder. His arm went to cover his flushed face. I laughed at his behavior. I dressed myself, watching Luke complain and try to get me into his arms.

“we have to go Luke!” I threw his shirt to his face, then his pants, which he did nothing about, laying still. I removed the clothes from his face, and threw his boxers instead, which triggered him to get up. He hugged my body and threw me back into bed. He caged me. I couldn’t move one bit.

“I’m letting you have 5 minutes.” I grumbled, burying my face into his bicep.

He only hummed in response.

[mtg-cards-hourly]

Bone Splinters

"I will make your bones into a weapon that will lay even the mighty low." —Modriss of Zargoth Fen

Artist: Cole Eastburn TCG Player Link Scryfall Link EDHREC Link

[haaaaaaaaaaaave-you-met-ted]

Hard Cover by Pindurski

[probablyasocialecologist]

Harris stretched her coalition into incoherence. Inhumanly—as well as fruitlessly—she attempted to score points from the right on immigration, accusing Trump of insufficient dedication to building the wall. Her cack-handed performances of sympathy with Palestinians accompanied an evident commitment to follow Benjamin Netanyahu into a regional war. The Harris campaign featured a grab bag of policies, some good, some bad, but sharing no clear thematic unity or vision. She almost always offered evasive answers to challenging questions. And she adopted a generally aristocratic rather than demotic manner, which placed the candidate and her elite friends and allies at the center rather than the people they sought to represent. In these ways, Harris repeated not only Hillary Clinton’s errors but many of the same ones that she herself had made in her ill-starred 2019 presidential campaign, which opportunistically tacked left rather than right, but with equal insincerity and incoherence. Who remembers that campaign’s biggest moment, when she attacked Biden for his opposition to busing and what it would have implied for a younger version of herself, only to reveal when questioned that she also opposed busing? Or when she endorsed Medicare for All, raising her hand in a debate for the idea of private insurance abolition, only to later claim she hadn’t understood the question? Voters, then as now, found her vacuous and unintelligible, a politician of pure artifice seemingly without ideological depths she could draw from and externalize. She often gave the sense of a student caught without having done her homework, trying to work out what she was supposed to say rather than expressing any underlying, decided position. Even abortion rights, her strongest issue, felt at times like a rhetorical prop, given her own and her party’s inaction in the years prior to Dobbs. How many times before had Democrats promised to institutionalize and expand the protections of Roe, only to drop the matter after November?

[...]

The Democrats, in other words, comprehensively failed to set the terms of ideological debate in any respect. Their defensiveness and hypocrisy served only to give encouragement to Trump while demobilizing their own voters, whom they will no doubt now blame—as though millions of disaggregated, disorganized individuals can constitute a culpable agent in the same way a political party’s leadership can. But the party’s leaders are to blame, not that many in the center have cared or even seemed willing to reflect on a decade of catastrophe. Has anyone who complained that the 2020 George Floyd rebellion would cost Democrats votes due to the extremism of its associated demands reckoned with the empirical finding that the opposite proved true? That the narrow victory of Biden in 2020 was likely attributable to noisy protests that liberals wished would be quieter and calmer? Has anyone acknowledged the unique popularity of Sanders with Latinx voters, a once-core constituency that the Democrats are now on the verge of losing outright? The pathologies of the Democrats, though, are in a sense not the result of errors. It is the structural role and composition of the party that produces its duplicitous and incoherent orientation. It is the mainstream party of globalized neoliberal capitalism, and at the same time, by tradition anyway, the party of the working class. As the organized power of the latter has been washed away, the commitment has become somewhat more aspirational: Harris notably cleaned up with the richest income bracket of voters. The only issues on which Harris hinted of a break with Biden concerned more favorable treatment of the billionaires who surrounded her, and her closest advisers included figures like David Plouffe, former senior vice president of Uber, and Harris’s brother-in-law Tony West, formerly the chief legal officer of Uber, who successfully urged her to drop Biden-era populism and cultivate relations with corporate allies.

8 November 2024

[canmom]

Animation Night 189: Nonphotorealistic

There is a funny trend in animation-related terminology to define things by what they aren't. Animation is any technique for creating film that isn't live action. Limited animation is any style of 2D animation that doesn't follow the conventions of Disney's 'full animation' on 1s and 2s - a category that includes a wildly diverse range of approaches and techniques, as this wonderful history by Animation Obsessive describes.

In 3DCG circles, there is a similar term: nonphotorealistic. Which describes, naturally, anything that isn't trying to look like a photograph of a real scene. There has been a real boom in this of late, and just like the other terms, it really doesn't narrow it down very much. Other terms like 'hybrid animation' add a bit more hints.

Of course, if you've been anywhere near animation in the last few years, you'll probably know another term: 'Spiderverse style'.

There is no denying that Spider-Man: Into the Spiderverse (2018) by Sony Pictures Animation was an absolute landmark for animation. (I wrote about it way back on AN21, focusing more on the cultural angle.) The ludicrously stylish film pretty much set the direction for animation in the 2020s - making a bunch of money and awards and thus finally throwing open the door to 3DCG animation that doesn't look like the style set by Pixar/Dreamworks in the 2000s. Its sequel, Across the Spiderverse (2023), was even more ambitious and successful (despite a troubled production involving a lot of needless crunch). We'll be showing that soon in a Spiderverse double bill so look forward to it!

So perhaps not surprising that when people see the use of graphical styles, 2D elements, limited framerates and the like in 3DCG these days, Spiderverse comes to mind. In its wake have come various films and series that apply these and related techniques: 3DCG animation is more varied than ever, and it's cool.

It isn't really a style, tho.

Here I'm indebted to youtuber Camwing who has made a nice video overview breaking down the animation of recent movies in this vaguely defined paradigm. Among them we have The Mitchells vs the Machines (2021, also Sony), Puss in Boots: The Last Wish (2022, Dreamworks), and Teenage Mutant Ninja Turtles: Mutant Mayhem (2023, animated at the French/Canadian studio Mikros animation), and of course over on Netflix you got the wildly popular League of Legends spinoff series Arcane (2021, Fortiche Productions), and the romance film Entergalactic (2022, DNEG), tying in with an album of the same name.

None of these films has exactly the same style, but they all pull from a related bag of tricks. The core techniques are animating on reduced framerates for a 'snappy', high-clarity feeling, the combination of 2D and 3D elements in some fashion, and taking inspiration from traditional media such as paintings or comic books.

For example, Arcane and Entergalactic both use the trick of 2D backgrounds/projecting paintings onto 3D geometry, inhabited by 3D characters with a stylised shader. Arcane is dripping with 2D visual effects. Puss in Boots drops the framerate during its action scenes - the opposite of the old paradigm of full animation, where fast actions would get more frames. Spiderverse draws 2D expressions onto its 3D models to push them further, and is full of all kinds of colourful stylised rendering - screentone effects, kirby dots, outlines, the works.

It's tempting to link this to 2D-in-3D animation, and certainly many of these films apply this technique - this is the major niche where Blender has found its way into industry pipelines. But using 2D isn't mandatory to count here. For example, TMNT Mutant Mayhem has an incredibly striking storybook-painting style, accomplished largely by clever shader work and a strong sense of graphic design. Genndy Tartakovsky's canned 2014 Popeye project was planning to use a ton of 2D-style posing and squash-and-stretch, accomplished largely with rigged 3D models. There are many paths to take!

And mind you, I haven't even covered one of the biggest angles here. Search for nonphotorealistic 3DCG on Youtube and what you'll probably find most is information about cel-shading - aka 'anime style'. This has also advanced considerably in the last few years, with the techniques pioneered by Arc System Works in Guilty Gear such as editing the normals of characters for more precise control over shading, and minute adjustments to break up the mechanical feeling of 3D, becoming widely copied in both games and films. (And particularly, animated porn.)

Vtubers in particular have really run with this technique, generally speaking using cel-shaded models with edited normals, inverted eyes, etc. etc. to try and get the feeling of an anime character come to life. [You can see a lot of these state of the art techniques if you download Pixiv's free VRoid Studio software and import the model into Blender using the VRM plugin.]

Naturally this kind of cel-shaded approach has found a particular home in Japan. In anime, the biggest champions of it are certainly Studio Orange, whose hybrid approach involves planning out shots with 2D animation before matching them with the rigs. We've covered their adaptation of Houseki no Kuni in great detail on Animation Night 97; their Trigun reboot was perhaps even more popular. But cel-shaded techniques, 3D previs and the like have also made their way into big films like Eva 3.0+1.0 (AN66).

Although this type of rendering aims to recreate the look and feel of 2D animation as much as possible, it always ends up being something new: character models that would be too complex to draw, an ease to 3D movements and camerawork that would be challenging in 2D, and generally a new hybrid style. This is good! 2D animation is already very good at being 2D animation - it's fascinating to see what 3DCG becomes with that inspiration.

So with that brief overview, where does that take us tonight?

I'm not quite ready to do a Spiderverse double bill tonight, so instead the plan is to check out a couple of recent American franchise films that are taking on the new suite of techniques. I've mentioned them up above, but let me introduce them more fully here.

Puss in Boots: The Last Wish is a sequel to a fairly unpopular spinoff about a side character of the Shrek franchise (AN75). Not, on its face, very promising - which is why it is all the more striking that I was told on all sorts of sides that I must watch this movie. I'm finally going to make good on that.

The title character is a kind of feline musketeer type, now facing the end of his swashbuckling career as he's lost 8 of his 9 lives. Not wanting to hang up his hat, he goes on a quest to restore them. What makes it stand out its the action scenes, which go all in on the anime-influenced, extreme perspective and lighting, limited framerate style that we're discussing above. Apparently it looks sick as shit.

Teenage Mutant Ninja Turtles: Mutant Mayhem is a fresh reboot of the venerable TMNT franchise, which pretty much describes itself in the title: four turtles (named after Renaissance painters, of course!) live in a sewer as ninjas, led by their aging master who is a rat. Starting as a comic book, it became one of the iconic toyline-driven TV shows of the 80s - but it's still going! Indeed, Turtles has been on a roll of late (at least going by animator scuttlebutt), with Australian studio Flying Bark Productions turning a lot of heads with their neo-Kanada School style (and for really stretching the definition of 'storyboard').

This new film takes a different approach to the bombastic action of Rise. It focuses on a new origin story for the turtles, telling a kind of coming of age story - but what makes it unique is the animation style and cinematography. Cinéma vérité is not a phrase you really expect to be associated with ninja turtles, but the film seems to really go all out in a way you wouldn't really expect from a franchise movie, shooting the young turtles in a handheld style and focus heavily on character. Marcel Reinhard's shader work, allowing the animators to isolate lights to specific objects and characters and introducing graphical elements of cross-hatching, stippling, etc. etc. to the lighting, gives it a uniquely painting-like feeling, augmented by a lot of 2D creativity in lighting and effects.

Turtles has never really been my thing, but this film looks unique enough that I really want to see it - and I hear it's a good film too.

So that's our bill for tonight! Puss and Turtles. Let's see what the big studios have been cooking of late...

Animation Night 189 will be starting around 10pm UK time (roughly three hours hence) and carrying on til about 2-3am same! We'll be on twitch.tv/canmom as usual. Hope to see you there!

[drenched-in-sunlight]

"Marika becomes the sum of all the Fromsoft girlies" is nice but you forgot Nashandra who actually has parallels with Marika! Recommending to check it out, she's cool!

let’s get this out of the way now… I love DS2, I think the vibe and gameplay is immaculate and I’ll defend it as a whimsical and enjoyable videogame experience till the end of time.

But my god, I hate how they handle female characters in that one 💀

In fact, I don’t like how they handle female characters in DS franchise in general. It got a bit better in Bloodborne and Sekiro and especially AC6, but overall ever since I started playing Fromsoft game in 2020, my main gripe with them is they only have 2 tropes to shoehorn their female character into: helpless victim of a system that would mangle and exploit them OR serious sword lady. And if I’m being real, it’s the main gripe I have with Elden Ring base game too?

I didn’t discuss it on tumblr because back then I were still trying to keep this blog art-focused, but when the game came out in 2022, I did express my concern on twitter that I found the female characters cast… strangely lacking. Because I went into the game expecting Ema-level of writing (literally Sekiro’s Ema is one of the best female characters Fromsoft has ever written to this day I could and have talked ppl’s ears off about her. And I’m glad she on her own is very different from Marika. That means they could at least write 2 more types of female characters now the bar is on the floor but I’ll take it and cherish what I have), but it felt like they got reset back to DS franchise with ER base game.

(This has an added layer of me being a girl born, raised and lived in a Sinosphere country that is entrenched in Confucius values just like Japan, so yes I do understand and experience firsthand the underlying culture values that shapes their writing. Hell, I live and study postgraduate in Japan for 2 years too).

But we are going off track, this is about DS2. Now, my problem with DS2 is, see, with 1 or 3, the female characters either have very little agency or no agency at all. And it just…. be like that. The male characters are somewhat the same, so it really doesn’t bother me that much. The cool, unique, not sexualized design is enough. But 2?

2 has a lot of female characters…. who either play no role in the world setting or sinister figures that charm men and bring ruins to kingdoms? What?

(Before anyone says “but Lucatiel—” Lucatiel is the beacon of light in that game, yes, but at the same time her purpose centering around her brother is… also a problem I have with the way they handle Malenia’s story. My Fromsoft experience has lore to it as well jfc)

Like, it’s just ??? to me half of those women have no agency or backstory whatsoever apart from being the Dark’s daughters that would bring doom everywhere they go??? You can say everything wrong in DS2 world is their fault and I actually wouldn’t have much to argue. Actually, it’s interesting you bring up Nashandra because I do think Nashandra has parallel in Elden Ring. But not to Marika.

Nanaya.

That’s who reminds me of Nashandra in Elden Ring. Literally the mysterious, lowkey nefarious lady and her old man husband with questionable dynamic DS2 trope 🧍‍♀️ you can actually see that in their name too.

If I have to pick a character in DS franchise specifically to make parallel to Marika, it’ll always be Gwynevere. Because I honestly think it’s amazing they took a character that has the least amount of agency they’ve ever created, and turned the core concept of her (warmth, healing spells, sunlight, mother, daughter, queen, faith) into another character with actual good writing.

That’s why I didn’t include Nashandra in my previous post. Not because I don’t know about her. It’s because I know.