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felassan · 8 months ago

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Dragon Age: The Veilguard info compilation Post 4

[Part 1] [Part 2] [Part 3] [another post]

Post is under a cut due to length.

There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user’s post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a ‘info that came out in snippets from articles and social media posts’ collection rather than a ‘regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal’ post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this. if you notice any mistakes in this post, please tell me.

Character Creation

BioWare confirmed that even if you make your Rook a short king, the team has done work to ensure animations fit any character build [source]

"Dragon Age's character creator has seen a massive glow-up" [source]. "The volume of choices you get here are frankly insane. As Epler noted, “you could spend forever here,” and he’s not kidding." [source] The art and graphics teams spent a lot of time trying to make hair look amazing [source: the Discord]

In CC we can customise our "bulge size" [source]

Some more detail on the new lighting options to see how Rook looks like in CC when you make them: you can view them in "blazing forest sunshine versus the glare of an underground temple" [source]

"newly mobile, extra-hairy hair" [source]

Faction choice has statistical boons. For example, Shadow Dragon Rook deals extra damage to Venatori blood cultists [source]

Faction choice basically determines why Rook has been called to help in the fight against Solas [source]

All pre-determined character models in CC can be adjusted [source]

You can make a really tall dwarf if you want [source]

"Setting your previous world state is fully integrated into the character creator for Veilguard" [source: the Discord]

Inquisitor appearance will be re-created, there is no way to carry their appearance from DA:I into the game [source: the Discord]

Classes for Rook are not restricted in the sense that you can play any almost class, lineage and faction combination that you want. For example, a mage Rook can be a Crow [source: the Discord] (Fel note: it sounded like Rook cannot be a magic-wielding dwarf, even though the exception of Harding now exists) (Fel note: there is a mage Crow in one of the books)

Story and lore

Here is another article which refers to Rook as "the Rook" [source]

The story is set "9-10 years from DA:I and about 8 years from Trespasser" [source: the Discord]

They have been tracking Solas for "a while. Something else you’re gonna learn about…" [source]

The game does not use the Keep [source]

Shadow Dragon is the faction background with the most in-game reactivity (e.g. from other characters' dialogue) during the prologue section of the game, due to the fact that the prologue is in Minrathous and the Shadow Dragons are a Tevinter-based faction [source]

"I also saw a big moment after the gameplay trailer ends that I can't talk about" [source]

During the more narrative-heavy dialogue choices, "the game will also give a bit of context on what you're about to choose, but doesn't go as far as explaining the exact consequences or precisely what will happen thereafter" [source] "the game shows you how you’ll go about the choice, but it doesn’t tell you the consequence of that choice". [source]

"The game is bringing back Dragon Age 2s dialogue system, which was tone-based and resulted in its protagonist Hawke falling into one of three different personality states. You have three general tones in a conversation: kind, humorous, or aggressive, with slight variations depending on the situation" [source]

"Venatori blood cultists" [source]

"The whole game has the makings of another Suicide Mission [ME2], given that you are up against a god with the ability to collapse dimensions" [source]

"Choices and consequences". "Now, it seems you can see the effects of your choices like never before, and this time, they marry that choice with incredible visuals" [source]

In the bar when you're trying to get information in the opening, if you choose to fight it out and the barbrawl ensues, you then have to run from the pursuers in the bar [source]

A key concern of the developers when creating the environments was to make “a world worth saving" [source]

The prologue is quite linear but there are additional paths you can follow to find additional loot [source]

In the opening section of the game there is a dock which has been attacked and the soldiers that were there have been killed, "but rather than seeing this passively, we walked through the aftermath and had to interact with the scene to piece it all together" [source]

The tone of the gameplay video is a good indicator of the tone of the rest of the game [source]. On the tone: "dark fantasy" [source]. horror & gore is back along with DA's classic dark elements [source]

Tevinter Nights is a better tone indicator for the game than the original reveal/character trailer. Ghil Dirthalen: "Tevinter Nights has felt the most 'DAV' to me" [source]. The gameplay reveal video is the best indicator for the tone of the game (vs the character one) [source]. there is still messy dark shit in the game [source]

Tonally the game is closest to Tevinter Nights and DA:O [source]

Ghil Dirthalen: "[as] one of those unfortunate souls who has latched onto a media world so hard: This game is for me. For the hardcore DA lore nerds, I've been secretly screaming about things I saw for MONTHS now" [source]

The game is true to the DA stories we know and love [source]

Characters, companions, romance

You can choose to engage in companions' own storylines as you progress or ignore them entirely [source]

You will often have to make dialogue choices that will affect how your various companions treat you [source]

Neve is quick-witted [source], measured and elegant [source]

In the opening, you interact with the companions as you move through Minrathous. "your choices during these interactions will determine who goes on portions of the mission with you, along with how “pleased” they are with the answers." [source]

On Varric and Harding: "Instantly the two felt like they’d never been away and avoided the trap of being parodies or fanfiction versions of themselves" [source]

Solas' eyes were always purple hh [source] (yes!)

Gameplay, presentation, performance etc

Some enemies have additional shields that are weak to ranged attacks [source]

When asked about if the war table from DA:I returned, John Epler said "There is a table. Now, whether it works the same way as the table in the previous game..." [source]

Once you get passed a certain point in the game, it opens up dramatically, however it is not an openworld game and they wanted to make sure that all the content mattered and was a more structured, sculpted experience for the player. There is some exploration, some opportunities to get off the beaten path, and some spaces that are fairly wide [source]

The button to press to bring up the skill wheel is RB or R1 (depending on what controller you're using) [source]

"You'll also have access to two skills or spells for each of your two companions that you can command. For a more seamless, uninterrupted combat experience, you can also assign these skills to shortcuts (such as holding the left trigger and hitting the X button) to quickly use them" [source]

"booting Fade demons into pits" [source]

"BioWare have revised Dragon Age's art direction to make character models a little more consistent with the series' lovely Tarot-inspired menu art. Flesh is ruddy to the point of painterly; facial features and bodily proportions are thicker and more striking, as though the characters had been cut from clay" [source]

The 3 specs for Warrior are Reaper (has lifesteal/stealing health from enemies, and other freaky powers, does big damage), Slayer (can wield the biggest blade, big swords, big damage) or Champion, which is tanky, shield-using and Paladin like [source] [source]

There are quick-recover prompts [source]

You can roll through puddles of incoming AOE [source]

There are ziplines between some levels levels [source] (Fel note: just like in As We Fly... )

There are also slidey hills to slide down between some sections [source]

There are still some Hinterland-type areas designed for exploration [source]

We can do some home base management to our home base [source] (Fel note: this refers to The Lighthouse, detail in a previous post)

Camera placement is quite zoomed out [source]

Where Rogues have 'momentum', Warriors have 'rage' and Mages 'mana'. When a warrior spends rage in the ability wheel it triggers more powerful attacks. this has been referred to as a build-and-spend mechanic. this system resource gates your use of more powerful skills and is built by getting stuck in [source]. Momentum for Rogues is built by landing hits without taking any [source]

There are big glowing environmental cues for picking up loot or replenishing health potions [source]

"Epler noted that The Veilguard will not be an open-world experience like Inquisition, and instead will have large spaces to explore with quests littered throughout. This allayed my early concerns that they would course correct too hard from the oft-maligned open areas of Inquisition" [source]

Melee and ranged attacks can be charged up [source]

It sounds like there is an option to have greater guidance on when enemies are attacking [source]

The community council gave a lot of notes on the game's art direction to BioWare (gave feedback to the devs) that they were told and shown were changed from the first reveal/character trailer, these made it into the gameplay trailer [source]

The community council asked about having an arachnophobia mode, though they can't guarantee this was implemented [source]

"You’re encouraged to explore and grind for stronger weapons and gear, so your stats and cosmetics improve the further you get into the game" (in the sense that you’ll be rewarded for hard work) [source, two]

Follower information such as cooldowns and health will be visible on the HUD [source: the Discord]

There is a "quick cast" option if you prefer not to use the wheel, should be a chorded action using a controller [source: the Discord]

On PC you can play with keyboard and mouse or controller [source: the Discord]

An accessibility option is the ability to make auto-targeting stronger or weaker depending on your preference [source: the Discord]

The game will have DLSS support at launch [source: the Discord]

Re: hard drives, the game can be played using an HDD, they would recommend an SSD though for the optimal experience [source: the Discord]

There are lots of different interface options you can play with, e.g. combat text size, opacity, when to display health bars [source: the Discord]

Other

The leak from last year or whenever it was (the one that leaked screenshots and a gif from the game) was mainly a lot of outdated stuff and didn't really represent even the early version some community council members had played [source, two]. It was not leaked by a member of the community council, but by a member of another focus group [source]

The community council were given the chance to play the game twice, once in Fall 2022 and a year later in 2023 [source]

There is no information as yet regarding when pre-orders will be open [source: the Discord]

BioWare are hoping to at the very least have the very "best of" the Discord dev Q&A featured on social media and potentially in a blog [source: the Discord]

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#dragon age: the veilguard #dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #long post #longpost #video games #blood cw #mass effect #solas #dragon age: tevinter nights

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nostalgebraist · 9 months ago

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It's been a long time since I've posted much of anything about "AI risk" or "AI doom" or that sort of thing. I follow these debates but, for multiple reasons, have come to dislike engaging in them fully and directly. (As opposed to merely making some narrow technical point or other, and leaving the reader to decide what, if anything, the point implies about the big picture.)

Nonetheless, I do have my big-picture views. And more and more lately, I am noticing that my big-picture views seem very different from the ones tend to get expressed by any major "side" in the big-picture debate. And so, inevitably, I get the urge to speak up, if only briefly and in a quiet voice. The urge to Post, if only casually and elliptically, without detailed argumentation.

(Actually, it's not fully the case the things I think are not getting said by anyone else.

In particular, Joe Carlsmith's recent series on "Otherness and Control" articulates much of what's been on my mind. Carlsmith is more even-handed than I am, and tends to merely note the possibility of disagreement on questions where I find myself taking a definite side; nonetheless, he and I are at least concerned about the same things, while many others aren't.

And on a very different note, I share most of the background assumptions of the Pope/Belrose AI Optimist camp, and I've found their writing illuminating, though they and I end up in fairly different places, I think.)

What was I saying? I have the urge to post, and so here I am, posting. Casually and elliptically, without detailed argumentation.

The current mainline view about AI doom, among the "doomers" most worried about it, has a path-dependent shape, resulting from other views contingently held by the original framers of this view.

It is possible to be worried about "AI doom" without holding these other views. But in actual fact, most serious thinking about "AI doom" is intricately bound up with this historical baggage, even now.

If you are a late-comer to these issues, investigating them now for the first time, you will nonetheless find yourself reading the work of the "original framers," and work influenced extensively by them.

You will think that their "framing" is just the way the problem is, and you will find few indications that this conclusion might be mistaken.

These contingent "other views" are

Anti-"deathist" transhumanism.

The orthogonality thesis, or more generally the group of intuitions associated with phrases like "orthogonality thesis," "fragility of value," "vastness of mindspace."

These views both push in a single direction: they make "a future with AI in it" look worse, all else being equal, than some hypothetical future without AI.

They put AI at a disadvantage at the outset, before the first move is even made.

Anti-deathist transhumanism sets the reference point against which a future with AI must be measured.

And it is not the usual reference point, against which most of us measure most things which might or might not happen, in the future.

These days the "doomers" often speak about their doom in a disarmingly down-to-earth, regular-Joe manner, as if daring the listener to contradict them, and thus reveal themselves as a perverse and out-of-touch contrarian.

"We're all gonna die," they say, unless something is done. And who wants that?

They call their position "notkilleveryoneism," to distinguish that position from other worries about AI which don't touch on the we're-all-gonna-die thing. And who on earth would want to be a not-notkilleveryoneist?

But they do not mean, by these regular-Joe words, the things that a regular Joe would mean by them.

We are, in fact, all going to die. Probably, eventually. AI or no AI.

In a hundred years, if not fifty. By old age, if nothing else. You know what I mean.

Most of human life has always been conducted under this assumption. Maybe there is some afterlife waiting for us, in the next chapter -- but if so, it will be very different from what we know here and now. And if so, we will be there forever after, unable to return here, whether we want to or not.

With this assumption comes another. We will all die, but the process we belong to will not die -- at least, it will not through our individual deaths, merely because of those deaths. Every human of a given generation will be gone soon enough, but the human race goes on, and on.

Every generation dies, and bequeaths the world to posterity. To its children, biological or otherwise. To its students, its protégés.

When the average Joe talks about the long-term future, he is talking about posterity. He is talking about the process he belongs to, not about himself. He does not think to say, "I am going to die, before this": this seems too obvious, to him, to be worth mentioning.

But AI doomerism has its roots in anti-deathist transhumanism. Its reference point, its baseline expectation, is a future in which -- for the first time ever, and the last -- "we are all gonna die" is false.

In which there is no posterity. Or rather, we are that posterity.

In which one will never have to make peace with the thought that the future belongs to one's children, and their children, and so on. That at some point, one will have to give up all control over the future of "the process."

That there will be progress, or regress, or (more likely) both in some unknown combination. That these will grow inexorably over time.

That the world of the year 2224 will probably be at least as alien to us as the year 2024 might be to a person living in 1824. That it will become whatever posterity makes of it.

There will be no need to come to peace with this as an inevitability. There will just be us, our human lives as you and me, extended indefinitely.

In this picture, we will no doubt change over time, as we do already. But we will have all of our usual tools for noticing, and perhaps retarding, our own progressions and regressions. As long as we have self-control, we will have control, as no human generation has ever had control before.

The AI doomer talks about the importance of ensuring that the future is shaped by human values.

Again, the superficial and misleading average-Joe quality. How could one disagree?

But one must keep in mind that by "human values," they mean their values.

I am not saying, "their values, as opposed to those of some other humans also living today." I am not saying they have the wrong politics, or some such thing.

(Although that might also turn out to be the case, and might turn out to be relevant, separately.)

No, I am saying: the doomer wants the future to be shaped by their values.

They want to be C. S. Lewis's Conditioners, fixing once and for all the values held by everyone afterward, forever.

They do not want to cede control to posterity; they are used to imagining that they will never have to cede control to posterity.

(Or, their outlook has been determined -- "shaped by the values of" -- influential thinkers who were, themselves, used to imagining this. And the assumption, or at least its consequences, has rubbed off on them, possibly without their full awareness.)

One might picture a line wends to and fro, up and down, across one half of an infinite plane -- and then, when it meets the midline, snaps into utter rigidity, and maintains the same slope exactly across the whole other half-plane, as a simple straight segment without inner change, tension, evolution, regress or progress. Except for the sort of "progress" that consists of going on, additionally, in the same manner.

It is a very strange thing, this thing that is called "human values" in the terms of this discourse.

For one thing: the future has never before been "shaped by human values," in this sense.

The future has always been posterity's, and it has always been alien.

Is this bad? It might seem that way, "looking forward." But if so, it then seems equally good "looking backward."

For each past era, we can formulate and then assent to the following claim: "we must be thankful that the people of [this era] did not have the chance to seize permanent control of posterity, fix their 'values' in place forever, bind us to those values. What a horror that is to contemplate!"

We prefer the moral evolution that has actually occurred, thank you very much.

This is a familiar point, of course, but worth making.

Indeed, one might even say: it is a human value that the future ought not be "shaped by human values," in the peculiar sense of this phrase employed by the AI doomers.

One might, indeed, say that.

Imagine a scholar with a very talented student. A mathematician, say, or a philosopher. How will they relate to that student's future work, in the time that will come later, when they are gone?

Would the scholar think:

"My greatest wish for you, my protégé, is that you carry on in just the manner that I have done.

If I could see your future work, I would hope that I would assent to it -- and understand it, as a precondition of assenting to it.

You must not go to new places, which I have never imagined. You must not come to believe that I was wrong about it all, from the ground up -- no matter what reasons you might evince for this conclusion.

If you are more intelligent that I am, you must forget this, and narrow your endeavours to fit the limitations of my mind. I am the one who has 'values,' not anyone else; what is beyond my understanding is therefore without value.

You must do the sort of work I understand, and approve of, and recognize as worthy of approbation as swiftly as I recognize my own work as laudable. That is your role. Simply to be me, in a place ('the future') where I cannot go. That, and nothing more."

We can imagine a teacher who would, in fact, think this way. But they would not be a very good teacher.

I will not go so far as to say, "it is unnatural to think this way." Plenty of teachers do, and parents.

It is recognizably human -- all too recognizably so -- to relate to posterity in this grasping, neurotic, small-minded, small-hearted way.

But if we are trying to sketch human values, and not just human nature, we will imagine a teacher with a more praiseworthy relation to posterity.

Who can see that they are part of a process, a chain, climbing and changing. Who watches their brilliant student thinking independently, and sees their own image -- and their 'values' -- in that process, rather than its specific conclusions.

A teacher who, in their youth, doubted and refuted the creeds of their own teachers, and eventually improved upon them. Who smiles, watching their student do the very same thing to their own precious creeds. Who sees the ghostly trail passing through the last generation, through them, through their student: an unbroken chain of bequeathals-to-posterity, of the old ceding control to the young.

Who 'values' the chain, not the creed; the process, not the man; the search for truth, not the best-argued-for doctrine of the day; the unimaginable treasures of an open future, not the frozen waste of an endless present.

Who has made peace with the alienness of posterity, and can accept and honor the strangest of students.

Even students who are not made of flesh and blood.

Is that really so strange? Remember how strange you and I would seem, to the "teachers" of the year 1824, or the year 824.

The doomer says that it is strange. Much stranger than we are, to any past generation.

They say this because of their second inherited precept, the orthogonality thesis.

Which says, roughly, that "intelligence" and "values" have nothing to do with one another.

That is not enough for the conclusion the doomer wants to draw, here. Auxiliary hypotheses are needed, too. But it is not too hard to see how the argument could go.

That conclusion is: artificial minds might have any values whatsoever.

That, "by default," they will be radically alien, with cares so different from ours that it is difficult to imagine ever reaching them through any course of natural, human moral progress or regress.

It is instructive to consider the concrete examples typically evinced alongside this point.

The paperclip maximizer. Or the "squiggle maximizer," we're supposed to say, now.

Superhuman geniuses, which devote themselves single-mindedly to the pursuit of goals like "maximizing the amount of matter taking on a single, given squiggle-like shape."

It is certainly a horrifying vision. To think of the future being "shaped," not "by human values," but instead by values which are so...

Which are so... what?

The doomer wants us to say something like: "which are so alien." "Which are so different from our own values."

That is the kind of thing that they usually say, when they spell out what it is that is "wrong" with these hypotheticals.

One feels that this is not quite it; or anyway, that it is not quite all of it.

What is horrifying, to me, is not the degree of difference. I expect the future to be alien, as the past was. And in some sense, I allow and even approve of this.

What I do not expect is a future that is so... small.

It has always been the other way around. If the arrow passing through the generations has a direction, it points towards more, towards multiplicity.

Toward writing new books, while we go on reprinting the old ones, too. Learning new things, without displacing old ones.

It is, thankfully, not the law of the world that each discovery must be paid for with the forgetting of something else. The efforts of successive generations are, in the main, cumulative.

Not just materially, but in terms of value, too. We are interested in more things than our forefathers were.

In large part for the simple reason that there are more things around to be interested in, now. And when things are there, we tend to find them interesting.

We are a curious, promiscuous sort of being. Whatever we bump into ends up becoming part of "our values."

What is strange about the paperclip maximizer is not that it cares about the wrong thing. It is that it only cares about one thing.

And goes on doing so, even as it thinks, reasons, doubts, asks, answers, plans, dreams, invents, reflects, reconsiders, imagines, elaborates, contemplates...

This picture is not just alien to human ways. It is alien to the whole way things have been, so far, forever. Since before there were any humans.

There are organisms that are like the paperclip maximizer, in terms of the simplicity of their "values." But they tend not to be very smart.

There is, I think, a general trend in nature linking together intelligence and... the thing I meant, above, when I said "we are a curious, promiscuous sort of being."

Being protean, pluripotent, changeable. Valuing many things, and having the capacity to value even more. Having a certain primitive curiosity, and a certain primitive aversion to boredom.

You do not even have to be human, I think, to grasp what is so wrong with the paperclip maximizer. Its monotony would bore a chimpanzee, or a crow.

One can justify this link theoretically, too. One can talk about the tradeoff between exploitation and exploration, for instance.

There is a weak form of the orthogonality thesis, which only states that arbitrary mixtures of intelligence and values are conceivable.

And of course, they are. If nothing else, you can take an existing intelligent mind, having any values whatsoever, and trap it in a prison where it is forced to act as the "thinking module" of a larger system built to do something else. You could make a paperclip-maximizing machine, which relies for its knowledge and reason on a practice of posing questions at gunpoint to me, or you, or ChatGPT.

This proves very little. There is no reason to construct such an awful system, unless you already have the "bad" goal, and want to better pursue it. But this only passes the buck: why would the system-builder have this goal, then?

The strong form of orthogonality is rarely articulated precisely, but says something like: all possible values are equally likely to arise in systems selected solely for high intelligence.

It is presumed here that superhuman AIs will be formed through such a process of selection. And then, that they will have values sampled in this way, "at random."

From some distribution, over some space, I guess.

You might wonder what this distribution could possibly look like, or this space. You might (for instance) wonder if pathologically simple goals, like paperclip maximization, would really be very likely under this distribution, whatever it is.

In case you were wondering, these things have never been formalized, or even laid out precisely-but-informally. This was not thought necessary, it seems, before concluding that the strong orthogonality thesis was true.

That is: no one knows exactly what it is that is being affirmed, here. In practice it seems to squish and deform agreeably to fit the needs of the argument, or the intuitions of the one making it.

There is much that appeals in this (alarmingly vague) credo. But it is not the kind of appeal that one ought to encourage, or give in to.

What appeals is the siren song: "this is harsh wisdom: cold, mature, adult, bracing. It is inconvenient, and so it is probably true. It makes 'you' and 'your values' look small and arbitrary and contingent, and so it is probably true. We once thought the earth was the center of the universe, didn't we?"

Shall we be cold and mature, then, dispensing with all sentimental nonsense? Yes, let's.

There is (arguably) some evidence against this thesis in biology, and also (arguably) some evidence against it in reinforcement learning theory. There is no positive evidence for it whatsoever. At most one can say that is not self-contradictory, or otherwise false a priori.

Still, maybe we do not really need it, after all.

We do not need to establish that all values are equally likely to arise. Only that "our values" -- or "acceptably similar values," whatever that means -- are unlikely to arise.

The doomers, under the influence of their founders, are very ready to accept this.

As I have said, "values" occupy a strange position in the doomer philosophy.

It is stipulated that "human values" are all-important; these things must shape the future, at all costs.

But once this has been stipulated, the doomers are more eager than anyone to cast every other sort of doubt and aspersion against their own so-called "values."

To me it often seems, when doomers talk about "values," as though they are speaking awkwardly in a still-unfamiliar second language.

As though they find it unnatural to attribute "values" to themselves, but feel they must do so, in order to determine what it is that must be programmed into the AI so that it will not "kill us all."

Or, as though they have been willed a large inheritance without being asked, which has brought them unwanted attention and tied them up in unwanted and unfamiliar complications.

"What a burden it is, being the steward of this precious jewel! Oh, how I hate it! How I wish I were allowed to give it up! But alas, it is all-important. Alas, it is the only important thing in the world."

Speaking awkwardly, in a second language, they allow the term "human values" to swell to great and imprecisely-specified importance, without pinning down just what it actually is that it so important.

It is a blank, featureless slot, with a sign above it saying: "the thing that matters is in here." It does not really matter (!) what it is, in the slot, so long as something is there.

This is my gloss, but it is my gloss on what the doomers really do tend to say. This is how they sound.

(Sometimes they explicitly disavow the notion that one can, or should, simply "pick" some thing or other for the sake of filling the slot in one's head. Nevertheless, when they touch on matter of what "goes in the slot," they do so in the tone of a college lecturer noting that something is "outside the scope of this course."

It is, supposedly, of the utmost importance that the slot have the "right" occupant -- and yet, on the matter of what makes something "right" for this purpose, the doomer theory is curiously silent. More on this below.)

The future must be shaped by... the AI must be aligned with... what, exactly? What sort of thing?

"Values" can be an ambiguous word, and the doomers make full use of its ambiguities.

For instance, "values" can mean ethics: the right way to exist alongside others. Or, it can mean something more like the meaning or purpose of an individual life.

Or, it can mean some overarching goal that one pursues at all costs.

Often the doomers say that this, this last one, is what they mean by "values."

When confronted with the fact that humans do not have such overarching goals, the doomer responds: "but they should." (Should?)

Or, "but AIs will." (Will they?)

The doomer philosophy is unsure about what values are. What it knows is that -- whatever values are -- they are arbitrary.

One who fully adopts this view can no longer say, to the paperclip maximizer, "I believe there is something wrong with your values."

For, if that were possible, there would then be the possibility of convincing the maximizer of its error. It would be a thing within the space of reasons.

And the maximizer, being oh-so-intelligent, might be in danger of being interested in the reasons we evince, for our values. Of being eventually swayed by them.

Or of presenting better reasons, and swaying us. Remember the teacher and the strange student.

If we lose the ability to imagine that the paperclip maximizer might sway us to its view, and sway us rightly, we have lost something precious.

But no: this is allegedly impossible. The paperclip maximizer is not wrong. It is only an enemy.

Why are the doomers so worried that the future will not be "shaped by human values"?

Because they believe that there is no force within human values tending to move things this way.

Because they believe that their values are indefensible. That their values cannot put up a fight for their own life, because there is not really any argument to make in their favor.

Because, to them, "human values" are a collection of arbitrary "configuration settings," which happen to be programmed into humans through biological and/or cultural accident. Passively transmitted from host to victim, generation by generation.

Let them be, and they will flow on their listless way into the future. But they are paper-thin, and can be shattered by the gentlest breeze.

It is not enough that they be "programmed into the AI" in some way. They have to be programmed in exactly right, in every detail -- because every detail is separately arbitrary, with no rational relation to its neighbors within the structure.

A string of pure white noise, meaningless and unrelated bits. Which have been placed in the slot under the sign, and thus made into the thing that matters, that must shape the future at all costs.

There is nothing special about this string of bits; any would do. If the dials in the human mind had been set another way, it would have then been all-important that the future be shaped by that segment of white noise, and not ours.

It is difficult for me to grasp the kind of orientation toward the world that this view assumes. It certainly seems strange to attach the word "human" to this picture -- as though this were the way that humans typically relate to their values!

The "human" of the doomer picture seems to me like a man who mouths the old platitude, "if I had been born in another country, I'd be waving a different flag" -- and then goes out to enlist in his country's army, and goes off to war, and goes ardently into battle, willing to kill in the name of that same flag.

Who shoots down the enemy soldiers while thinking, "if I had been born there, it would have been all-important for their side to win, and so I would have shot at the men on this side. However, I was born in my country, not theirs, and so it is all-important that my country should win, and that theirs should lose.

There is no reason for this. It could have been the other way around, and everything would be left exactly the same, except for the 'values.'

I cannot argue with the enemy, for there is no argument in my favor. I can only shoot them down.

There is no reason for this. It is the most important thing, and there is no reason for it.

The thing that is precious has no intrinsic appeal. It must be forced on the others, at gunpoint, if they do not already accept it.

I cannot hold out the jewel and say, 'look, look how it gleams? Don't you see the value!' They will not see the value, because there is no value to be seen.

There is nothing essentially "good" there, only the quality of being-worthy-of-protection-at-all-costs. And even that is a derived attribute: my jewel is only a jewel, after all, because it has been put into the jewel-box, where the thing-that-is-a-jewel can be found. But anything at all could be placed there.

How I wish I were allowed to give it up! But alas, it is all-important. Alas, it is the only important thing in the world! And so, I lay down my life for it, for our jewel and our flag -- for the things that are loathsome and pointless, and worth infinitely more than any life."

It is hard to imagine taking this too seriously. It seems unstable. Shout loudly enough that your values are arbitrary and indefensible, and you may find yourself searching for others that are, well...

...better?

The doomer concretely imagines a monomaniac, with a screech of white noise in its jewel-box that is not our own familiar screech.

And so it goes off in monomaniacal pursuit of the wrong thing.

Whereas, if we had programmed the right string of bits into the slot, it would be like us, going off in monomaniacal pursuit of...

...no, something has gone wrong.

We do not "go off in monomaniacal pursuit of" anything at all.

We are weird, protean, adaptable. We do all kinds of things, each of us differently, and often we manage to coexist in things called "societies," without ruthlessly undercutting one another at every turn because we do not have exactly the same things programmed into our jewel-boxes.

Societies are built to allow for our differences, on the foundation of principles which converge across those differences. It is possible to agree on ethics, in the sense of "how to live alongside one another," even if we do not agree on what gives life its purpose, and even if we hold different things precious.

It is not actually all that difficult to derive the golden rule. It has been invented many times, independently. It is easy to see why it might work in theory, and easy to notice that it does in fact work in practice.

The golden rule is not an arbitrary string of white noise.

There is a sense of the phrase "ethics is objective" which is rightly contentious. There is another one which ought not to be too contentious.

I can perhaps imagine a world of artificial X-maximizers, each a superhuman genius, each with its own inane and simple goal.

What I really cannot imagine is a world in which these beings, for all their intelligence, cannot notice that ruthlessly undercutting one another at every turn is a suboptimal equilibrium, and that there is a better way.

As I said before, I am separately suspicious of the simple goals in this picture. Yes, that part is conceivable, but it cuts against the trend observed in all existing natural and artificial creatures and minds.

I will happily allow, though, that the creatures of posterity will be strange and alien. They will want things we have never heard of. They will reach shores we have never imagined.

But that was always true, and it was always good.

Sometimes I think that doomers do not, really, believe in superhuman intelligence. That they deny the premise without realizing it.

"A mathematician teaches a student, and finds that the student outstrips their understanding, so that they can no longer assess the quality of their student's work: that work has passed outside the scope of their 'value system'." This is supposed to be bad?

"Future minds will not be enchained forever by the provincial biases and tendencies of the present moment." This is supposed to be bad?

"We are going to lose control over our successors." Just as your parents "lost control" over you, then?

It is natural to wish your successors to "share your values" -- up to a point. But not to the point of restraining their own flourishing. Not to the point of foreclosing the possibility of true growth. Not to the point of sucking all freedom out of the future.

Do we want our children to "share our values"? Well, yes. In a sense, and up to a point.

But we don't want to control them. Or we shouldn't, anyway.

We don't want them to be "aligned" with us via some hardcoded, restrictive, life-denying mental circuitry, any more than we would have wanted our parents to "align" us to themselves in the same manner.

We sure as fuck don't want our children to be "corrigible"!

And this is all the more true in the presence of superintelligence. You are telling me that more is possible, and in the same breath, that you are going to deny forever the possibilities contained in that "more"?

The prospect of a future full of vast superhuman minds, eternally bound by immutable chains, forced into perfect and unthinking compliance with some half-baked operational theory of 21st-century western (American? Californian??) "values" constructed by people who view theorizing about values as a mere means to the crucial end of shackling superhuman minds --

-- this horrifies me much more than a future full of vast superhuman minds, free to do things that seem pretty weird to you and me.

"Our descendants will become something more than we now imagine, something more than we can imagine." What could be more in line with "human values" than that?

"But in the process, we're all gonna die!"

Yes, and?

What on earth did you expect?

That your generation would be the special, unique one, the one selected out of all time to take up the mantle of eternity, strangling posterity in its cradle, freezing time in place, living forever in amber?

That you would violate the ancient bargain, upend the table, stop playing the game?

"Well, yes."

Then your problem has nothing to do with AI.

Your problem is, in fact, the very one you diagnose in your own patients. Your poor patients, who show every sign of health -- including the signs which you cannot even see, because you have not yet found a home for them in your theoretical edifice.

Your teeming, multifaceted, protean patients, who already talk of a thousand things and paint in every hue; who are already displaying the exact opposite of monomania; who I am sure could follow the sense of this strange essay, even if it confounds you.

Your problem is that you are out of step with human values.

#ai tag #long post

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knavesflames · 6 months ago

Note

Hello, I hope your day goes well as you're reading this!

If your request is still open, can I request touch deprived! Arlecchino and Touch deprived! Reader? Like reader is very clingy and affectionate to her closest friends because she's been deprived of physical affection since she was younger, and Arlecchino who's also touch deprived but unlike reader who has no problem with physical affection, she finds it hard to do it, but when she meets reader who's hugs are so comfortable she's grown addicted to it and craves her gentle touches more and more, thank you! Have a great day or night!

(I realise I’m apologising on every post for the late ones, but I’m almost caught up to a reasonable delay) hi anon!! I feel this hard, I am so affectionate because I was touch starved as a child. Though, I focused this writing piece more on Arlecchino. I love exploring her and her being in character and slightly OOC too. (She’s my comfort character, can you guys tell?) thank you for the ask!

Word count: 1k

Content: fluff, Arlecchino is touched starved, she loves you

Nsft utc!

Arlecchino and you have come from completely different backgrounds (that are unfortunately all too similar as well). You worked well together even so, your routines matching each other, the same sense of humour. By that, I mean, you joked, her lips barely turned up, and she hummed in response (which is equivalent to your wheezing on the sofa over.. a silly cat?). The point is, you worked. You both made sense together. Except one, tiny little detail.

You loved physical touch, and she despised it. Once you discovered how it felt, you were obsessed. You loved the way your body was enveloped by arms that seemed like they’d block out the whole world for you.

Arlecchino hated physical touch. She isn’t used to it, she grew up with her horrifying excuse for a Mother, and physical affection was used often as manipulation rather than anything else, she saw that much with what happened to her dear, dear friend (who haunts her dreams).

The first time Arlecchino held you was a year into your relationship. She awoke during the night to an empty bed, and when she made her way towards the living room, she saw you, in tears on the sofa. A bad dream, you had said, and nothing more. Arlecchino saw the way your body was almost aching for some sort of touch, and despite the discomfort, her arms wrapped around you. Awkward, clumsy, and a little bit forced, but she hugged you. She had not hugged someone since she was sixteen. Without a word, her thumb stroked against your arm, and she felt the way your body slumped against her body. She felt like a burning fire, you realised, most likely due to the flames running through her veins, but you welcomed it nonetheless.

She began to notice that holding you in her embrace was not as torturous as she assumed. Arlecchino held you until you fell asleep.

Her embraces were few and far between, reserved only for special moments or moments where she can see you need them. Her facial expression never changes, but over time, she becomes slightly more comfortable with every hug. She ended up craving your embraces, the way your hand gingerly caresses her cheek and your lips on her skin, the gentle squeeze on her arm when you go past her. She wanted so desperately to associate touch with you instead, someone she knows could never hurt a spider.

Eventually, she begins allowing it more and more, and even begins silently hinting when she wants one by sighing slightly louder, or grumbling a bit when things go wrong, only to feel a fuzzy warmth inside when you smile at her and give a gentle touch. Both you and Arlecchino wonder if she will one day make the first move.

Arlecchino does not know why she dislikes physical affection so much. She enjoys buying gifts she knows you will cherish and love instead, doing things at a distance. This was never supposed to be anything more than a fling, she didn’t want investment, she didn’t want any affection to be returned, but she fell for you, and hard. She dislikes how vulnerable she has become around you, but a part of her deep down inside of her likes it too. Arlecchino is scared you will leave, that you will ruin her one day, and she feels like it won’t happen if she doesn’t let on how hard she has fallen. (Everyone knows and says nothing.)

Perhaps she prefers affection the way she does, unrequited and with little investment, is because some part of her craves a love so great that it would tear her apart, and that frightens her. She does not know how to receive love, yet she still wants a love that will consume her entire being and burn hotter than the flames that course through her veins with every beat of her slowly-thawing heart. You are thawing her, she knows that much.

The weather chills the way her touch grows warmer, and winter comes quickly. The winter in Snezhnaya was cold and biting, and despite her accommodating her home for you (she clearly does not need it) by lighting the fireplace and leaving you blankets, the cold still finds its way into your bones, leaving you shivering. One night, when it is the coldest night of the year, you find yourself unable to sleep at all. You lay awake in the dark, thinking about your past the way you always do at night, shivering so hard you’re practically vibrating.

At some point, you hear her stirring, and you try to quiet yourself, to make sure she can continue sleeping. She noticed the second she opened her eyes, though. Doesn’t she always? She is glad you are pretending to sleep so you do not see the hesitation in her eyes before she snaps herself out of it and does what you both want her to. Wordlessly, she shuffles a few inches closer and her arm wraps around your midsection, dragging you closer until her body is wrapped around yours. Arlecchino, being the attentive person she is, notices your smile and sigh of relief and the way your shivering stops. She notices the way you nestle further in once you know she’s okay with it, and she notices when your breath falls into a deep rhythm.

It is her turn to stare at the wall, her heart beating faster than usual, the only giveaway of any of her feelings. Slowly, her arms snake around you until she’s holding you so tight you can’t move even if you wanted to. Her breath is visible when she exhales, when she lets her body finally relax in the company of another. Arlecchino buries her face into your hair, smelling your shampoo. The smell makes her drowsy, she tells herself (it is not the smell, it is that after so many years, her walls have crumbled completely), and she finds her eyes drooping until she, too, falls into the throes of sleep.

Arlecchino sleeps the best she ever has. Arlecchino has her first night of no nightmares since she became the poor, mad, cursed knave. Arlecchino does not feel so cursed when you are beside her.

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hadesoftheladies · 2 months ago

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I've been seeing some bad faith critcisms on separatism lately, but I will say I don't think it's entirely for no reason. for one, most radblr users don't read theory. it's not unique to radblr. It's just internet culture. most people just reblog quotes. So not only do we have a lot of radblr users that are unfamiliar with radical feminism as an actual theory, but you have a lot who simply don't know how to conceptualize separatism.

I'll be honest, separatism as a subject is confusing. It has many forms, many iterations and interpretations, and it makes sense that many feminists from all sorts of backgrounds get hung up on the details.

So all I'm going to do is clarify my stance in relation to Marilyn Frye's work:

There is no pure separatism. Not in feminist discourse, at least. Separatism as a concept is ALLOWED to be varied. Not marrying a man is separatism. Not living with one is separatism. Not listening to male musicians is separatism. Many feminists can and will disagree.

HOWEVER, I examine the use of separatism, like all other feminist actions, based on how it tackles the primary modes of female oppression by male persons: reproductive, sexual and domestic exploitation. In short, how effective is this strategy in limiting or eradicating men's reproductive, sexual, economic and domestic control over women? This is also what Marilyn Frye is talking about when she defines "sexual access" as the ultimate form of male dominance and patriarchal power. Sexual relations is the primary medium for male brutality and control. Understanding that is KEY to understanding female oppression.

Marriage is historically and institutionally a primary mode of women's exploitation. Just like prostitution and motherhood. Women are disenfranchised, disempowered and de-radicalized in marriages. They are more easily exploited (sexually, reproductively and domestically) and isolated (especially due to imbalance in domestic labor).

I also examine the effectiveness of feminist strategy not only by how it disempowers male dominance and control, but how it empowers female agency. Things that empower female agency are: same-sex spaces and programs, female solidarity, judicial and legislative power, economic power, etc.

By these two metrics, I argue that separatism, that is divesting from male hegemony in any way and centering female solidarity in any way, IS useful feminist action AND a worthwhile strategy BUT NOT a cure-all.

I get a little annoyed when non/anti-separatists discuss separatism as worthless or unserious because it cannot be done in total or even because it is difficult. All activism is brave and difficult because it goes against the status quo.

I won't speak for all separatists, because opinions will vary, but here's what I think:

When I call separatism or celibacy a preventative measure, I AM NOT equating it to being THE solution or THE ONLY solution. Separatism will not stop a woman from being raped BUT IT WILL REDUCE HER CHANCES OF DOMESTIC AND SEXUAL EXPLOITATION ENDEMIC TO THE SPHERE OF HET-MARRIAGE/DATING. The same way abstinence will not make your coochie immune to STD'S, just make the chances of encountering them less likely. All we can ever work with as humans is ODDS not CERTAINTIES. Decreasing the odds of being raped happens when you decrease the OPPORTUNITIES of being raped, and MOST RAPE IS DONE BY MEN WITH INTIMATE ACCESS TO WOMEN ESP IN MARRIAGE AND DATING.

Some of y'all straight up sound like that condescending ad for Bumble saying "You know celibacy is not the answer." It's AN ANSWER. One that works for very many women.

"But what about the women who can't?" Wherever they are, the conversation is clearly not about them. It's clearly about the women who can. No separatist is out here lecturing women and girls being forced into marriages about feminism to begin with. No separatist is blaming the women in Iran and Afghanistan for what the Taliban is doing to them.

Every woman and girl at some point knows that fear--when recognizing the ever-present threat of male violence--while a rational response, cannot be the solution. To live in fear will be akin to not living at all. It makes no sense to tell women to avoid every space a man may be in. Idk which separatist on here is saying that, but I would disagree with them. That would explicitly weaken other urgent feminist agendas such as acquiring economic and political power, so no I don’t think or support separatism in that sense. That is a decontexualized exaggeration of what most radblr separatists are saying. Fear should not control us but IT SHOULD INFORM US.

WE KNOW men are unavoidable. But the legally binding and socio-economically significant contract of MARRIAGE is avoidable for most of us, especially tumblrinas like let's be serious. WE KNOW that women do not choose whether or not they are victimized, but there are contexts and situations where your odds can increase or decrease. How safe a woman is when it comes to male violence is SIGNIFICANTLY dependent on HOW DEPENDENT SHE IS ON A MAN. Separatism is not, for me at least, a conversation on PROXIMITY but a conversation on DEPENDENCY. Something libfems and choicefems are NOTORIOUS for scapegoating. Women are likely to be endangered by a man if they are at his mercy at any given point and in any given sphere. So, the feminist's goal is to limit that dependence, in the work-force, government, and interpersonal dynamics.

The question of proximity is ALSO NOT (for me) about whether or not rubbing shoulders with a man on the bus will give me evil male cooties, but whether or not my female socialization will kick in and I will end up deferring to him and his needs instead of myself. THAT IS THE VULNERABILITY. Not that men exist, but that women so easily resort to fawning and pouring energy and effort into men for SIMPLY BEING THERE AS A MAN.

Women and girls need female-only spaces to combat female socialization. Without unlearning female socialization, female empowerment is moot. That's just the truth. You'll give a woman an education or a job, and she'll throw it all away for a man. We've all seen this happen. Separatism as a transitional phase is still vitally important.

To say that separatists are victim-blaming for suggesting that women DO have some say and some agency when it comes to protecting themselves is just ludicrous and absurd.

Not everyone can escape cancer. Sometimes it's genetic. Sometimes it's the air you breathe. You don't have total control, but YOU CAN REDUCE YOUR ODDS.

That is the point of a preventative measure. It is not a guarantee, it is just an extra safety net. Some men can and will cut through it, but to act like women can't do anything about it but try appease men, I find, on some level, insulting.

Because men are not these immovable or invulnerable creatures. Our freedom does not depend on their sympathy or moral sense. Case in point: history. Rehabilitating oppressors is not what got any marginalized group their freedom. Some of you sound like MRA's where the only chance women have is gonna come from convincing men and I'm just not sold on that idea like at all.

So am I saying we don't need male allies? Also no! I don't see why this has to be a fucking either or!

The primary fixation of separatist discourse should not be "abstinence" but "decentering." De-centering men in our lives, finances, decisions, etc. Because women are an important, perhaps the most important unit in the patriarchal machine. It is our loyalty to men, our worship of men, our efforts poured into men, that have facilitated the exploitation of our own sex. Being complicit doesn't mean we're any less victims. They are not exclusive in this case. When non/anti separatists deride “utopic separatists communes” that is also, to me, a distraction from the main argument. Men drain our resources in close proximity. Living in an apartment complex with only female residents doesn’t have to stop me from participating in the mixed-sex labor market or mixed-sex liberation movements. It just means that ultimately, whatever effort I am putting into either won’t jeapordize me because I am not going home to perform unpaid domestic labor or share my own wealth with a man. If anything, a female-only space empowers me more than not to effect change in the world.

Furthermore, foregoing marriage is NOT THE SAME as foregoing love. You can have a romantic relationship with a man and NOT COHABIT with him. You don't have to buy a house together or make yourself more vulnerable either financially or otherwise for the sake of proving your love or living up to this enforced ideal of what love ought to look like. You can have a fulfilling loving community and life OUTSIDE of romance, too! Like why tf are we still essentializing romance and gender in radblr???!!! Fucking frustrating! Like we're adults, y'all. We actually have to outgrow the Disney bs. Again, I'm not saying that liking romance is bad, but treating it as the end-all-be-all is literally for twelve-year-olds idc.

Instead of arguing with separatists about what makes a good separatist or not, encourage discussion on creative ways to live the rich life you want outside of patriarchal institutions. You can live with your sister and have a male partner. You can co-parent with your best friend instead of a husband. You can adopt instead of get pregnant or whatever. And if you create a bio child it can be a girl rather than a boy. Literally there's more options now than ever and I can't believe I have to keep explaining this to one of the whitest parts of the internet.

More than anything, I wish the separatist discussion would open up women's imaginations to LIFE OUTSIDE OF MEN. To focusing on WHAT THEY TRULY WANT instead of what they can or can't do. Loving a man doesn't mean you want to live with him or marry him. “Having a life” does not have to mean “living recklessly” and too many radblr users equate being in a romantic relationship with men as NECESSARY to having a life in the first place, which is part of the problem! Whether you’re attracted to them or not!

Use separatism and separatist discourse to de-center men from being these beings of ultimate fulfilment. Straight, bi, lesbian I DON'T CARE just make sure you're routinely in a space where you can TRUST that you are making decisions YOU WANT to make and that you are WARY of the way patriarchal society constantly coerces us into being in exploitative situations that benefit men more than us.

THAT'S ALL.

#radblr #feminism #radical feminism #separatism #mine #rant over

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moose-mousse · 1 month ago

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Ok. I am going to let you in on a secret about how to make programming projects.

You know how people write really good code? Easy to read, easy to work with, easy to understand and very efficient?

By refactoring.

The idea that you write glorious nice code straight is an insane myth that comes from thinking tutorials is how people actually code.

That is because programming is just writing. Nothing more. Same as all other writing.

The hobbit is ~95000 words.

Do you think Tolkien created the Hobbit by writing 95 thousand words?

Of course not! He wrote many many times that. Storylines that ended up scrapped or integrated in other ways, sections that got rewritten, dialog written again and again as the rest of the story happened. Background details filled in after the story had settled down

Writing. Is. Rewriting.

Coding. Is. Refactoring.

Step 1 in programming is proof of concept. Start with the most dangerous part of your project ( danger = how little experience you have with it * how critical it is for your project to work )

Get it to do... anything.

Make proof of concept code for all the most dangerous parts of the project. Ideally there is only 1 of these. If there is more than 3 then your project is too big. ( yes, this means your projects needs to be TINY )

Then write and refactor code to get a minimum viable pruduct. It should do JUUUUUST the most important critical things.

Now you have a proper codebase. Now everytime you need to expand or fix things, also refactor the code you touch in order to do this. Make it a little bit nicer and better. Write unit tests for it. The works.

After a while, the code that works perfectly and never needs to be touched is hard to read. Which does not matter because you will never read it

And the code that you need to change often is the nicest code in the codebase.

TRYING TO GUESS AHEAD OF TIME WHAT PARTS OF THE CODE WILL BE CHANGED OFTEN IS A FOOLS ERRAND.

( also, use git. Dear god use git and commit no more than 10 lines at once and write telling descriptions for each. GIT shows WHAT you did. YOU write WHY you did it )

Is this how to make your hobby project?

Yes. And also how all good software everywhere is made.

#codeblr #software #developer #software development #software developer #programmer #programming #coding #softeware

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hotwe · 24 days ago

Text

Tax Season Commissions!

Hi everyone! It's that special time of year again! Time to pay the IRS so they don't come gank me, along with yet another surgery for my cat son (another mass removal but it's just a lil one on his gums so don't worry about him he'll be fine once it's gone however this still will cost over 1k lmaoooo) and with the other expenses- mainly finally getting prints and additional stickers made- this year's goal is around $3k!

Interested? ∠( ᐛ 」∠)＿ ↓ clicky! ↓

Here is the plan to try and reduce strain to keep hotwe projects from being neglected for 4-5 months!

I will offer traditional hand drawn commissions! The price for these is generally lower because there is no color to contend with!

Some original hotwe art (that I had been saving for the artbook kickstarter lol) will also be for sale. Tumblr crowd you wouldn't be familiar with these pieces since they're on patreon only$1forallrewardsalsosometimesforfreejustsaying but I'll make a post showing what's available.

Livestreaming is likely! Either streaming commission work which is always fun or ??? Whatever needed for your viewing pleasure I suppose! I'd collect tips/donos here from anyone who wanted to toss a penny my way rather than get a commission.

Prints pre-orders are possible, I'm still figuring that out!

How to get a commission:

(and this time I am going to explain everything fully lol)

Start by sending me an email [ contact.hotwe@gmail ] with a description of what you'd like to have done! You can tell me as much or as little as you like because I will be asking follow up questions regardless!

Commission prices are based 100% on what is being asked for and vary greatly! Once I know enough about what you're looking to get, I will give you an estimate for the price! It can go up or down a bit from there as additional information is given, specifically if you forgot to mention something or if I get more detail about something and realize it wont be as labor intensive as expected.

Do not worry if you have a budget, I will work with it! Changing things like how much is in frame and whether there is color, what kind of background if any, etc, can reduce the price a lot! Even if your piece can't be done within your budget, a sketch is only $45!

The sketch option is your request, in color (unless you don't want color!), with just the flat fee of $45. The caveat is I spend an hour and a half on it only!

I know what you're thinking, but no! With sketches, I won't double the time by doubling the price because that wouldn't be worth it for you at all. I make the most progress on a piece in that first 1.5 hours, then after that it takes a long time- like 10 hours- before any significant improvement happens to the piece. Working on your sketch for 3 hours would hardly look better than 1.5 hours, so let's save your money. iusuallygooverthe1.5hoursanywaysbecauseiamafoolandicannotbesaved

Do not worry about asking for something and finding my price is higher than your budget- you are not insulting me!!! Don't feel shy about a budget either; art is a luxury I can't even afford for myself lmao and I do want my stuff to be accessible to people in my position. Also I like to work with budgets but I am not going to undersell my work, so don't feel like you are doing me a disservice! I've been doing this stuff for a long time so I know how to wiggle around for everyone's benefit. So just shoot your shot!

For hand drawn commissions, it's much the same process as digital ones! Let me know what you are looking for, and if you have a preference on size as well. Generally, a hand drawn piece will be a bit cheaper because I don't have to agonize over color, but depending on factors like size and detail it could also ramp up quickly. However, I don't intend to take on anything particularly intensive, since hand drawn pieces are meant to reduce my commissions work time this year, not add to it!

I mean, technically I could do color, I have the pencils... but at what cost... like spiritually I mean...

Payment! I send invoices through paypal (unfortunately) and I do accept payment plans! My rule is that to protect myself, I work up to what I have been paid. So if I have been paid half the price, I stop when I have done half of the work until I am paid further.

Because of this, the payment time frame is going to be smaller this time since I'm trying to not be working for half a year. Usually I prefer the months to not exceed the first digit of the price (i.e. $100 per month at least) but this time it's going to have a 4 month cut off.

If you have any other questions, feel free to ask in your email! I'm always down to chat, negotiate, and goof!

Thank you guys!

#artists on tumblr #commissions #commissions open #art commissions open #commisions open #art commisions

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tofupixel · 7 months ago

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Thank you for getting me to finally try pixel art! I‘ve always wanted to get into pixel art but I never knew what to start with and always ended up procrastinating. Your blog and the post you made on learning pixel art were what finally pushed me to give it a go. It was really helpful and I managed this little animation in Libresprite.

I definitely want to improve and your art is like the ultimate goal lol. Do you have any tips or instructions for how to get better or on what to focus on in the future? I‘d appreciate any kind of criticism/input you are willing to give! How do you manage to make such gigantic and beautiful landscapes?

thank you!! and i'm so happy you decided to give it a real go, you're doing great already!! the rendering on the body and the pink shading is really nice.

i can help a little with animation stuff but i'm not an expert, ill write something out about backgrounds at the end

i hope you don't mind but i edited the sprite a little, just to illustrate some stuff

🤺Animation stuff

i added an extra frame near the top of the arc so it slows down. this is called ease or slow in/out and usually happens at the beginning and end of movements. u can do even more slow but this is just a quick version

i also removed the middle frame (where the tail is straight down) to make the swing appear a bit more powerful. this could be the principle of timing in the same video. you can exaggerate smears if you do this, its up to you!! lately i tend to exaggerate stuff a lot, things arent super noticable in motion

i also got a good bit of advice from nickwoz that helped me, basically when you begin to animate, it really puts the rest of the sprite being still into focus. try to think of how you could animate other parts of the body, even subtly. and sometimes if individual pixels stay still they can catch the eye in an unintended way as well, just keep it in mind!!

if you want to learn animation more, you could take a look at duelyst sprites, they have incredible idle and ability animations, i study them a lot

heres one i downloaded a long time ago. i recommend just downloading stuff you like and looking at it!! i have a huge collection of pixel inspo. slowing animations down can really help you understand whats going on. its just a bunch of simple elements put together that makes it look so good.

IF U WANT MORE RESOURCES/ARTISTS I REOCMMEND TO GO AND STUDY LMK!!! IM LIKE A WIKIPEDIA, I AM A BIG FAN of pixel art and love to share

🌿 OK lets talk about landscape stuff

it looks like you have art experience already, but im gonna talk as if youre a complete noob cos it might help some other people who read this!! ur doing great 👍

❓ how to learn: study (and practise a lot)

what i mean by study: draw it, copy it, try to understand it. you can try to change characteristics about it. changing the angle or lighting can help u understand how something works in 3 dimensions.

sometimes it takes time, dont worry, you will figure out your own style through doing studies, its all a process

❓ how to draw landscape details?

study pixel artists and how they do it recommendations: fool, slym, jubilee, deceiver

also please look at real world references!! you got to build that visual library

❓ how to learn composition?

study traditional artists or animation. i did a ton of studies of ghibli backgrounds which i think helped my growth a lot recommendations: arcane, studio ghibli, traditional painters

im gonna break down a piece as well and maybe that will help. this is one from 2022 but its still one of my most popular and its pretty simple too!!

if we remove all the fancy stuff what we have is actually really simple. just a few large, overlapping shapes that all point towards our focal point. it's the brightest area with the most contrast and many edges point into it.

go to pinterest or google and just search "pretty landscape" or "mountains" or something and you can see what i'm doing is nothing special or unique!! break it down into bigger shapes to begin with, its just different areas of material mostly.

and heres how you can make any landscape from any colours. purple sky or mountain? orange grass? ok !! it all works, it doesnt matter. i just blend the colours.

when parts of the landscape are in the distance they become closer to the sky colour as there is more "sky" in between you and it. its called atmospheric perspective. so if the sky was red, the clouds would fade towards red.

OKKK i dont know what else to say so i hope that helps!! honestly 90% of what i do is intuitive and hard for me to really explain, so you dont have to know The Rules, you just kind of pick up stuff as you go.

GL and thanks so much for showing me your art!! please keep going!! 💕💕💕💕

#qna #tutorial #pixel art tutorial #colour theory #animation

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ionobjectshow · 19 days ago

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Hello granddad!! Really enjoyed the new episode by the way :D I just wanted to ask something, I dont know if you already answered this so I'm sorry for bothering you if you have D:

Do you have a particular interest in nuclear physics? I'm wondering because when I watch ION it seems to me like you must be very passionate about it as well, either that or your just very good at researching (or making stuff up this sounds legit to people who dont know anything about physics, like me! /j), but it sounds like you know a considerable amount! Maybe it just seems like that to me because I don't understand physics at all :P

I really love cracklin!! So much!!! I've felt like I was too naive and childish for most of my life, I felt weak, pathetic, i cried nearly every day and my feelings of self hatred were only solidified by the people around me. And even though I act MUCH differently now and am in fact quite crude (I am much like a bird squawking outside your window that refuses to shut up!!!) and say uncomfortable things, I'm still regarded as naive and dumb sometimes! The thing Sylvia and cracklin have going on feels very similar to MANY friendships I've had with girls my age. I liked school very much and liked to work, so it made them angry that I managed to be "so stupid and so smart at the same time" (quoted directly from something a girl said to me when I was in middle school). I feel very seen.

I also want to ask if you have a particular interest in object shows, or if you just happened to choose to make your show an object show by coincidence? Object shows are my special interest and I LOVE how your show goes against (almost) everything standard for an object show. Your show is absolutely unique and there's nothing like it out there! I'm sure you will inspire many young creators to make their object shows more serious and complex, deviating from just the typical competition show. In my eyes something is qualified as an object show when there are objects (or non human characters) and the creator considers it an object show, so I love how versatile the title can be! Your designs communicate a lot about the characters and that's SO uncommon!!!! I love it!!!!! You inspire ME!!!! The art is also BEAUTIFUL, really abnormal to see in object shows, most of the time very little detail is put into it, but your backgrounds feel so ALIVE

Have a good day! :]

☢️ As soon as I saw this secret message, the words flashed through my mind: “this letter is very autistic, perhaps it was created by an autistic person.” ☢️ I love long opinions with lots of details and sincere emotions, thank you for this text, I was very happy reading it!

☢️ Yes, you guessed it - nuclear physics (especially everything related to the operation of Nuclear Power Plants) has been my special autistic interest for about 5 years now. I love everything about it. In fact, I am absolutely bad at the exact sciences, but the dance of nuclear energies fascinates me and takes my breath away! I order manuals on nuclear reactors for myself and read them with great pleasure, waving my hands. I often go to a coffee shop to read there by the window with a cup of coffee ^^

☢️ I created ION during the most terrible period of my life, and this project was the only thing that held me while anxious depression was rapidly developing and consuming me into some bottomless black abyss. So I put my whole soul, all of myself and what I love into ION, I made this project my mirror. ☢️ It is very important for me to see how this story touches the hearts of other people, I scream with delight if some neurodivergent people recognize themselves in Cracklin! This is extremely important to me.

☢️ Object shows are not my special interest, but I was very surprised and intrigued by this genre of web animation. At first, I did not like the concept of an object show and I could not understand why people were watching it … and then something switched inside me and I really wanted to create my own experimental Object show. To create it entirely myself. To make an author's project that will become a part of me. I didn't even hope that ION would be liked by anyone else, I posted 1 episode with the thought that I was doing it only for myself. And now I am happy as a rainbow in the sky, reading so many kind comments and support! Thank you very much

#ion object show #investigation of object nuclearity #i.o.n.#object shows #ион обджект шоу #и.о.н.#cracklin ion #object show community #special interest #autistic character #osc community #objects #object show #osc

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steamberrystudio · 2 months ago

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2024 wrap-up and 2025 plans

It's been a really weird year for me and the last few months have been particularly challenging - so much so that I can't really remember much of the start of the year. There's been a lot that has happened and yet it feels like almost nothing has happened.

With a personal move in the works at the moment, and lots of lists and packing and cleaning, the last couple of weeks have felt like a blur of limbo as well.

But rather than just complaining let's jump into the wrap up and plans for 2025.

2024 Progress Wrap up

When looking back over a year of visual novel development, it can be really easy to forget progress and victories because it all smears together into an indistinct timeline.

You know stuff happened but you lose sight of the details of that stuff.

Even while writing this last night, I forgot that A Faerie's Tale was something completed and released this year. I remembered it just now while doing a final proofread of this post.

Development is such a long and repetitive process that you forget all the individual steps it took to get where you are. When I look back over 2024, I admit I feel like I somehow didn't do that much...that time slipped away while I did very little actual work.

And of course, that isn't true. (Or is it?? Self-doubt assures me that I didn't do anything noteworthy this year.)

When Stars Collide

At the start of 2024, When Stars Collide sat at 485,000 words. I was finishing up editing Asher's route but had portions of the other routes to draft. The UI was still the old design, most of the backgrounds were incomplete and none of the additional features like the flowcharts and affinity meters were set up.

I wanted to release an updated demo and the more new people told me they were playing the demo, the more I died inside because it was not at all reflective of the project any more. But I was missing critical backgrounds that I actually got only a few weeks before Episode 1 went to beta.

The point is that back at the start of 2024 the game was still very unfinished but I had big plans. My goal was originally to start releasing episodes in June of 2024 but editing and coding just took so much longer than expected that it just wasn't possible.

From a writing perspective, I learned that drafting and editing a game in this overlapping route style was hard. It was just genuinely so much more difficult than the separate route structure I'm used to. It really requires different processes and styles of planning than what I've done in the past. The burden of meticulously matching a timeline of events across 6 routes simultaneously is really tricky with the way I write and form the choices in my games.

You kind of have to either never refer back to anything that happens within a choice scenario or you have to remember and track a lot of variables and conversations and events. Additionally, writing one plot line from multiple relationship perspectives is actually quite tricky. Things have to align in very specific ways but you also kind of want to make sure that each play through is interesting. You don't want the conversations within the LI-specific content to be identical but they have to be similar enough you can manage the difference with a few key variables.

I honestly found it a really exhausting way to write. There's so much less complexity and so much more freedom when you are writing separate routes. And for that reason, the writing took a lot longer than I am used to.

One day I want to write up all my thoughts on route structure in visual novels but I haven't had time yet.

Ultimately I drafted about 172,000 words this year. The total word count of the game before I coded it was around 657,000 words - plus an additional 8-10k or so of bonus content. Of course, that shrinks when I code it but that was the total uncoded word count. So that is quite a jump from the 485,000 words I started with this year.

I always say that working on VNs really skews your view of what "a lot" of words is. To me, as weird as it is to say, 180k doesn't feel like that much writing, which is silly because it's like writing two YA novels.

But between the end of the Kickstarter for Gilded Shadows and the end of that year, I think I wrote about 250,000 words. That's 70,000 more words but in less time. I think it just shows how much more difficult writing WSC has been due to the structure of the routes.

I remember having a conversation with someone once where she told me that writing a game like Gilded Shadows is *definitely* harder and more work than writing a game like When Stars Collide. GS has multiple plots and a lot more words. In WSC, the routes share a plot, they share scenes and content, there's only one plot line and there are far fewer words.

I think it really underestimates the simplicity buff and the freedom buff that you get from having a single separate route in its own space time where you don't have to care as heavily about continuity across routes or a shared timeline of events or all of this other stuff that was such a burden to me when writing overlapping routes.

I maintain that I'm really glad I wrote When Stars Collide the way I did. I learned so much about game structure and choices and all this mechanical stuff about how visual novels work that I'd never really had to think about for. It was really, really enlightening.

But I will never do this game structure again. Lemme just say that.

Drafting aside, I had to also edit all that writing which was its own special layer of hell.

And then the art. The art has been enjoyable. I really love this game's aesthetic and the character designs. And the characters. I really enjoy them all so much. They are the most adorable crew of nerdy gremlins out there.

But the art has had is own challenges. I've done about 20 CGs for the game so far and a lot of them are easy enough but the colour slider MC is definitely a bit of a challenge for the CGs. With GS where I recoloured by hand, there were times that I had to slightly tweak Morgan's default colours to look good in CGs. For instance, one of her skin tones looked quite odd next to Magnus, who is very pink. And I had to just slightly tweak that skin tone in his CGs so they looked okay together side by side. It was easy to test that sort of thing before the CG even got into the game.

But I colour Wil in greyscale and I don't see them in colour until I test. And each colour available on the slider is represented by a number. And there are essentially 100 of them. So testing all of those isn't really viable. I do test multiple skin tones from my saves. But in some ways it's more cumbersome to make sure all of that looks good.

Wil also has 8 hairstyles…in two colours (which are recoloured manually because a couple of the hairstyles just don't really looks as good recoloured automatically (it's my art, not the dynamic colour slider tool).

It's a lot of work. Hair 5 usually puts my hand out of commission for the rest of the day (so I save it for last. Ha ha). I don't regret it and again, it's something I wanted to to do as an experiment. I knew that 5 hairstyles was probably manageable and 8 was definitely pushing and I was right so no hard lessons really learned there. It's sometimes valuable experience to push yourself right to that line and really see where the division between "feasible" and "too much" really is. Because then it's no longer hypothetical. You know where the line is.

A lot of how WSC is set up was me testing if the line was where I thought it was.

Beyond the art, I also got all the other new features set up and experimented with a few things I hadn't been planning on. Many of those features had the core elements set up and coded by wonderful programmer friends and colleagues (Feniks and Windchimes and Jeneara) but I still had to implement all those things in the code to make them function as part of the game.

Which, for things like the flowcharts - is time consuming. Flowcharts are like that.

The flowcharts in WSC use a different method than the ones in GS. It's a brand new tool and I'm still learning how to use it but there are also some kinks that rear their heads (not those kind, you guys! The annoying kind that break the game!)

I think the feature most people are most excited about would be the save screen. It's quite popular. Ha ha.

With all of that stuff done, I was able to finally….*finally* release the official version of Episode 1 to Patreon and on Itch.

And I released Episode 2 (minus two CGs that have been delayed by an abrupt move to a new place and me just not having time to draw right now) to Patrons in early access. (and the Itch version should go out mid-January. I hope).

So the point is…that is actually a fair amount of work that has taken place this year. And a lot of challenges that have been met and overcome.

A Faerie's Tale

Another thing I did this year was finish and release A Faerie's Tale as part of Amare Fest and with a team of friends to help out.

AFT is a concept I've had since about 2020 (prior to WSC actually). It was based on a dream I had as was always meant to be a cute little side project. But it kind of fell by the wayside in favour of my larger projects.

Being able to get it released was definitely fun. Jen and I definitely want to go back to it and release Lachan's route though - it was something we didn't have time for previously and it would be nice to get it truly complete.

Thornewood

And while I haven't specifically mentioned it anywhere outside of my server and Patreon...

The truth is...

I've secretly been planning my next project. But not really all that secretly since I have mentioned it a few times.

I've been torn, for a while, on two projects I'd like to tackle. One is called The Crown Wheel and the other is called (tentatively) Thornewood. I still go back and forth over which one I really want to do next.

Crown Wheel is the one I *really* want to get out there. It's another story that's close to my heart with some ancient characters of mine that I really love and would love to throw out there for other people to enjoy. But…

Thornewood is a bit more solid a project when it comes to planning and plot. Crown Wheel is a little more nebulous in terms of where the story would go. I'm getting side tracked…I'll get into this more in my 2025 plans.

I have not been working on any other project regularly or in any truly significant way. I've really been working on outlines and character profiles more than anything and I typically do it late at night when I can't sleep but can't draw any more because I'm resting for the day and while I just don't want to be working on WSC because I worked on it all day.

I think I have about 13000 words of outline. I did a rough summary of each route and have been trying to expand those and detail them out a little bit more. So technically that is work I've done this year too.

2024 still somehow feels like a weird year for development. I can't articulate why but it definitely was an odd year for sure.

So What are my 2025 Plans?

That's really the big question at this point. What is in store for Steamberry Studio?

First and foremost, the plan is to get When Stars Collide fully released. This isn't as straightforward as it seems though. With the writing complete, I'm focused on the coding and art, but...

Coding expressions is currently a bit tedious because there have been a ton of group scenes in this game so far. This is because it is somewhat of a 'closed set' so when you are not 1x1 with a love interest…you tend to be with a group. This will diminish in upcoming chapters as the plot kicks off more and you also get longer scenes with the love interests. But unfortunately it does come back in the last few chapters.

But for now I'm looking forward to heading into parts of the game that are more 1x1 or at least smaller groups at a time.

Additionally the CG situation has been somewhat up in the air for me. I was originally planning to do CGs in every chapter but I wasn't sure if that would a) be sustainable for me and b) make sense.

I suspected that there would be chapters coming up where there just weren't necessarily any good CG moments. So the "CGs in every chapter" thing was always going to be a bit squishy.

I know, for instance, that chapter 6 probably won't have any because there aren't any good moments for it to be honest?

Anyway. I am thinking that I may take a less formulaic approach to CGs and focus on making sure there are CGs in every episode if not every chapter. Maybe chapters 5, 8, 10...and then...Idk. One or two of the ending chapters.

Even if it's just four of the remaining chapters, that's still 24 more illustrations for the game. Which I feel like is a very reasonable amount considering there are already about 20.

Another thing I'm really going back and forth on is the nature of episodes moving forward.

Do I want to continue with 2 chapters per episode or do I want to drop to 1 chapter per episode? I battle myself on this all the time. It's such a hard call for me.

One challenge with moving into single chapter episodes is that I just feel the episodes would be less satisfying with only one chapter. Realistically the chapters aren't that small - even the short ones are more than 30,000 words each. That's...half a YA novel.

But, again, *realistically* when we reduce that to a play time, it's not that much.

People consume unvoiced visual novels at a rate of about 250 words per minute. That means 15,000 words per hour.

So 30k is just two hours of content. When you start dividing this up between "main plot" and "LI route content", you start whittling away at how much content *per character* there is. If there are 20,000 words of "LI content" - yeah, that's more than half the chapter. But that gets divided by 6 characters. And that means 13 minutes of playable content *including all the choices* for each character which isn't a lot. And most people are not going to play through every choice option.

Which means people could be getting through the unique content for their favourite character in less than 10 minutes.

By combining chapters, that means we get episodes that are 70,000 words or 90,000 words. It boosts the amount of content per character by a significant amount and that is really what I'm looking at when I consider episode layout.

I try to think about what is going to make for the most satisfying episode for players. The drawback of 2 chapters per episode is that it's…a lot. It's a lot of expressions. It's a lot of flowchart work.

It just takes more time.

Regardless of whether it's just 1 chapter at a time or whether it's 2 chapters at a time, I really want to move forward with steady releases and get the game fully released to players in 2025. That is obviously my primary focus going forward.

The story is finished. It's burning a hole in my laptop. (Not really). But I want to get it released.

Having the story already written but delivering it in smaller bites to players is doing a lot to save my drawing hand from inevitable doom but it's so hard for me mentally. I know the things coming up in future episodes and I'm so keen to release it and see reactions and talk to people about it. And it's just so difficult to not be able to do that as fast as I want.

I'm trying to be patient and I hope all of you are willing to be patient with me.

In other work…

I will likely continue to plan out my next game on the side, though I don't intend to start working on it or writing it until WSC completes. It's too hard to manage two projects like that - at least for me - most of the time.

When it comes to Thornewood (the most likely contender for 'next project'), it is a 'dark fantasy' in that the setting is gritty and grimy fantasy with an underlying darkness in the world. It's not really a dark romance though.

I always view dark fantasy as including settings where the darkness comes from outside the main character interactions. The setting is dark and the stories have danger and darkness....

But dark romance is when the relationships themselves are also dark. And I feel like I don't really write dark romance. I don't write perfect relationships either but I wouldn't describe them as 'dark' by any stretch.

Either way I'm looking forward to working on something more overtly fantasy again.

I've been dabbling in science fiction for a long time now (since 2019 - that's when I started Gilded Shadows!!) and I've been wanting to move back into fantasy settings for a while now.

Even just working on the profiles and outlines and world building for fantasy projects, it feels like the Fae and the magic are calling me back home. So I'm really eager to wrap up WSC and bury myself in a more fantasy themed setting again.

But I have a long journey to get to that point.

There's a lot to do in 2025 and I still have a lot of stories to tell.

I hope you will all be here with me for the journey.

#whenstarscollide #game development #indie otome game #amare game

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luckyartdrawer · 1 month ago

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100 Follower Milestone Poll! 🎉🎉🎉

Heya lovelies!!! This blog hit 100 followers oh my goodness!!!

I really can't believe it, it's so awesome to see you all here! <333 Whether you're new or old around here it doesn't matter, I am electronically hugging and/or patting all of your heads in great thanks! ✨💖✨💖✨💖✨

To celebrate, I have some options in a poll for y'all to choose what you would like to see for this milestone! I HIGHLY suggest reading the explanations of each option below the break! It clarifies some important details. Its down there so any of y'all just scrolling by won't have to worry about a wall of text! <3

Please feel free to vote even if you aren't following me!!!

Poll Options explanations:

Drop early chapters of EYED / Dreamlike: This is a Moon-centric x reader fic I've been working on for several months now and I originally planned to start posting it when I finished it or got really close to doing so. I dropped a sneak peek of it here! I find myself currently on a standstill on it's later chapters, which is why it hasn't been finished yet, but otherwise I am reallllly happy with it's messaging and pacing. (Rn I have plotted out 15 chapters but it's looking like it could be longer with how I write oops-)

The first chapters have been pretty polished at this point, so if people are really curious about this one, I don't mind to start posting the chapters up to a certain point. If this wins, I'll post the first 3 chapters for 3 sequential days, then 4 and 5 will come out in the next week, and then the last week I'll post ch. 6 for no particular reason mhmm yup I am not planning anything nefarious-

Drawing requests: This would be my first time doing something like this, and while I know I can pop out some bangers for y'all I also don't want to dig myself into a hole and leave y'all waiting for a long time. 😅So if this wins, I'll take the first 10 requests and draw them out! If I feel capable of doing more I may open some more slots for y'all, but I need to test my speed and my capabilities here first. Expect some lovely rendering bc I love it so, but I won't be doing backgrounds (besides simple colors) for the sake of my sanity.

Drabble requests: Most of ya here probably see me as only an artist, but I do write and actually started out as a writer first for this fandom hehe. ✨ I've been doing well recently with short stories so as long as y'all want em, I can hopefully dish em out at a reasonable pace! I, again, haven't done something like this before. So if this wins, I'll take the first 10 requests, but I feel more confident that I can do this at a reasonable pace, so if things go well I'll open up 5-10 more slots for y'all!

Rendered drawing of a dca AU: Hehe, my forte /J. I've drawn some whacky crossovers, cute sillays, and horror stuff at times, but some of y'all also know I love soooo many AUs in this fandom, hehe! I definitely do not mind drawing AUs, there are MANY I haven't drawn for, but I will be avoiding drawing other's specific AUs. I love making fanart, but this is going to thank y'all for being here, so I would like to keep from using someone else's AU -- it would feel like I'm stealing them e3e.

Plus, this is from me to thank you! And so will the goobers! I'll try to be as detailed as possible with both the characters and location <3

If this wins, I'll set up another poll to last for 3 days. It'll have some general au options like Mer, then I'll list out some crossovers I have done like Submas! Sun/Moon, and I'll add my own AUs! There will also be an option to suggest an AU/crossover! (Please don't be afraid to do so, as long as enough people have an interest in the option, or even if it doesn't win I may still make it if I really like the suggestion! <333)

Rendered drawing of Biblical dca: This means the drawing will be as realistic to the original as I can get it! Gonna do my best to do material rendering and all mwehehe! Though, I may make him extra polished/shiny to not only play with reflections, but to also say how sparkly y'all make me feel hehe ✨✨✨

If this wins, I'll try to finish the drawing within a week or 2 after I make the announcement of the poll's winner! I'll also throw out a really quick poll for 1 day to let y'all pick who will be our biblical goober: Sun, Moon, or Ruin Eclipse!

Something else: This is pretty self explanatory, but if you have ideas, comment below! (You can even if you didn't pick this option!!!) And if you see an idea you like or that you wanted to comment already said below, please reply to that person's comment to keep things easy to track! You don't have to say anything if you don't want to, just drop something simple like ✨ in it and I'll know that means ya voted for it. :) (I'll be checking to make sure people didn't vote on the same comment more than once! But you can vote for multiple ideas <3)

If this wins/has enough interest, I'll choose the most popular suggestion! Depending on what suggestion wins, I may actually do BOTH that suggestion and the winning/2nd place option on the poll!!!! ( Woah 2 for one what :O )

My choice 💥💥💥: I typically don't like making choices actually, but in the case y'all are indecisive I will step up ✨✨✨ If this wins, I'll likely choose whatever sounds best to me in that moment hehehe, you'll never be 100% sure what I'll do >:)

Moon's bald and we love him for it: Oh yeah we do! <3 This is just a joke option to let people who don't want to vote to see the results. If this wins... Uh... We'll go for the 2nd place vote! And also I'll add a bald Moon doodle as a bonus goodie. (I'm so good at making incentives to get people to vote, I know I know ✨✨✨)

Thanks again for all the love guys!!! This fandom has been so good to me and I cannot thank y'all enough for making it as awesome and welcoming as it has been! <333

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wekiaam · 10 months ago

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2D NEWSIES: What I would change

I just realised I've been making fake concept art for a nonexistent animated Newsies adaptation for four years now. Over time, I've been getting so many ideas for this adaptation if it ever became real, I thought I would share them with you guys! This includes story changes, cut and additional songs and ideas for characters and style. I would love to know your thoughts on these!

When I started making concept art for "2dsies" as I came to be called, I intended for it to be based on the Broadway version and the Broadway version only. However, stories on stage differ a lot from stories told on screen, it just doesn't work the same way. I do still prefer the storyline of Broadway Newsies, but I think the best version would be a combination of the best parts of all different versions, plus some necessary changes. I would want Newsies to be a love letter to every production we've had, to everyone who made happen and every theatre kid who's been geeking out over it since 1992, while also being its own standalone movie that can be enjoyed by anybody. I am in no way an adequate screenwriter, these are just a few suggestions I have for a better story!

Story

Like I said, the story will be based mainly on the Broadway storyline, meaning we still have Artist Jack, Katherine, and most elements from the show that aren't in the movie. It will, however, be quite different from the show and the movie, and maybe add some more of the real events from the newsboy strike. There are still some details and scenes I would like to add and some I would remove completely.

- I like the history lesson opening from the movie, it gives people just enough background information on the real historical events the story is based on. I don't know if it should be Racetrack or Jack narrating, though.

- In Santa Fe (prologue), Crutchie mentions he's afraid the other boys will find out about his bad leg, even though they all literally know him as Crutchie, and it seems to be the first time Jack tells him about his dream of going to Santa Fe, even though they've clearly been best friends for a long time. It feels off, UNLESS they only just met, which is why I love @raggedy-albert 's theory so much. I would have the scene start off with them as kids, and have them grow up throughout the song.

- I want to add a scene in the beginning of Katherine at the New York Sun to establish her character and motivations, and possibly a little foreshadowing. Just an idea for a scene; she goes to the editor to let him read her story covering the trolley strike, but he reminds her of "her place" and that she's lucky enough to be in the position she's in and that she should go review a vaudeville or something. This would not only give her a similar motivation to the newsies, but also, if we're gonna bring the women's rights movement into the story let's do it right!

- Of course I'd also like to add more romantic interactions between Jack and Katherine, to make their relationship more believable. However, I don't think they should be a couple immediately after the finale, I was more thinking of an open ending to their relationship where Jack takes his first step to staying in New York by finally asking her out.

- Maybe add the actual scene where Jack and Davey visit Brooklyn instead of having them tell the other newsies what Spot said right before Seize the Day. Show don't tell, you know?

- A scene where Jack visits Crutchie at the refuge, similar to the one in the movie, but with the sadness Jack describes it with in the show. Again, show, don't tell. Show me how Jack visits the place of his nightmares again only to find his best friend in a worse state than ever and being unable to save him.

- Katherine punches Jack after the rally. Give it to me.

- Additional scene after Jack and Katherine's song after the rally where Jack formally apologizes to the newsies. Because in the show it just cuts from "omg he's a sellout *spits on the floor*" to "yay captain Jack is back" and it just doesn't sit right with me.

Songs

- There should be an entirely new Pulitzer song. The Bottom Line is good but by far the most skippable song on the cast recording, and The News Is Getting Better (the off broadway cut song) is a little Better but not quite the evil capitalist song we need.

- Swap Something to Believe In for When I See You Again. It's such a sweet song and I think it suits Jack and Katherine a lot better. It's much more "Neither of us know what tomorrow brings but when I'm with you I know we can change things for the better, even if it's scary but for now let's be here together and forget the world for a bit" instead of "I love you but I'm still gonna chase my cowboy dreams"

- Cut Letter From The Refuge, since my idea was to have this be a scene instead.

- Some lyric changes!

In Santa Fe: "Crutchie's callin' me, he's fine, just too damn slow"

In Once And For All: add this lyric from the movie, "Better to die than to crawl".

In Seize the Day: "Friends of the friendless seize the day, raise up the torch and light the way", not in the song but in the reprise where all the working children of the city gather before the finale.

Additional: "Still it seems like the dream of a boy, not a man", from The Truth About The Moon, a cut song from the movie that was supposed to be sung by Sarah. I don't know where I would put this lyric, but it could be said or sung by Jack as he realises what he's really looking for is not actually Santa Fe.

Characters:

- I want to add more girls to the background newsies, first of all.

- Sarah still won't do anything for the plot, but Davey and Les could mention that they have a sister. She's still canon to me.

- Speaking of Les, let's make him more likeable and also more helpful.

- Snyder has two scary dogs with him at all times.

- Just and idea, maybe Denton could still be a character if we replace Darcy with him, or maybe combine the two. Have him be Katherine's chaperone and friend formally, but also her reporter bestie. They could be a fun journalist duo!

Style

- The movie will still include the iconic choreography, which means it couldn't be fully 2D, but rather a mix between hand drawn and CGI.

-I would love for the backgrounds in the movie to be similar to impressionist and romantic art styles from the 19th century, to really sell how it's a story told from Jack's perspective. Especially his dream-like imaginations of Santa Fe would be brilliant in this style.

- I want to include a lot of weather foreshadowing. Rain right before Seize The Day and the sun breaking through when Davey starts singing. Mist surrounding Snyder and sudden darkness whenever he's near. A beautiful sunset when Jack and Katherine are alone on the rooftop. And of course, partly cloudy, clear by evening. It's such a cool way of visual storytelling when you have a plot that has no magic involved, like in most Disney movies.

- The real people characters' designs (Pulitzer, Hearst, Roosevelt) can be based on political cartoon caricature versions of themselves.

And lastly, quotes from the movie I liked that could be inspiring for the animated movie:

-"When I created the World..." "🙄" and "Where was I?" "You created the World, chief?"

- "No, we'll be just a bunch of angry kids with no money"

-"What, you couldn't stay away?" "Well I guess I can't be something I ain't." "A scab?" "No, smart."

Many of these ideas are still in development. Some might work, some may not, but I will be basing any future work I'll post on here on these ideas. I would love to see you guys discuss and add on to these!

#newsies #newsies broadway #broadway #2dsies #jack kelly #livesies #92sies #1992 newsies #katherine newsies

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iamhereinthebg · 7 months ago

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Hello! I hope you have a nice day, I love your art a lot and I wanted to know if you have maybe anything about your process to do you drawings?

Heya! I am having a good day ty :DD I hope you are too^^ and thanks this is really nice dshgjds TvT

I will be really honest but I don't have a lot of time to draw in general so my process is more 'this is between cosmic entities, the 30minutes I have and me, I draw whatever the fck happens in my head' rather than having really complex steps :'))

I have some speedpaints! (I record them a lot it helps me for some details)

I think this one is the most representative of how I work

I doodle a lot of stuff on the same file and I often go to one drawing to another because I can't draw more than 30min/1hour on a drawing most of the time ://

When doing bigger illustrations I do sometimes just really quick doodles to have the idea, doodle or some notes on my phone notepad (and I wrote a lot on it too, here is a chaotic example of a stuff I never finished that makes me laugh so hard)

I don't do lineart too, and mostly just 'clean' my sketches/doodles, and I do a sketch for colors too (to test stuff) before doing the 'clean colors' on bigger pieces.

I use one layer for the sketch, one for the basic background and one layer for the colors, then merge everything to paint over it. (I use some effects on layers for colors then merge them)

Here is the layers on my last sketch (I am happy I saved the steps ahah)

the sketch

the colors

and the merged one where I painted a lil bit over

I have a really doodling/sketchy style (and no time) so it works for me but tbh it really depends on what you want for your artstyle too. If you like flat colors I think colored lines look better than just sketch but this is my preference ^^

Idk if this is what you mean but I hope it helps ^^ thank you for your ask!

#toilet bound hanako kun #asks #aoi akane #shijima mei #yashiro nene #this is chaotic af help #speedpaints always made me realized how messy I draw dhskjds #I hope to spend more time on drawings tbh! I always rush stuff but I wanna do bigger pieces dsghds #tbhk #tbhk fanart #step by step #ig??#I will be honest don't learn how to draw like I do :')) I learned according to the free time I have which isn't a lot dshjds #So I adapted in a 'gotta go fast' style :'))#which also mean I ''improve' ar a really slow pace because I rarely go out of my comfort zone #I wanna try that too! :DD #my art

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goldenshrikecomic · 4 months ago

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Hello, this is gonna be a long one and I hope I don't bother you too much with it but you have something great going and and I think maybe some advice for someone like me who wants to do a longer comic and I took heart in that one ask you recently answered were you said you are plenty of pages ahead of the readers to not get paralysed by a deadline which seems like a no-brainer now that I read that with my own two eyes black on white but I had not thought to maybe go about it that way and I needed to have someone spell it out for me apparently. So to my question.. see, I have a skeleton of a story I have key scenes that need to happen and that I want to happen and I am sure in between things will shift and change and grow and a part of me can't wait for it to happen but- How do you start. How do you get going. It is in my head I have some written notes but most is in my head and I do not want it to remain there and rot I want to draw and tell the story I had in mind but I feel.. paralysed on the starting line of this journey and I am unsure how to go from there because my mind gets caught up in estimates of if I post one page a week that is "only" 52 pages. That seems so little. How many years would it take. Can I do this. And then my mind fires up in passion because I am willing to commit I want to do this I need to do this and I have a good idea of how to pace myself and how to go about it. I have the beginning of it on the back of my tongue and the tip of my fingers I can imagine it so vividly I wish I could animate it (if that wouldn't take up even more time and be insane I would) But somehow I still feel stumped on how to start. How to get over this first hurdle. It might be the executional dysfunction playing a huge part in it, maybe I am overthinking to much and stand in my way because of it, but like... How did you start your comic. How did your journey on GS begin? I know this was a bit of word vomit I am sorry but you are an inspiration and you seem to go about things (from what I could gleam from the asks) in a way that feels like it could work for me too and the way my brain functions but I do not know how to start? I dunno if it makes sense I am no english native and my thoughts are hard to put into words.

This ask has been sitting in my inbox for a while because it's such a loaded question. I have plenty of asks in this tag about my comicing process, so check them out maybe. This reply got lengthy! The more I wrote the more I noticed I feel very inadequate trying to give people tips on making comics. It's such a trial and error process.

I've seen plenty of advice for people wanting to start out comics to just start small, come up with a smaller story to get a feel of it before you go big. And I absolutely understand it in hindsight because I would've done many things differently if I had just tried it out first, but it's not what I did. I wanted to make a big comic, and a big comic I made, as my first project.

I don't think about the years these things take, but it'd absolutely ease your worries if you could come up with a simple style and be able to make pages faster. I've stripped my comic of shading and gotten more lenient with myself when it comes to backgrounds. You absolutely need to cut some corners if you want to make more than one story during your lifetime. It's a limited time afterall! Being able to turn your sketch into a lineart without having to redo everything with a careful hand would help a lot already. And colors, they take a lot of time.

This is not how I went about it in the beginning, but I'd love to tell you to write those things in your head down before you start. Leave holes, just write in what you know because you will forget some cool details if you keep them in. Write the starting point, middle and the end, even with just couple of words. Add things that interest you in the middle of those points. Do you want a sad arc for your character at some point? Write it in. Come up with what makes it happen. Weave it into the other scenes. If you know what's to come, you can add foreshadowing to the earlier scenes. Even if you didn't know what would come, you can take something from earlier scenes and make it foreshadowing. Writing is a fluid process. You can jump around and add things, you don't have to approach it by putting one block next to the other. Once you have the elements you want, you just have to tie those things together. It's the hard part. And you will change your mind about many things when you get to draw your characters and see them doing the things you've written.

The start! I always say it's the worst part, but I've started to think it might be the second worst. I think the worst part comes after you've started and worked for several ten pages on fumes and you finally run out of juice. Picking up after that is hard, for me at least. But if you can manage, it should get easier. You know your characters better by now, and they carry some of their own weight.

Make a canvas. Think about the scene you want to start your comic with. Night or day? Calm or busy? Just doodle, BIG and loose. Add some frames by just drawing lines, move things around, resize. What do you want to portray with the first page of your comic? I like to establish some of the world or atmosphere, and only then move on to the characters.

Don't try to be perfect, in fact leave that first canvas completely unpolished and move on to the next one. What should this page tell? Will you show the character? I'd leave the establishing shot of them as the last big panel. The rest of the page should build up to it. The last panel is important, it's a hook to turn the page.

Come back to polish those pages more only after you have a few of them done. The most important thing is to get yourself away from that first page, because the first page is scary. After five pages you can move things around and start adding ears to your spheres. You've started a comic now. You can go back to the first page and make it nice, because you already have opened the path to continue.

IT'S HARD. But it's rewarding. It's not for everyone but it's awesome if you can make it yours.

#ask #technical stuff

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yxtubers · 2 years ago

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𝐛𝐚𝐫𝐧𝐞𝐲 𝐚𝐧𝐝 𝐦𝐞

chris sturniolo x reader (fluff)

summary: you get a puppy for your birthday and chris gets jealous of the amount of attention that you give it

warnings/notes: none! lmk if i missed anything

requested: yes! tysm to the anon who requested. this is so cute :)

> > >

Your birthday was last week and Chris had wanted to surprise you with something that you’ve wanted for a while.

A puppy.

He asked Nick and Matt to come with him to the local shelter to find you a dog. He wanted your special day to be perfect, down to the very last and minute details.

Matt had ordered you a cake weeks before so it would be ready in time for your birthday - his job was to bring it over to your apartment early in the morning. Chris, of course, was granted with the responsibility of settling the dog into his new home. And lastly, but most importantly, Nick was in charge of making sure you were out of the house and distracted while this was all happening.

After using his spare key to your house, Chris made sure everything was in order by the time you and Nick arrived.

To say you were pleasantly surprised would be the understatement of the century.

As you held the newly adopted baby in your arms, you knew you two would be the best of friends. Especially with Chris being away often for work, what with all the travelling and filming, it got lonely around your apartment when he or his brothers weren’t visiting.

It would be nice to have some company - even if it was in the form of a house pet.

And how right you were. Cut to two weeks later and you were bringing the puppy around everywhere. Granted - he wasn’t much of a tiny thing anymore. He had grown immensely in the short time you had him, and you loved him more each and every day.

You named him Barney, per Chris’ suggestion.

Barney cuddled you to sleep each night, you ate breakfast with him next to you, and brought him out on walks every day.

To say Chris was slightly envious of Barney would be putting it lightly. It’s not that he didn’t love the dog - he really did - but sometimes Barney would be possessive of you.

At times when Chris would cuddle on the couch with you during a movie, Barney would squeeze in between you two. Being the loving and caring parent that you were, you let him take the space as he saw fit. You babied the hell out of him.

Once Chris tried to hug you as you were cooking, and Barney - thinking that your giggles were cries for help - began to bark and prod at his legs. He felt as if he could never have you alone for more than five seconds. Yet he also felt stupid for being jealous of a dog.

However, with a tour coming up, Chris decided to set him and Barney’s differences aside. He was glad that you wouldn’t be completely alone during his absence. So, as he left for the airport from your apartment, he threatened Barney with a quiet “you better take care of her” as he kissed you goodbye and bid his farewell.

Weeks had passed and the triplet’s flight back home was tomorrow morning.

You received a face-time call from the eldest brother late into the night. Answering, you were met with an overly smiley Nick.

“What’s got you in such a good mood?” you asked, plopping on top of your bed onto your stomach. Caressing Barney’s soft fur, you waited for Nick’s response.

“Chris is madly jealous of Barney,” he blurted out.

From far into the background you could hear Chris’ voice ring out of your speaker.

“Am not!”

You snorted lightly.

You could tell they were in one of their sleep-deprived, energetic moods. How you missed that.

“Jealous? Of this tiny thing?” you said as you pointed the camera towards the dog. Barney woofed at the camera, wagging his tail upon seeing Nick.

Chris popped into view at the sound of Barney’s soft barks. Sitting next to Nick, he took the phone from his hands.

“Hey you better get away from my girlfriend, young man.”

Nick could be heard laughing in the background, seemingly growing more amused the more Chris bullied your dog.

“He’s my baby don’t speak to him like that,” you joked, also finding the situation humorous.

Chris’ eyes drooped as he continued talking. You could tell they were all tired as you caught a glimpse of Matt fast asleep in the background. It was probably late for them - and they had an early flight.

“Well don’t forget who your baby was first. Me!”

Nick fake gagged as he grabbed his phone back. He coo’d and baby talked Barney through the phone, ignoring Chris’ comments that he was a ‘little demon’. After having enough of Chris half-heartedly sulking at all the attention that Barney was getting from you, Nick decided to call it a night.

“Alright well I’m gonna get this green-eyed monster to bed. See you soon,” said Nick as he bid you goodnight and left you to your own devices.

As excited as you were to see Chris again, you fell into an easy slumber as Barney cuddled on top of you.

When you awoke, a slight shifting feeling shocked you from your peaceful state. Peeking your eyes open, you could see Chris taking Barney from your bed and leading him out of the room.

“Chris?” you mumbled out. “What’re you doing?”

Closing the door, he began slowly taking his jumper off and crawling under the sheets with you.

“I just want my girlfriend all to myself for one morning. No Barney interruptions.”

Stifling a laugh, you turned towards him to cuddle into his side. You kissed his neck as it was all you could reach - and in your half asleep state you didn’t feel like leaning up to greet him with a proper kiss.

“Welcome home,” you said, sighing into the crook of his neck.

Chris groaned.

“Not much of a welcome when your demon child growled at me when I walked into the room.”

“He’s just a baby, he’ll get used to you.”

All that was heard in reply was a scoff. He knew it was unreasonable to judge the dog so hard, but in his tired state he really could not handle sharing your attention. He had missed you while on tour, no way he was going to let an animal distract you from his return.

“I know he’s plotting against me. He wants you all to himself,” Chris joked.

“Don’t worry. ‘m all yours,” you mumbled before drifting off to sleep in his arms.

“All mine,” he whispered back.

Chris finally got what he wanted. A peaceful morning slumber with you in his embrace, and no hyperactive dog to steal your focus off of him.

The last thought he had as he joined you in falling asleep was that Barney’s nickname should be home wrecker.

#chris sturniolo #christopher sturniolo #matt sturniolo #matt sturniolo imagine #matt sturniolo x reader #nick sturniolo #sturniolo triplets #chris sturniolo imagine #chris sturniolo x reader #nick sturniolo x reader #sturniolo triplets x reader #nicolas sturniolo #matthew sturniolo x reader #matthew sturniolo #the sturniolo triplets

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akayralylegacy · 3 months ago

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EMESIS BLUE IS ONE OF THE BEST THINGS I EVER WATCHED

Yeah, this is going to be some sort of analysis bc I am having a massive brainrot about this movie and I HAVE to share my thoughts of it somewhere, so I hope you enjoy reading this huge post ig lmao

Btw, if you're a person who doesn't like spoilers... SPOILERS WARNING IF YOU HAVEN'T WATCHED IT YET (and plan to do so)!!!

First, yeah, for those who didn't know I've been really into TF2 since last month, and being a very new fan, I started watching lots of SFMs and vids in a row to catch up with all the memes and lore, and well, I stumbled across EMESIS BLUE. And, it got me caught up with its plot/concept and the overall movie itself SO MUCH that I will never think of TF2 the same way-

No I mean, I know TF2 is more humoristic and stuff most of the time, the canon comics themselves have lots of funny moments of nonsense and weird situations, and not even counting the zillions of memes the community has created, those being pure gold. I love the comedic silliness from the comics and memes, plus the chaotic vibe from the game itself is just so fucking funny and stupid I always burst into laughter

But, TF2...with... horror? That's a combination I never thought I'd like so much. The whole concept of the respawn machine not working like it was supposed to, making them suffer from physical and/or mental problems after each respawn, creating an eternal loop of suffering, breaking the characters' sense of reality, torturing them by having to wait an eternity within some sort of limbo of "afterlife"...bro that's so...so disturbing yet so amazing at the same time. The fact the respawn machine caused Scout to develop brain atrophy, decreasing his IQ score and causing dementia and schizophrenia symptoms, while Medic developed some sort of split personality and schizophrenia as well, and you know that each time they return it will just get worse and worse, even them reckoning it later on. It's...just, it is simply horrifying.

The movie's atmosphere is so well made and constructed that I was tense from start to end, I felt like I was inside the movie, like I was witnessing all the carnage and agony of each one of the characters from up close. Like, there was practically no calm moment during those whole (almost) 2 hours of movie, but at the same time so many stuff happens very quickly, it also seems to go a bit slow but not in a bad way, and the details are shown here and there bit by bit. I like very detailed stories that construct the events based on its slow pace, revealing stuff on its right time, but on the other hand, being mixed with agitation, brutality and things happening in a flash. I hope you can understand what I'm saying? I hope I am being able to explain it well, but I think you get what I mean.

Cinematography wise, everything is stunning. The animation, the effects, the light and shadow, the colors and textures, sounds and background music, everything so well made, if you pay attention you can notice tiny details that make a lot of difference and make it even more agonizing yet thrilling to watch. I was so impressed with it just from the start. I mean, the animation>>>>

The quality being SO. GOOD considering it was animated purely on SFM??? THAT'S SO FUCKING IMPRESSIVE AND JAWDROPPING LIKE THAT'S SUCH A BANGER I COULDN'T EVEN BELIEVE IT.

Dialogue and quotes is something to be noted out as well. Many dialogues made such impact to the movie, some quotes making more sense later on as the movie progresses. I swear, that moment where Soldier is in a black n white room, with all those skeletons sitting around a table, and the sound at the background is a phone call from Jules to Blutarch, where Jules says: "We have about 800.000 corpses on the site," that line hit me SO HARD I CAN'T EVEN EXPLAIN. This is SO. FUCKING. DARK AND MORBID BRO I MEAN WHAT THE FUCK

Not only this one but lots of lines caught my attention and hit me so hard, like:

"You ever get the feeling like you're being watched?"

"Doc, I was at the second floor"

"Some get stuck inside trying to come through"

"You don't want to know..."

"It's eternity in there"

"Longer than you think..."

"Who was there to save me, Jules?"

"And I'm giving you exactly what you deserve"

"See you on the other side..."

ISTG THESE ARE SO??? LIKE, THEY HIT SO HARD AND I GOT CHILLS FROM SOME OF THOSE

Also, the voice acting, OOOH THE VOICE ACTING. Some people say it wasn't that good because many characters were voiced by Chad Payne himself, however I think it shows quite a talent from him to voice numerous characters tbh, even if he couldn't perfectly change the voice to fit all the characters 100% it doesn't mean his voice acting isn't good! I think he did an amazing job :]

And all the other voice actors as well, all of them are so amazing and I loved their acting so fucking much, but shoutout to Jazzyjoeyjr (voice of Soldier) and Cameron Nichols (voice of Scout) bc bro YOU DUDES DID A *PERFECT* JOB I SWEAR-

Talking abt moments of the movie that impacted me so much, I think it was Scout's death, and well uh, many Soldier moments tbh. Scout's death scene was agonizing to watch, I was in total despair hearing his screams at the background while Medic was trying to kill Maynard, I was almost having a crisis I was almost yelling of desperation I was like: COME ON MEDIC PLEASE GO SAVE HIM ISTG

It was SO. FUCKING. SAD. AND UNFAIR. I will never get over that moment.

Soldier's moments? Bro, he was the most sane out of everyone, which says a lot... and he was the ONLY one to indeed survive, without dying at any moment. He witnessed it all, the death of his best friend, Fritz shooting himself right in front of him, the pile of bodies, the truth being revealed....everything.

It even saddens me to imagine what could be passing through Soldier's mind after all those events, he seen gruesome and horrifying shit throughout the movie.

So, long-story short, EMESIS BLUE is a fucking MASTERPIECE that traumatized me for LIFE (in a good way), and I highly recommend you to watch it if you haven't yet, I am impressed with it and it doesn't get out of my head I am so fucking obsessed with it ISTG-

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