#depends on the industry

[factual-flittermouse]

I love tumblr. Like this content? Here’s more of the same thing. Think these people are neat? They are on the first page now. Want to talk to people you know irl who might judge your interests or the comments you usually keep in your head? Nah, there are plenty of other apps for that. Here, have a random username with a bunch of numbers in it so nobody can find you unless they follow you. It’s perfect.

[idontmindifuforgetme]

I’ll be a doctor one day and all the pharmaceutical reps will be waiting in the lobby for hours begging for a chance to speak with me to push their samples to patients and I’ll have pharmaceutical companies buying free lunch for my employees every day just so they can sit w me at lunch and speak to me and I’ll also have a housewife/husband but instead it’ll be an office wife/husband and they’ll run the managerial aspects of my hospital for me . Among other things

[fbfh]

Imagine topping Leo in a chair?

LITERALLY love you for this. riding Leo in a chair is in like your top 5 favorite ways to ride Leo. your faces are so close together and he can feel every intimate rockwing bouncing squeeze of your tight juicy little hole gripping his throbbing cock like a vise. his eyes are so wide and his grip on your soft hips is nearly enough to leave pretty little fingertip bruises polkadotting your thighs (which he's obsessed with) and your hips (which he's also obsessed with) and your ass (are you sensing a pattern here????) and god everything you do drives him crazy but CHRIST the way you hold his face so sweetly in your pretty hands, so innocent and tender while simultaneously milking his cock for all he's got. and he'll give it to you. Leo will let you ride him in that chair that he can't look at after that without going half mast. he'll let you ride him until he's shooting blanks, until both of your cum drips on the floor, mixing in messy creamy beautiful puddles. Leo will throw his head back in pleasure, panting, chest heaving and giving you the best view of his perfect neck that's just begging to be covered in hickeys and bites. Leo will let you ride him in a chair until he passes out. can't walk. pounding down gatorade and liquid iv to try and rehydrate. and he'll thank you for it.

[nero-neptune]

“Roy was the engineer, and anything related to engineering, in any specialism, would have to pass through his hands. This included assembling the plane’s radio, just like he’d fixed the small battery-operated Spika radio and made it work.

“Adolfo sat down beside him. He explained to Roy that it was not a matter of expertise in electronics but one of ignorance, and pointed out that Roy was the least ignorant of everybody in that department. Roy argued that he had never seen an airplane radio in his life, not even in a book. Adolfo put his hand over Roy’s. ‘I know that, Roy. We all know that. I only wanted to tell you that you were the best one at handling the wires and the terminals, that’s all. But right now that’s a lot, it makes a huge difference … you are the engineer.’

“Roy, almost breathless, added something that his older friend already knew: ‘I am barely in my first year in Engineering, I’m only twenty years old, and the only time I’ve ever been remotely close to anything like this was when I helped instal a damn audio system for my cousins.’

“‘And you fixed the Spika radio,’ Adolfo responded, as if it were a thermonuclear station and not a basic portable radio the size of a pack of cigarettes. Before Adolfo even said the next sentence he knew clearly that it was as painful for him to say as it was for his friend to hear it. ‘Roy, the group needs your abilities. All we’re asking is that you try.’ ”

– “Is Anybody Listening?” from Society of the Snow: The Definitive Account of the World’s Greatest Survival Story by Pablo Vierci

LA SOCIEDAD DE LA NIEVE | SOCIETY OF THE SNOW (2023) dir. J. A. Bayona

[henrysglock]

respectfully, sir, i think you’re um. missing something from your chest.

[twinliches]

How does one get into Space Law?? What choices led to that as a career? And can you give me a rundown of a normal day in Space Law?

well, getting into space law is easy - you study space law in uni. every continent offers multiple degrees either in space law or in international law with a space law specialization down the line. the hard part is knowing it exists, everything else is peanuts.

i have had two space law jobs so far, and both of them are very different in their normal days.

when i used to work in space law development, our days consisted of either being at the united nations and arguing with other states about new space law, or being at home in the ministry and writing advice for the government how to handle legal problems in space.

as a legal researchers, i mostly read a lot of papers, publish work and present at conferences, so just like any other academic job i imagine, just about - space law. there is five international space treaties, dozens of policies adopted by the UN and other intergovernmental bodies about all aspects of spacefaring, most countries having national space law and with over 8000 satellites in space, there is always something new to write about!!

[transmutationisms]

is planned obsolescence a legitimate phenomenon or just another rephrasing of trad past worship?

largely it's real (look up the world's longest burning lightbulb if you want to get annoyed) but a lot of people who talk about it veer straight into glorifying like post-war american industrial production without questioning the imperialism that made it possible and ultimately made it more profitable to move abroad and create shittier products

[franklyimissparis]

i think it’s funny how when some people talk abt alex turner’s potential drug usage it’ll either be like “he has a major drug and alcohol problem it’s so obvious!!!” or “i don’t think he’s the type to have ever even tried a hard drug” as if there isn’t a ton of middle ground between those two extremes

like the man who wrote “why’d you only ever call me when you’re high” and has been a touring musician since he was 19 has obviously fucking been high - and not just with weed - but that also doesn’t mean he’s completely off his head in every interview he’s ever done 😭😭

[dreamings-free]

"We were told that BBC was now a partner in Glastonbury and wanted us to do a lot of things in a way we were not interested in"

by Max Pilley | January 1st 2025

Neil Young has said that he has decided to pull out of Glastonbury 2025 as he feels it has become “a corporate turn-off”.

[..]

Writing on his website Neil Young Archives on Tuesday (December 31), he said: “The Chrome Hearts and I were looking forward to playing Glastonbury, one of my all time favorite outdoor gigs. We were told that BBC was now a partner in Glastonbury and wanted us to do a lot of things in a way we were not interested in.”

“It seems Glastonbury is now under corporate control and is not the way I remember it being,” he continued. “Thanks for coming to see us the last time!”

“We will not be playing Glastonbury on this tour because it is a corporate turn-off, and not for me like it used to be. Hope to see you at one of the other venues on the tour.”

Glastonbury have not yet commented on Young’s comments, and it is not clear what requests the BBC had made to Young. NME have contacted Glastonbury for a response.

-> full article here at nme.com

[superkitten-poison]

to me velvette doesnt lie about *being bisexual* for attention but she lies about being bisexual *for attention*. like admitting to being attracted to women would make her a dyke and manly and f/f relationships dont even count bc her internalized misogyny goes so crazy she subconsicounsly does not see women as full people and needs men to validate her own personhood, and since men hold most of the power, surrounding herself with men is in fact a means to power. so one way she feels she Can have sexual contact with women is through excuses: it's for attention, for convenience, as a power play. but never because of her own desires and it can never mean anything. can you imagine? two women in a loving relationship. who would want to see that?

[femmchantress]

It’s always so fascinating to me that despite our comparatively backwater status in the US in terms of economic and political relevance, so many of the prominent politicians on the frontline of American fascism are Louisianans.

Like Johnson and Scalise, Kennedy in his position as wacky fascist attack dog, Landry as the hopeful in succeeding DeSantis as the rogue governor setting a precedent for what a true Trumpian red state should look like, hell even Cassidy’s position as a moderate in the current iteration of the Republican Party has a specific purpose.

[ferronickel]

Hail, flatter! This one, who is a layperson of the arts and comixcraft, has a query for you:

So like, what is flatting?

I've seen your flats in Wifwulf, and I've read about the flats in Looking Glasses, and generally get that it results in an image with similarly coloured areas sharing the same false-colour.

But like, how is it then used? The final images seem to contain more colours and shading, so why not just go straight to this? Why do false colours get used instead of the real ones? How do you pick the colours and how many get used?

How come this is a thing that a whole other person can do separately? I guess that's because it's time consuming - so it saves time somehow?

Thank you! I come in the spirit of humility wishing to relieve my ignorance of your noble craft!

OHOHOHO!!! You've activated my trap card and now I get to ramble about comics craft! And in my area of professional expertise, too! Be prepared for a long post

I'm going to start with the last part of your question:

How come this is a thing that a whole other person can do separately? I guess that's because it's time consuming - so it saves time somehow?

So the thing about comics is that it is one of the most intensely time consuming mediums to create. One person can make comics on their own fairly easily, but it takes forever to produce. Consider that I've been working on Looking Glasses for 18-19 months and have drawn about 87 pages. Now, the western comics industry expects issues to be produced monthly, generally 24 pages in length. It's very difficult for a single person to work at this rate, so the labor of producing comics has been divided. Generally these jobs become:

Writer (writes the script)

Editor (edits the script)

Artist (draws the lineart)

Colorist (colors and renders the art)

Letterer (adds balloons, dialog, and sfx)

Flatter (sometimes 'color assistant' they take the art and prepare it for coloring)

This isn't comprehensive though, there are a bunch of other jobs, like designers and layout artists. Occasionally the artist job gets broken into Pencilers (who sketch the art) and Inkers (who ink the sketch). Basically, by splitting the work amongst a number of people you can produce comics much faster. Not all of these jobs are required, and creator-owed books might have artists do their own coloring and lettering, while big work-for-hire books might have twice as many people working so they can pump out a spider-man book every other week.

Okay, so why Flatters?

Flatting at it's most basic level is just coloring inside the lines. You take a black and white page of art, and you have to fill in every part of the page that will eventually be colored. It's a pretty time consuming task depending on how involved your lineart is.

Flatting a page of Looking Glasses doesn't take me all that long, usually less than a half hour, which is pretty quick. Looking Glasses pages tend to be... optimized for flatting though. There are only ever a few characters and there aren't a ton of background details.

You mentioned Wifwulf (created by my longtime friend and collaborator Dailen Ogden), here's one of it's pages:

Basically everything that's a different base color, (every tree, plant, bit of moss, character, etc.) needed to be picked out separately. Each page of Wifwulf took me a few hours to flat. If Dailen had been doing that themself, those hours would have really added up, but instead they could spend that time drawing and coloring. Now, that said, these pages have a lot of texture, so it's hard to see exactly what I did.

Here's an example from a comic I worked on early in my career. (Lineart by Patrick Custodio)

The writer for this comic loved to put in these incredibly complex crowd scenes, which is something the artist excelled at drawing. I was coloring and flatting at this point on the book, and before I could even start coloring properly, I would need to flat for like eight hours. (I have a much more efficient method these days) It was frustrating because I just wanted to work on the actually creative part, but the majority of my time was spent on something monotonous. As soon as I got the writer to hire a flatter for me, coloring a page would take me only one or two hours, not nine or ten.

So that's why flatters exist, mainly to ease the workload on colorists.

But like, how is it then used? The final images seem to contain more colours and shading, so why not just go straight to this?

Flatting serves a couple of purposes. It's main function, like I said above, is just coloring in the lines. After finishing your lineart it has to get colored in, so in a layer below the lines, you add colors.

The secondary function is preservation. I like to work in a way that is non-destructive, basically, at any point in the process I can restore an earlier version of the drawing if I make a mistake or don't like something. Flats are integral to this.

In digital art, there's this thing called anti-aliasing, where the edges of a line or shape have a drop off of pixel color or opacity. It makes the edges look smoother or blurrier. The three dots on the left are Anti-Aliased, while the one on the right is Aliased, there's no drop off, just hard pixels.

Anti-aliasing is fine until you need to change the color using the paint bucket, or select using the magic wand...

See how the anti-aliased art doesn't play well with these tools, but the aliased art does? So with something like Wifwulf, the final art is going to be full of texture that makes it impossible to select anything again once it's painted. By having a dedicated aliased flats layer under the rest of the artwork, you can always re-select any part of the image you want.

I always leave my flats layer alone, and do any detail work in layers above. For example when I was painting this, it really helped to be able to select just the titan so I could work on those paints without worrying about brushstrokes overlapping the rest of the characters.

One of the other things you can do with flats is quickly selecting certain elements. On most pages, I flat my panels, figures, and background elements separately. Later, with a single button press, I can select just the characters in the scene, or entire panels at a time, which makes things like shading a whole lot easier.

Why do false colours get used instead of the real ones?

If you're flatting for other people you often don't know what the final colors are going to be, so you just pick random ones. Garish colors can be helpful because it makes it obvious that they're not the final colors. Why don't I use the correct colors on my own pages when I'm flatting? Habit, mostly. It's also faster to grab random colors than to track down the correct ones. Sometimes two different things will have the same final color but I like to flat them with different colors so I can select them individually if I need to.

You can see the process a bit here. In my flats, Lancer's spade (eye? eyes? thing) is a different color from his tongue, even if they end up being the same white in the final image. This would help if I ever needed to select just his eyes for some reason. You can also see how I select his body fur color and then add details on top, like his colored fingers and the grey on his arm. Those elements have blurry anti-aliased edges, and it would be impossible to re-select them without flats.

How do you pick the colours and how many get used?

I use the default "additional color set" palette in clip studio and just work my way through it. I pick row and work my way down (for a change of pace I vary which row I start with). How many is mostly dependent on the artwork. You just keep going until you run out of individual objects to color. I have worked on pages where I've run out of colors on this palette and had to start making up more. Typically a page of Looking Glasses only needs around 20-30, though.

So! That's flatting! It's a little known job, and it's how I got started with my comics career, so I have a lot of thoughts on it. I was trying to be concise (lol), so I hope this all makes sense, but I'd be happy to clarify or answer any other questions about this process. I know I didn't really go into how I flat my work, so I can make that post if anyone is interested.

[impulsivedecisionsat3am]

do people actually have nice dreams or is that just propaganda from the melatonin industry? and also does anyone else get sequel dreams of previous dreams?

[pynkhues]

how to make that work both professionally and personally.

Can you talk more about this? I'm so curious because yeah, I don't think of how long-term a project is having an impact on what intimacy coordinators do, I'm just thinking of it scene by scene, but that makes sense. But I'd love to know more about what they said about what making it work both professionally and personally means.

And yes it feels like it would be surreal to really adore someone as a close friend and then also passionately make out with them before pretending to murder them and then going to dinner and hanging out. I can also see having that kind of physical intimacy on set creating more closeness more rapidly among people who maybe naturally like each other? Jacob and Sam seem to have such physical comfort with each other, with looking at each other and being in each other's personal space and touching, and HAVING to do all that on set must sometimes speed up that comfort level in real life

(x)

Yeah! She talked quite a bit about her job as being about helping the actors to build a physical language of intimacy between characters, and how with established or long-running relationships, that becomes about creating a foundation that you build off. What that means varies depending on the cast, really, because she says there's not a one-size-fits-all approach to that, and sometimes you dig really deeply, and other times it's more just about making the mechanics of a scene work.

This particular intimacy coordinator had a process where she'd meet with everyone one-on-one first (the relevant actors, director, writer), to work out what people were and weren't comfortable with, and what everyone wanted, and then they'd jump into a space together and workshop in ways that were both broad and specific. Yes, they'd workshop the scene, but she said they also sometimes do a lot of character work to understand how the character is going to respond to intimacy.

She'd been the coordinator on Love Me (a very good Australian show!) and the example she came back to a bit was with working with Hugo Weaving and Heather Mitchell and (hilariously) Emma Freeman as director (Australia is a small industry, haha). In that, Hugo's character had been caring for his very sick wife for many years who passes away right at the start of the series. He's worn down and he's grief struck, but he also hasn't been intimate with anyone in years and years, so when he finds this connection to Heather's character, he's not really sure how to navigate it.

In that, she said a lot of the intimacy coordination became about working out the history of his relationship with his wife, just how touchstarved he was, that vulnerability with having been in a caregiver role for so long that you're no longer sure how to be cared for, and what that means with physical intimacy from gentle touches to kisses to sex.

So she said that was a lot of going back to both Hugo's and Heather's characters' previous relationships and sexual history to build up this understanding of how they might be with each other. This was particularly important with them as Hugo and Heather have worked with each other a lot and are really close in real life, and it was very easy for them to slip out of character in a way that left them feeling pretty vulnerable and exposed as performers. In that sense too, she said that building up these characters histories with one another and apart also becomes about helping the actors to separate themselves from the characters and actually is a means to protect their privacy so that they can watch themselves back and see their characters having sex and not them having sex. She said it's a pretty hard line to manage sometimes, particularly when actors know each other, are friends, or have slept together before (the latter she said can be particularly hard for actors to break out from sometimes), but it's a really important one.

But yeah, she said sometimes it also is just about mechanics too, it really depends on how much intimacy there is in a show, what the creative team wants to do and also how experienced the actors are (interestingly, she said with less experienced actors, her role is usually a lot more about the actor's comfort and helping them work with other departments such as costume with things like cock socks and modesty patches, which more experienced actors are used to, than character work).

Interestingly, a lot of intimacy coordinators in my experience have a history in sex work too (two out of the three on that panel did) and this particular one had actually been a dom / dominatrix, so she talked a lot about how she uses stuff she learnt from scene preparation in supporting actors too.

I don't know if this answers your question, haha, but yeah! It's a pretty interesting space to work in, I think.

[unicornrepublic]

Quitting therapy and psychiatry and quitting my medications is honestly one of the best decisions I've ever made for myself. Every day now I wake up grateful that I don't have to let others control how I think and feel, or make me dependent on pharmaceuticals for the rest of my life. Genuinely I've been way happier and freer since quitting than I ever did going to these appointments 5 times a month, or taking medication that turned me into a different person. I have a new outlook on life, a more positive one where I only have to rely on myself. Asking for help is the self killer, all you have is yourself and who you are!!!!

[tippenfunkaport]

It will never not piss me off that 80s She-Ra toys were action figures but when they went to make toys for 2018 She-Ra, they would only give us fashion dolls.

How did they learn nothing from the popularity of their own toyline?

Literally, three decades passed and somehow sexism in toys got WORSE.