#i think there was a creative shift on the visual side in this

[mikimeiko]

L'amica geniale | Season 2 (2020), Saverio Costanzo

[copperbadge]

Recently I ran across an article about an art center that was doing creative expression classes for people with disabilities. Not that unusual, I've encountered that and trauma-oriented art therapy before, but it was the first time I'd come across the idea since getting diagnosed with ADHD. While the class was aimed more at high-needs disabilities, it occurred to me that I could -- if I wanted -- make non-prose art about being disabled.

Outside of my work in scene design I've never been much of a visual artist because I've never felt I had the combination of "something to say" and "a meaningful way to say it", but I started to question how meaningful and complex I really had to be to just make some statements about having ADHD. I can do it in prose, after all.

So I started thinking about how you would talk, in visual language, about things like time blindness, shame stemming from undiagnosed disability, the shift in behavior that medication can induce. Ways to express my condition to people who don't experience it. I still didn't really know how to build the pieces but whenever I went to an art museum I'd think about how I might do a gallery installation. The centerpiece of my mental gallery was a pair of barcodes, one marked "Neurotypical" and one marked "Neurodivergent".

[ID: An interior view of a small booklet, with pages marked 1 and 2, showing barcodes -- on the left, labeled Neurotypical, and on the right, in slightly weirder configuration, labeled Neurodivergent.]

And then I thought, why not make a zine? Nothing you're thinking of couldn't be put in zine form instead of on a gallery wall.

[ID: The booklet continues to pages 3 and 4; on page 3 is a postage-style label reading AUTISM with up arrows on either side, and on page 4 is a QR code labeled ADHD. The QR code technically should work but it just dumps a block of text I wrote about having ADHD into a browser.]

I grew up with zine culture in the 90s and I always wanted to make one but much like with visual art, I never felt like I had the right kind of thing to say; either I had too much to say or too little, and anyway I wasn't confident that what I wanted to do wouldn't just come off as trite and obvious. But you can make a six-page zine out of a single sheet of paper, so I did: I made Helpful Labels For Strange Brains by idab zines, a division of Extribulum Press. (i--dab is a term for a cuneiform tablet that contains a royal communication.)

[ID: The last two pages feature the same image -- a cereal bowl with a spoon in it, the spoon containing a single Adderall pill. One image, however, is captioned "Wake up. Pour yourself a cup of iced coffee. Fix a bowl of cereal. It's going to be a good day." while the other is covered in a detailed ADHD-style step-by-step process for the same actions, culminating in "It's going to be a day like that."]

I'm pretty pleased with how it came out -- the art all looks intentional and it still has that "taped this together after school" aesthetic I remember fondly from the 90s. And the confines of six pages, each only a few inches square, offers a good structure to keep things clear, simple, and meaningful.

[ID: The cover of the zine, labeled "Helpful Labels For Strange Brains" in a kind of esoteric stampy font.]

Especially nice is that if you wanted to you could just hand out the flat sheet, and let folks fold it into a booklet or not -- there's instructions for folding it on the back of the zine. Additionally I have some sticker backed printer paper so I could print it such that you could literally turn the labels into real labels.

Anyway if you want it, here ya go. You can print it on a single sheet of paper and follow the instructions on the back to fold it. I thought about selling it but I do not have the spoons to do a bunch of printing and folding and shipping.

[mysteryanimator]

Breaking down Castlevania Nocturne Season 01 - Episode 08 "Breakup Scene" shot by shot!

I've been chipping at this for a while and now I can put this out to the world. While this will be a lot more 'clear' and more put together than a lot of my previous writings (I am so sorry, I have looked at those past writings and I look like a madman, I was trying to hold back all of them and therefore it ended up super messy) however, it is still going to be a very casual document—as if a conversation!

To preface, these are just my thoughts, and by no means is the actual indicative end-all-be-all for these shots! These are just observations based on my special interest (and also I did ATAR for this, which in short I suppose is a specialization study ? I'm not sure how to describe it LOL) in media production and analysis, with a heavy passion for visual storytelling in film! It has been a while since I have written something like this so you may have to bear with me here.

I consider myself still an amateur, but shot choices matter, especially when you have only 8 episodes, a deadline, a budget, asset restrictions and so on. It all has to count. Everything matters.

As a side thing, while we can and very much should criticize media for being poor in writing, composition and so, yet, I've noticed people do tend to forget everything is 99% considered. Everything has its place and everything has intention. Passionate creatives care and there is more than "the curtain is blue just because". Like I can and will talk about how every Mizrak and Olrox scene is placed in green/earthy-colored environments (not here though LOL, this is not the time for it). The times when things slip under the radar and are put there just because are mostly due to executive meddling, budget restrictions, and deadlines.

Now that the introduction part is out of the way, let's start!

The establishing shot!

I think you’ll notice this in many many shows in general, but this is often used to establish a new scene. While some may think there’s nothing too special about it symbolic wise, Olrox is seen literally dragging Mizrak up the hill. Begging the question of why does Olrox shift out to his shadow form?

For a writing/story perspective, for the breakup to hit with those emotional beats, it has to be done face to face, ‘human’ to human. It cannot be done in shadow form because the dialogue and facial expressions that need to happen, it has slap you in the face. Like the crying scene. It also means when you deliberately cut out any expressions from the shots due to the camera framing, you get a more emotional reaction from the viewer. This is because you cannot see the emotions that they are clearly having. It is like the characters do not want to show us it or let us in.

Character's perspective, Olrox is given the chance for Mizrak to fight back and probably somewhat hoping that Mizrak would break out of his arms easily so he can prove to Mizrak he isn’t powerful enough. It's much like how he lets Richter live in episode 01. He often gives chances to people and it's probably going to come up again.

Olrox drags Mizrak into this scene, and we’re getting a mid shotttt, (I think technically cowboy shot, since we do get like waist and hands, though its because their height differences but I might be getting too pedantic with this).

This may not seem too special, but it’s a very nice way to show Mizrak struggling and just set the baseline for the action occurring since from the establishing shot we can’t tell too much because it's so far out. It also now brings the audience into the scene, we are now privy to their most private conversation. We can also see Olrox is literally holding him super easily he’s literally not even trying LOL. We can see the dynamic being established and how that dynamic will shift at the end. So we have established the new setting/characters in the first shot, and now we've established what this side story will be about in the second shot.

THE LOW ANGLE 🫣

Low angled shots are used to make a character appear powerful because the camera is looking up, therefore making the presence in the shot seem like a massive force. Olrox is supposed to be powerful. Yet, even though he’s taller, right behind Mizrak holding him back AND directly mentioned- he’s not in shot scene except for his hands. They are SUPER prominent in this shot, they’re practically in the middle of it and stand out because his hand is lit super differently from Mizrak’s face.

Olrox’s power is being used to hold back Mizrak.

Side note, I think this is just me, but this shot feels suffocating WHICH IS A GOOD THING. While there is some empty space around Mizrak, it's still extremely dark like Mizrak's clothes so it kind of blends in and makes this scene suffocating. It is as if we're being held back too.

This camera angle also makes Mizrak look very powerless and powerful at the same time which is I think is just really neat. With each established 'rule' for camera shots/angles, you can break them to subvert audience expectations. Mizrak is yelling and using all his power to convince Olrox to fight. Convince him that he can do it and fight Ezerbet.

Long shottttt, slightly different from an establishing shot since it punches in more closely.

“She’ll kill them!” And we can directly see the Abbey from here, being loomed over by the eclipse, which is really super nice. It’s telling us he’s practically going to watch them die if he stays where he is.

Also visually the 'weights' on the left and right of the screen can be argued that they are even, almost as if both choices are heavy and hold the same power over each other. The choice to go back and fight, or the choice to run.

Close up shot! Close-up shots allow for the audience to read a character's face, or if not their face, their action, to put extreme importance. The small details matter in a close-up and are the main focus.

This is soooo intentional, but we don’t get Mizrak’s initial reaction. IMO we don’t ever get it, we only get his response to Olrox, and I see reaction and response as two separate things. This is a super hard side view of both of them. It's not 3/4, it's not front- it is side profile, used to amp up the dramatics of the scenes. It's a nice contrast to how it's only one side of his face yet he's revealing an inner thought. As if maybe perhaps, there is more to this truth then he lets on, it is perhaps, maybe only one side, of his guarded truth.

Also, people may call this a corn plate moment but his eyes are open for one frame, and then when he tilts his head down, they're closed. Its a very small detail, but it's being used to set up for his crying scene later because this acts to 'reset' his face before we see it again.

This is Mizrak's response. We don’t get to see his face, but he BACKS DOWN, and I don't believe he does it because he think Olrox will release him if he does (which Olrox does anyway), but its also kind of his reaction.

This is a forced perspective shot, I think this is now a high angle. So the camera is looking down on the characters, making them powerless and vulnerable. Opposite to a low angle shot.

THIS IS CALL BACK TO THE BED SCENE. Olrox holds Mizrak from behind

A rehash of this scene from episode 04 but with 10x the angst.

Y'all are free to call me out on this section because my storyboarding experiences are small BUT i am just throwing in additional context.

Storyboarding scenes and shots is a collaborative process (as is the whole animation industry itself). These boards go through multiple iterations, which you namely you have to get it passed off from your storyboard director but also your fellow storyboard artists, your background artists and so on. While you dedicate yourself to this specific scene, you let previous parts of the story influence your work and vice versa, allowing for things to feel more connected and visually tell a story. This is the last moment we see this 'couple' in this show, and with such heavy scene that breaks these two apart, you are going to want to call back other times where they were close so it makes the separation that much more painful. In this case, it was chosen to have Olrox holding Mizrak as a callback. This then means this will be a common thing they will go back to and it will somehow reappear in season 2 and every season after that (pleasepleasepleaseplease season 3, maybe season 4 guys please). When it does reappear, it's going to be an alternate version that builds upon the last, and who knows, it may be way more subtle. It may be flipped. The way they act around each other when standing behind each other is very important. The way Olrox holds Mizrak is very important (and he doesn't just hold him by just sitting or using his hands, but also I can discuss that on a different scene breakdown if you guys want!)

I need to point this out super clearly. We do not see their faces this time around for that shot and that is intentional because then it forces up to think of what it is like. We have to infer from their previous interactions and what should come to mind is episode 04.

I would love to break down this at some point later (and how episode 04 and episode 06 make callbacks to each other, I've mentioned it before in a tweet somewhere I digress though). I'll briefly go through this now- this image is a (extreme) top-down close-up of their expressions, the perspective is pushed here. In episode 08, we get a top-down view where the perspective is also extremely pushed. This has to be a callback, there's no way that wasn't intentional.

This is what I imagined their faces to be when Mizrak stops resisting and drops his arms.

Now we see Mizrak’s face. Trade off is that we don’t see Olrox’s face. Like a reaction to a reaction. It’s to set up for the next shot to make us go “oh my god.”

THIS SHOT IS SO GOOD Y'ALL😭 (Also a close-up)

Olrox is not known to show any extreme emotions, only time he does was when he forced himself to bow to Ezerbet. So to the audience, this is really shocking because THATS TEARS RIGHT THERE.

The forehead creases are telling me he’s holding back really hard. He’s dead still beside the wind flowing. He’s using his power to hold back.

This is a front view too. Olrox is baring himself out. No 3/4, no side angle, front view. Also, the backdrop has the trees beginning to clear out behind him, which subtly alludes to us as an audience to realize how we're getting a slightly clearer picture of Olrox's headspace, of his views, and so on!

Which… is this a call back to when Olrox said “I’m not in love with you” (?) It is a front having shot but its cut closer and his eyes aren't glowing.

Which, I still have no idea what the glowing eyes mean. Unless there are no rules the glowing eyes follow by it besides what suits each scene the best thematically. I will point out that whenever it glows, its supposed to be intimidating, he's supposed to feel supernatural. When he's vulnerable, take for insistence when he talks about his past and talks gently about it, his eyes don't glow, he feels a lot more human in that scenario.

First of all, choice of shot is to mirror Olrox’s shot. Ok that out of the way.

WE GET THIS LINE??? I remember first watching it my jaw dropped because I couldn’t believe he said this.

He gets called an animal. Wild. Insane.

That’s a set up. It has to be there’s NO WAY IY ISN’T. WE’RE GETTING A CALL BACK TO THIS IN SEASON 2. SEASON 3, pls I’d do anything for a s3. Idk when we're getting a call back to this because Mizrak just backhanded him so hard and that language is so specific, especially since we’ve already gotten Ezerbet going “Gods should know where her dragons are”, you know, treating Olrox like a pet. Like an ANIMAL.

I am going to go on the slightest of side tangents- Mizrak has parallels to Drolta, they're both "guard dogs" for their leader. The Abott simply has to put out his hand when Mizrak is growling (it is subtitled as him growling and barking its kinda crazy) for him to stop. The animal line seems so out of nowhere and it is supposed to feel like that but we've had this bread trail from the very start.

Ok going back to the scene at hand. Mizrak ??? Where’s your normal religious quips ??? Why did you use that line ??? What do you know about losing your soul and being animal-like??? Suspicious 🤨 because there are countless bible verses about, bravery, losing your soul, literally self-sacrifice.

Though I will bring up, the idea of having a soul has been brought up before.

Mizrak recognizes Olrox had a soul before. He recognized Olrox used to live. I think Olrox was a lot more... 'puncher' and 'fiery' beforehand, before his previous lover died. I mean, if he wasn't more 'alive' before, why would he turn his previous lover into a vampire. Mizrak said that so it would hurt and to call him out.

(Though I feel like, religion has been thrown out the window for Mizrak, cant wait to see how Mizrak deals with it s2 LOLOLOL)

Ok now talking abt these two long shots together (the irony writes itself)

The placement of the characters is so important to feel that void and it makes the scene feel so much more empty, which is why it also has to be a long shot. It’s like, they’re supposed to fill in that gap, but they’re not. A general note is that shuffling characters off-center makes the scene feel unbalanced. The center line, the abbey, and the eclipse are already established and Mizrak is running off center. For Olrox's shot, there's a clearing to his right.

To Mizrak, Olrox should’ve run alongside him. There’s space for him

To Olrox, Mizrak should’ve stayed back. There’s space for him.

Now I'm done. My final notes is that this whole breakup scene is a massive setup for something for the next season (if not this season, just for something big later on), and my red strings are tying it to that animal line and holding if that makes sense? Everything in episode 8 IS a setting up for bigger things for season 2. We will get callbacks. (I say will, that is a very strong conviction LOL).

Also to wrap up, shot choices matter heavily. You need to connect with the audience immediately. A picture says 1000 words. Something as simple as maybe someone in a diner eating a burger, and its a close up of them talking may seem not that special but it changes a lot just by having a character in the middle or the left of the screen, especially in the greater scheme of a full scene.

Think of that one quote from Prince of Egypt where the priest says "A single thread in a tapestry though its color brightly shines can never see its purpose in the pattern of the grand design." Basically that LOL.

If I have time, I may go and do their other scenes (or even scenes of other characters)! They all build upon each other really nicely and despite their scenes being about 1-3 minutes long. They really pack in a lot of details. Their lives before directly affect what's happening at that very moment on screen and you can see it heavily influences how they interact with the world and each other!

[pearlprincess02]

sour by olivia rodrigo (album astrology)

gemini sun in 4th house

as a gemini sun in the 4th house, olivia rodrigo's sour radiates a core identity centered around emotional vulnerability, exploration of duality, and introspection. gemini’s influence brings a dynamic, multifaceted energy to the album, allowing olivia to express a range of emotions, from heartbreak to anger, often through witty, sharp lyrics that resonate with the listener on an intellectual level. in the 4th house, the focus shifts inward, drawing on personal experiences, home, and the deep emotional roots of relationships. sour becomes a reflection of her inner world, expressing the emotional turbulence of adolescence and the growing pains of self-discovery. the album’s central creative focus lies in balancing vulnerability with clever self-expression, as olivia explores the intimate, often conflicting sides of love, betrayal, and identity in a way that feels both deeply personal and universally relatable.

"you talked to her when we were together / loved you at your worst, but that didn’t matter."

virgo moon in 8th house

with a virgo moon in the 8th house, the emotional depth and mood of sour is rooted in raw, analytical vulnerability, creating an intense atmosphere of emotional exploration and transformation. virgo’s meticulous nature brings an introspective and self-critical tone to the album, as olivia dissects her feelings of heartbreak, betrayal, and insecurity with precision and honesty. the 8th house amplifies this emotional journey by delving into themes of loss, power struggles, and deep inner change. the album connects to the listener’s inner world by expressing pain and vulnerability in a way that feels both relatable and cathartic. there’s a subtle, yet profound undercurrent of emotional healing throughout sour, as olivia's lyrics navigate the complexities of emotional wounds and personal growth. the album’s mood is intense, reflective, and transformative, inviting listeners to confront their own hidden emotions and experiences of heartbreak with a sense of clarity and raw honesty.

"it's bittersweet to think about the damage that we do."

capricorn rising with pisces jupiter & aquarius saturn in 1st house

as a capricorn rising, sour presents itself to the world with a serious, mature, and somewhat somber image, giving listeners the impression that the album is grounded in emotional realism and life lessons. capricorn rising influences the way sour is marketed—its branding leans into a minimalist, polished aesthetic, with visuals that evoke a sense of emotional weight and vulnerability while still feeling structured and deliberate. the vibe is one of quiet strength, as olivia channels her heartbreak through a lens of resilience and self-awareness. with pisces jupiter in the 1st house, there’s also a touch of dreamy emotional depth and empathy woven into this public image, adding a layer of artistic sensitivity and spiritual exploration to the album’s identity. meanwhile, aquarius saturn brings an unconventional edge, signaling that sour isn’t just a typical breakup album but one that challenges norms and reflects olivia's personal rebellion against expectations. this combination shapes the album’s first impression as deeply emotional yet disciplined, appealing to listeners who are drawn to both the rawness of youthful heartbreak and the wisdom gained from it.

"but if you're out there, i hope that you're okay."

gemini mercury in 5th house

with a gemini mercury in the 5th house, the lyrical content and communication in sour are marked by clever, playful wordplay and dynamic storytelling that reflect youthful creativity and emotional expression. gemini mercury thrives on sharp, quick-witted lyrics, which is evident throughout the album as olivia delivers lines that are both poignant and biting, capturing the complexity of heartbreak, jealousy, and self-reflection. in the 5th house, mercury's energy becomes more theatrical and expressive, making her storytelling deeply personal yet accessible, as if each song is a dramatic scene from her emotional life. the album's lyrics balance lightness and heaviness, often juxtaposing biting sarcasm with vulnerable confessions. this placement gives olivia a strong voice that resonates with her audience, connecting through her ability to articulate complex emotions in a way that feels authentic, youthful, and bold.

"it’s brutal out here."

gemini venus in 5th house

as a gemini venus in the 5th house, the aesthetic and harmony of sour are vibrant, expressive, and emotionally charged, with a playful yet complex approach to beauty and love. gemini venus brings a duality to the album’s sound, allowing for a mix of contrasting elements—delicate melodies paired with raw, angst-driven moments. this creates an ever-changing, multi-layered experience for the listener. the 5th house amplifies this with its focus on creativity and self-expression, making sour not just an album but a bold performance of personal emotions. venus’s influence adds a romantic and sensual touch to the music, making each song feel deeply intimate, whether it’s the bittersweet softness of tracks like "enough for you" or the fiery passion of "good 4 u." the melodies are often catchy and accessible, drawing listeners in with olivia's ability to blend beauty with emotional authenticity, creating a sound that feels both polished and raw, reflecting the album’s exploration of young love and heartache.

"do you get déjà vu when she's with you?"

cancer mars in 6th house

with cancer mars in the 6th house, the energy, drive, and intensity of sour is emotionally charged and deeply personal, yet grounded in everyday struggles and self-reflection. cancer mars brings a fierce yet protective energy to the music, with olivia channeling her emotions—particularly hurt, anger, and vulnerability—into passionate, assertive tracks like "good 4 u" and "brutal." while cancer is a sensitive sign, mars gives it a defensive edge, so the album feels like a cathartic release of pent-up emotions, particularly around themes of emotional betrayal and self-worth. in the 6th house, which governs routine and work, this mars placement emphasizes the dedication and emotional labor involved in processing heartbreak. olivia's intensity shines through in the balance between emotional outpouring and the meticulous effort to communicate her pain. the pace of the album alternates between raw aggression and more reflective moments, but there’s always an underlying assertiveness, making sour bold, relatable, and a testament to the emotional resilience born from everyday battles with heartbreak.

"well, good for you, i guess you moved on really easily."

all observations are done by me !!! @pearlprincess02

[mossy-green-aka-ferrythem]

You know.

As much as I absolutely adore Shadow Generations.

I really hope they get back to making more original stuff for Sonic, you know, for a series that has prided itself on originality for quite a while.

Like I don't give a fuck if it's "Cringe" or whatever make Sonic do more goofy wild shit.

Making Frontiers a weird pseudo-open world game was a great idea, more of that please and less Cyberspace. Much less Cyberspace even I want original level layouts and original visual design again, and by and large, Cyberspace doesn't feel that fun to be honest.

The gimmick ideas that Shadow Gens had were truly fantastic, and I would love to see more original levels. Some adaptations of levels are my favorite ever, and the 2D sections in Shadow Gens feel amazing. Kingdom Valley is a blast and so is Chaos Island, especially Chaos Island even, I think that one is my favorite!

Also, as much as I absolutely love the tonal shift and the way Radical Highway has been turned into Black Doom's weird, warped dimensional zone, the more I replay levels, the more I can't help but find the levels that stay within their area the entire time my favorites, as seen with Kingdom Valley and Chaos Island.

Idk, I absolutely love this game, but I feel like when I replay Shadow Gens, I can get burnt out on it so quickly since there is so little of it, and also, while the game looks fantastic, if I am going to be a little bitch about one thing, it's that lighting and shading on some models look a bit weird. Which I think is a totally valid criticism. Lighting effects a lot, and it makes some things in the game contrast slightly too heavily with the surrounding environment, but with that being said, it's mostly a non-issue, just something that I think games with brighter, flatter color palettes handled better, to a certain extent. It's hard to articulate this point lol.

Anyways...

A big thing that concerns me, is that when I think about the concept of there being "Alternate Picks" for stages to end up being included in Generations, the old games have tons of options, even if they're not all the best picks, but after Colors? Can't think of much of anything for Forces, and while Frontiers did an excellent job putting a creative and original spin on things, it doesn't have too much that's distinct, I feel like they should have done more wild, cool shit like Chaos Island being an "Island above the clouds", and even Ares Island stands out as being an open space, it can't help but make Kronos, Rhea, and Ouranos look quite weak in comparison, especially with how similar Ouranos looks to Kronos Island, despite having some somewhat interesting locations and ideas sprinkled here and there.

My god I fucking love Sonic so much, I can just keep talking about it lmao

My main point being is that I love Sonic for it's originality, even the game that played it safe at the time, Sonic Colors, which is on the more childish side, even for a series already made for kids, had truly stunning visual designs for levels, all so distinct, and so many fun level layouts and ideas. I feel like Lost World, from what I have seen, kinda dropped the ball, because most of the ideas in that game feel like they've just been done before. Forces is worse though, because it's just not interesting to talk about. Hell, at least the train-wreck of 06 has P06 to back it up, while Forces? It has a mod called "Overclocked", which introduces a new plot and new level layouts, and even though Overclocked does a lot of good things from what I have seen, the sheer amount of things it does differently says a lot about Sonic Forces.

Frontiers is still a major step in the right direction though, even though it has some rather annoying hangups with Cyberspace.

Damn I really can just keep talking about Sonic forever lol

My big thing is I hope they come up with more original ideas. Even fans of the series seem to have caught themselves into a sort of thought pattern where they're kind of stuck. It's easier for someone to imagine something being cool in a Generations styled game, rather than making something new entirely, and while I love Generations, the entire point of this rant is that I crave new flavors.

So please Sonic, keep running forward, and strive to move onto new Frontiers.

[burning-academia-if]

Hi again. If you've been around a while you're probably going to be like "Em, again??" But guess who got sick for the 6th time this year and this time it was a full on chest infection!! It has been three weeks, and somehow I am still Not Free!!

Anyway, BA fell to the wayside this month because it was Velox Fabula time and I've yet to miss a Velox jam (also...chest infection). I also needed to get my sudden and newfound Pirates of the Caribbean obsession out of the way so! I made a short pirate visual novel for the jam and I'm normal again. I also released the prologue of my side IF To Taste Sweet Silver (@sweetsilver-if) just to have it out. Feel free to check it out if you want, but it likely won't be updated for a while as I'm shifting gears back to BA for September!

I don't have much to report but:

UI update should be out in the next week or two depending on how I'm feeling. It won't look like much to y'all since it's more for my sake via cleaning up the code LOL but there were things added (friendship indicators, open dyslexic font option, character page updated, stat page updated, glossary page added) I'm not a graphic designer but it's better organized I think. There won't be an Official Post about it because it isn't new content, but I will make a small announcement when it's out. It'll also include the originally deleted Lars/Zoe/Nevio lunch scene in Chapter 2 as well. Sorry this is taking so long, I just really struggle with the coding side of things which has made the process slow.

Writing in August was also slow, and honestly, I think I really needed those few weeks off not thinking about BA. My inbox being very quiet helped as well, so I really did take a real break from BA. When I opened up the writing doc, I felt a whole lot better about working on BA again, and we have hit 100k words finally!

Anyway, I don't want to lament much, but I did have a personal goal of releasing up to Chapter 4 this year which obviously is Not Going to Happen. It honestly sucks I got sick so often this year because it cut into so much time for creative projects, be it BA or anything else.

I'm not really going to be hard on myself for it, though. I think releasing 3 chapters this year considering everything that kept Going Wrong this year is actually pretty good. I just think its annoying when I know I could have done it but the universe said no instead akfjalfa Anyway, I'm not sure when Chapter 3 will release but I do have a good feeling about September and I think I'll be able to at least get a decent chunk done this month!

Finally, September marks the one year anniversary for this blog and October marks the one year anniversary of BA releasing!! I feel like I literally just started writing this, the fact it's September already is wild.

I was going to do art commissions, but due to surprise car issues, I don't really have the money for that now (next year for sure though!!), so I was thinking of maybe doing character Q&As to celebrate? I've also seen some authors do raffles, but I'm not entirely sure what I would raffle off? Maybe personalized short stories with readers MCs if there's interest in that? I'm not sure yet, but I have a month to figure it out lol

But also thank you to everyone who has followed along!! It's been a really fun time both writing BA and on the blog. I know I say this a lot, but I'm really glad this is such a chill place. It's nice for me the author obviously, but it's also nice because I always want the spaces I have to feel like safe places for others as well so! Thanks again!

Lastly, I normally would end on a little snippet or preview but since most of what I wrote was just the two different openings, I feel like I have nothing fun to tease (or maybe I'm too picky about snippets idk). Hopefully Zoe's bday post tomorrow makes up for it, and I'll post some snippets later in the month instead!

Thanks for reading!

[randomfandomblabdom]

I have so many issues with the Anastasia musical...

It seems to me that the writers put certain moments in the musical simply because moments like that happened in the movie but instead of comprehending why those moments worked in the first place, they made what they most likely assumed would be small insignificant changes that only ended up fucking with the narrative as a whole.

One of the best examples of this is Dimitri and Anya's dance lesson during Learn to Do It. This takes place far too early in the show for it to mean anything substantial. The dance lesson happens at a very specific point in the film and has an equally specific purpose narratively. It is only after a time jump montage during Learn to Do It where it's implied Anya, Dimitri, and Vlad spend anywhere from several days to several weeks traveling together, that Dimitri and Anya's dynamic naturally shifts into something warmer than what it was several scenes ago. You, as the audience, do not question this shift because you know, subconsciously, that they've been spending a lot of time together and have developed a deeper relationship and possible romantic feelings for each other as a result. It's given its due time to make sure you as well as the characters understand that. The musical has no deeper meaning or realization attached to it as the two characters haven't spent a substantial amount of time together where those subconscious blanks would be filled in for you. Trust me, I understand that time jumps can be difficult to do convincingly in a stage production but this is live theater, you need to get creative about these things... or move Learn to Do It further back in the show. Yes, there's a line of dialogue that implies that it's been at least a couple of days but that's harder to grasp when there are no visuals to support it. It feels like Learn to Do It happens over the course of several hours. Instead of two people who have been traveling together for implied days/weeks and have become friends realizing their feelings towards each other may have shifted into more romantic territory, it feels like acquaintances realizing they merely find the other person attractive or perhaps not as bad as they thought. The musical takes all of the build-up and context and mashes it into one number that doesn't end up working the way I think the writers thought it would. I wouldn't mind the dance being so early on if Dimitri and Anya were given any other moment of realization that was allowed to breathe. And don't say In a Crowd of Thousands...

Speaking of, I love that song. It's gorgeous. It's become one of my favorite Broadway love songs of all time, I've been listening to it non-stop for the past week. Does that mean I'm peachy about the changes that were made just because it's connected to a pretty song? Hell no. I have sooooo many problems with that scene as a whole. I'm not gonna waste my time talking about the changed backstory, I'm sure that and how it completely diluted the story has been discussed at length and I'm fully aware that changes must be made when transferring media from one medium to another - animated movie musical to live stage production in this case - but these changes are just absurd to me. Dimitri literally just told Anya to essentially make up her side of his story as if she truly was the princess Anastasia riding by in that parade all those years ago. His bowing could very easily be something she just made up on the spot and convinced herself it was a real memory, Dimitri's reaction to it would be enough to tell her it was. They've been trying to convince her she is Anastasia, she may be just convincing herself things she learned actually happened to her at this point. Not to mention, yes, Dimitri didn't tell her that detail of the story but of course, a commoner would bow to royalty, how does that prove anything to him? It doesn't help that he just told her his side of the story which could easily influence her line of thinking. In the film, not only is Anya's memory of the boy opening a wall something she couldn't have guessed or made up even if she tried, proving beyond all doubt to Dimitri that she's the real deal but the subject of the princess's possible survival is not something that has come up before as evidenced by Vlad and Dimitri's nervous reactions when Sophie (Lily) asks that question. Nothing is influencing her thinking there. The whole interaction in the stage production makes it seem like Dimitri just suddenly falls in love with her because he just found out she's the princess when the film makes it abundantly clear that he is so far gone for her long before that information comes to light, their romantic tension fuels the dramatic tension once that's revealed. Both adaptations have an almost kiss and unfortunately, only one of these adaptations puts it before that revelation. In the film, it follows the dance lesson sequence. In the musical, it’s placed directly after that big revelation and it just feels… kinda wrong.

I think I'm gonna stop there. I have so many thoughts written out that I could probably write a multi-page essay on this and maybe I'll make a full post on it but I needed to get at least some of my thoughts out before my head exploded and those are some of the things that were most prominently sitting on the tip of my tongue. I could go on for hours about how the music box was entirely misused, the total misunderstanding of the song Once Upon a December, how the Empress's choice given to Anya towards the end is almost explicitly about Dimitri instead of how it's explicitly about her granddaughter's happiness in the film, and don't even get me started on how Anya realizing she's Anastasia at the same time as Dimitri kinda fucks with the last 15-30 minutes of the story...

It's all so disappointing honestly because this musical had all the groundwork to become a phenomenal show - good songs, a good story, a good romantic duo, fans who grew up with the film - and, in the right hands, I truly think it could've become a Best Musical winner but instead, it turned out to feel like an amateur production on a Broadway stage with two really likable lead actors that had really good chemistry together and ended up doing most of the legwork for getting people to look over the fact that it wasn't nearly as good as it could've been. In all honesty, I did not realize how tightly written the film is until I started picking apart the musical and now I think the film is one of the best-written animated films in Western media.

This isn't meant to bash anyone who enjoys the musical. You don't have to agree with me. I do genuinely enjoy parts of the show and think it did certain things well. Christy Altomare and Derek Klena were absolutely perfect casting, I like some of the added songs, Journey to the Past happening when they get to Paris and Meant to Be happening before the ballet are outstanding placements for both songs, the costume design was more or less gorgeous, and I do think excluding all of the supernatural aspects was the right call...etc. but those are just some of my scrambled thoughts on why I have such an issue with the writing in this show.

[jamiemooreblog]

Unlocking Your Creative Power: The Secrets of Projection Theory

Imagine a world where your thoughts don't just stay hidden inside your head, but actually shape the reality around you — where the universe isn't a fixed stage, but a responsive canvas that bends and shifts according to your beliefs and intentions. This is the mind-blowing premise of Projection Theory, a fascinating concept that's gaining traction in both scientific and spiritual circles.

My Journey into Projection Theory

I first stumbled upon Projection Theory a few years ago while reading about quantum physics. The idea that our consciousness could play an active role in shaping reality resonated with me deeply. It reminded me of an experience I had in college when I was struggling with a particularly challenging course. I was convinced I was going to fail, and my anxiety was through the roof. But then, I decided to change my mindset. I started visualizing myself succeeding, affirming my ability to grasp the material, and expressing gratitude for the opportunity to learn. To my surprise, my grades started to improve, and I ended up passing the course with a decent grade. This personal experience, along with my growing understanding of quantum physics, led me to delve deeper into the fascinating world of Projection Theory.

What is Projection Theory?

In essence, Projection Theory proposes that consciousness is not merely a passive observer of reality, but a projector that shapes and molds the world we experience. Imagine your mind as a kind of projector, casting your thoughts, beliefs, and emotions onto the screen of reality. This "projection" creates the world you perceive.

The Quantum Connection

This idea might seem far-fetched at first, but it has intriguing parallels with quantum mechanics, the study of the subatomic world.

In the quantum realm, particles can exist in multiple states at once until they are observed. This aligns with the observer effect in quantum mechanics, where the act of observation can influence the behavior of particles. Even more mind-boggling, experiments like the delayed-choice quantum eraser suggest that observation might even retroactively affect quantum states! This implies that consciousness isn't just observing, but actively participating in shaping quantum reality.

* Entanglement: A Mysterious Connection

Imagine two coins flipped at the exact same moment, mysteriously landing on the same side every time, no matter how far apart they are. This is similar to the concept of quantum entanglement, where two particles are linked in a way that defies our usual understanding of space and time.

* Microtubules: The Bridge Between Mind and Matter?

Some scientists are even exploring whether quantum processes occur within our own brains, perhaps in structures called microtubules. Deep inside our brain cells, there are tiny structures called microtubules. Some scientists believe these might be the key to how our consciousness interacts with the quantum world, like tiny antennas picking up signals from the universe. If this is true, it could provide a direct link between consciousness and the quantum world, lending further support to Projection Theory.

The Power of Belief

If Projection Theory is correct, then our beliefs, thoughts, and emotions play a crucial role in shaping our reality. Our beliefs, thoughts, and emotions act as filters, shaping the reality our consciousness projects. This explains not only the placebo effect, where beliefs can trigger measurable physiological changes, but also the power of positive thinking and self-fulfilling prophecies. Our intentions do literally influence the world around us! Studies on mind-matter interaction, where people attempt to influence random number generators or even the growth of plants, are exploring this very possibility.

Researchers at Princeton University conducted experiments where people tried to influence the output of random number generators using only their minds. Surprisingly, the results suggested that our intentions might indeed have a subtle effect on physical systems.

Beyond the Ordinary

Projection Theory might even shed light on phenomena that seem to defy conventional explanations. Near-death experiences (NDEs), where individuals report vivid experiences while clinically dead, suggest that consciousness might be able to exist independently of the brain. And what about psi phenomena like telepathy or precognition? While controversial, if genuine, they could indicate that consciousness has a far greater influence on reality than we currently understand.

But is it really that simple?

Of course, Projection Theory isn't without its critics.

* Addressing the Skeptics

Some argue that it can't account for shared experiences or events that seem outside our individual control. Others question whether it can be scientifically tested.

* The Limits of Individual Control

While these are valid concerns, it's important to remember that Projection Theory is still a relatively young concept, and much research remains to be done.

* The Need for Further Research

Perhaps with further investigation, we can develop a more nuanced understanding of how consciousness interacts with reality.

Taking Control of Your Reality

One of the most exciting aspects of Projection Theory is its empowering message: we are not just passive victims of circumstance, but active creators of our own reality. By harnessing the power of our minds, we can manifest our desires and shape our lives in profound ways.

Tips for Conscious Creation:

* Visualization: Painting Your Reality with Your Mind

Create vivid mental images of your desired outcomes.

* Affirmations: The Power of Positive Self-Talk

Repeat positive statements about yourself and your goals.

* Gratitude: Shifting Your Focus to Abundance

Focus on appreciating the good things in your life.

By cultivating these practices, you can align your thoughts, beliefs, and emotions with your intentions, increasing the likelihood of manifesting your desired reality.

Examples of Projection Theory in Action

Throughout history, there have been countless examples of individuals who seemingly used the power of their minds to achieve extraordinary feats. For example, Jim Carrey famously wrote himself a $10 million check before he became a star, visualizing his future success. Oprah Winfrey often speaks about the importance of gratitude and positive thinking in manifesting her dreams. And Malala Yousafzai, the Pakistani activist for female education, demonstrated incredible courage and resilience in the face of adversity, her unwavering belief in her cause ultimately leading to global recognition and impact. These stories suggest that our potential for conscious creation might be far greater than we realize.

A New Perspective

Projection Theory is a call to awaken to our creative power. It's a young theory, and much work remains to be done. Scientists and philosophers are exploring its implications, developing a more formal theoretical framework, and designing experiments to test its predictions. It offers a powerful new lens through which to view ourselves and the universe, so what do you think? Is Projection Theory just a wild idea, or could there be something more to it?

If you're curious to dive deeper, check out the work of Dr. Quantum (Fred Alan Wolf), Amit Goswami, and Lynne McTaggart.

What are your thoughts on Projection Theory? Share your own experiences and insights in the comments below!

#projectiontheory #consciousness #quantumphysics #realitycreation #lawofattraction #mindmatterinteraction #spirituality #selfimprovement

[satoshi-mochida]

Tomba! Special Edition launches August 1 for PS5, Switch, and PC, later for PS4

From Gematsu

*There's a few short videos on the site I can't copy/paste on here

Tomba! Special Edition will launch for PlayStation 5, Switch, and PC via Steam on August 1, followed by PlayStation 4 at a later date, developer Limited Run Games announced.

Here is an overview of the game, via Limited Run Games:

About

Tomba! returns in Tomba! Special Edition, the ultimate version of the legendary platforming masterpiece. As the titular Tomba, you leap, bite, and throw your way across stunning 2.5D landscapes on a quest to overcome a deplorable cadre of nefarious pigs. Along the way, you’ll explore ancient relics, discover fascinating characters, unlock thrilling quests, and unearth hidden treasures. It’s a platforming adventure that perfectly fuses linear and nonlinear gameplay styles. Tomba! was first published in 1997, and is back today in a vastly-expanded special edition packed with quality of life improvements.

Key Features

Save Anywhere! No more worrying about heading back to a checkpoint.

Rewind! Stuck on a difficult challenge? Try again!

Toggle for analog control

A museum crammed with classic print advertisements, original packaging and manuals, never- before-seen dev documents, and high-res original artwork.

A new remastered soundtrack.

Interview with the creator, Tokuro Fujiwara.

And here is a new interview with Tomba! creator Tokuro Fujiwara published on PlayStation Blog:

In 1997, when you made Tomba!, most developers focused on making 3D games like Tomb Raider or Crash Bandicoot. You instead decided to mix 2D sprites with perspective-shifting 3D environments. Why? Tokuro Fujiwara: “Tomba! runs on 3D technology, with gameplay designed around 2D principles. This is why it’s described as a 2.5D game. I think 2D games have a certain kind of charm that 3D doesn’t. I also wanted to push the limits of what could be done. To bring my vision to life, I needed to use 2D principles along with 3D CG visuals. This allowed me to create something that felt new on the PlayStation. “There were times when I wondered if I should go 3D instead, 3D games have a very clear sense of space. In 2D, all the action takes place on a flat plane, and multiple layers provide a sense of depth. This means you have to design the game in creative ways so that the different layers don’t conflict. This results in something interesting that can only be achieved with 2D.” What do you hope new players will take away from Tomba! Special Edition? Fujiwara: “Tomba! has many side quests. These come in different varieties and are hidden throughout the game. I encourage players to seek them out. Various items allow players to learn new moves, expanding how levels can be beaten. I hope players search and seal away the Evil Pigs scattered throughout the world, which will unlock even more to see! There are many discoveries to be made. I hope players can relax and enjoy the world of Tomba!” Speaking of genre-bending gameplay. Tomba! feels like an open world despite being described as a side-scrolling platformer. This was largely due to how nonlinearly the levels could be played. Was this done intentionally, or was it something that just happened through development? Fujiwara: “I had envisioned this open-feel game from the very beginning. It was all a blur when things started, but as development progressed, it began taking shape. “You could consider Tomba! an open-world title, a term that was rarely used back then. There’s a wide area with a lot of different content in it. You encounter, discover, and collect various things as you move around. For example, you have to complete certain tasks in Tomba!, but you can wander around freely and complete them however you like. Some tasks and main objectives can even be skipped entirely. Many of the ideas I envisioned for Tomba! back in the day were ideas we see in open-world game design today. “I initially wanted to include 100 quests, but the final game exceeded that. It was hard work for the team to fit it all together on a timeline. What started out as vague ideas in my head ballooned into an amount of content so large it blew my mind!” The original PlayStation was a massive leap in gaming technology. What was it like to experience it back then? Fujiwara: “Game development is an ongoing battle against technology growth. This was the case back then and is still true today. I felt that the PlayStation was such a remarkable improvement in terms of hardware, allowing for greater possibilities. Games went from being rendered in pixels to CG. Game developers had to learn many new skills. Expectations ballooned along with the scope of game ideas. Development environments evolved, which made things challenging but exciting for developers. The introduction of the PlayStation and the advancements from that era still impact games today.” Finally, why do you think it’s important to bring Tomba! back now? Fujiwara: “Tomba! has been around for a long time, but continues to be loved by many. I’ve long wished that the game could be accessible to more people on modern systems. Now that the opportunity is here, I think PlayStation fans today will get a ton of enjoyment out of Tomba!“

[threerattsinatrenchcoat]

Flowers

"Your collection features a disturbing lack of consistency," Lae'zel said, somehow both looming over Wyll's shoulder and holding herself at perfect attention.

"It's not about visual appeal," Wyll explained. "It's a letter."

She snorted. "A letter. In flowers. When you have a functional set of written characters."

"It is a custom here to place flowers on graves. This year I'm telling mother of the people I have met." Most of Wyll's childhood had been spent behind a blade, but he'd always loved his mother's dried bouquets and spent many evenings poring over her books and notes to learn everything about each one.

Lae'zel quietly watched him tie individual bundles of clippings and arrange them in the larger one. "Which is me?"

"This." He pointed to it. One long stalk of proud red plumes, several inverted stalks of compact buds, and a collection of delicate, star-shaped flowers. Lae'zel's assessment was correct; they only suited each other in meaning. 

Lae'zel's lip curled into a sneer. "Showy. I am not showy."

"That is a gladiolus. A noble flower. It symbolizes integrity, strength, victory and loyalty."

Her face softened. "Accurate. What of the rest?"

"Borage. For bluntness. Directness."

The sneer was definitely a smile now. "And the one that is upside down?"

"Lavender."

"It smells… acceptable."

"Lavender, inverted, means trust. And tied with the ribbon on this side, it signifies that this spray represents my feelings towards you."

"You feel you can trust me."

He nodded.

"You will tie it both ways, then," she harrumphed. "What of the rest?"

He showed her Gale, with nightshade for magic, lupine for fascination and imagination, gathered around hollyhock for ambition and prolific creativity. Wyll was in two minds about stripping the blooms from the hollyhock and leaving only the buds. Stripping the ambition and leaving only the creativity. Hopefully next year.

Karlach's part, with chrysanthemum for positivity during suffering, zephyrlily for expectation of something awful (one he hoped to invert next year) and Fleur-de-Luce for fire and flames. The bundle for Tav, dahlia for leadership, in red for energy and yellow for friendship, lily of the valley for determination and daisies for hope. 

Shadowheart, with night orchid for moments of openness in the dark, forget-me-not—really a romantic flower, but he thought the theme applied strongly to her and he really would rather her not forget their friendship—and snapdragon, one upright and one inverted. One for lies told and secrets kept; one for lies admitted and secrets shared. 

Last was Astarion, the one he was most nervous about, although Astarion (as a complicated person) would likely appreciate the complicated meanings. Larkspur for levity and capriciousness, cockscomb for foppery and because it was named cockscomb, and hydrangea, which meant aloofness, a lack of sympathy, but also a gratefulness in being understood.

All of it was wrapped in ivy for friendship and loyalty, and surrounded by his mother's favorites. He added a ribbon around the massive bundle, finishing it with rosemary and clover. Remembrance and a promise to think of her.

"Apt," was all Lae'zel said.

~*~

A perfect, sunny morning, the perfect day to deliver his flowers. Wyll made his way to his mother's grave in the gardens of the Lower City. Her gardens; mother thought everyone deserved beauty.

"Your wad of weeds is lacking. Would that you use this to complete it."

Lae'zel, surprisingly. She raised her eyebrows, shifting her weight in a way that suggested nervousness. She thrust a small bouquet towards him and said, "The shop built it at my suggestion. They claim edelweiss is bravery and devotion, iris for valor, faith and hope, and monkshood for a chivalrous knight. I insisted that they used one that meant a 'fool who always must be the center of attention'. They did not comply."

"Narcissus, in the future."

"I will remember that."

He took it. "Whose is it?"

Lae'zel rolled her eyes. "Yours."

"I don't need–"

She sucked her teeth. "If it is as you say, a 'letter', to a woman who perished in your journey to this realm, then she cares not for us. You are her mission. Yours will be the first news she gets."

"Thank you," he said, lowering the bouquet to the grave.

"And for your outbursts, I have prepared handkerchiefs."

"I'm not going to cry," he laughed. "There was a time I would, but that is past. Now I'm sharing my happiness, not my grief."

She snorted. "And what of these weeds on her grave? I will remove them."

Wyll glanced at the plants, still young, then looked closer. Perhaps he shouldn't have dismissed Lae'zel's offer of handkerchiefs. "No. Leave them. They're a letter."

"Then it is not my concern. I will leave you to read it."

Wyll knelt by the grave, running his fingers over the flowers.

Celandine, volkamenia, ragweed. On a bed of moss, for a mother's love.

Happiness is coming. May you enjoy it. 

I love you, too.

[gascreates]

eeeee I love your atla dino au so much!!! do you have an idea of how bending would look different in the dino forms?

aaaa thank you!! im glad you like it!! it feels so great to know that people like this au!!!

actually, bending as a dino was one of my first thought experiments, came way before anyone had any dino designs! ive always wanted to make sure to preserve the whole magic martial arts vibe of atla, even in dino form. and combat is such a big thing in atla that im constantly shifting things around in my head to try and make sure that everything feels balanced. i don't want dino bending to be the definitive replacement for human bending, yknow?

im gonna plop the rest of my response under read more cuz it got pretty long. here we go!

as for how bending actually looks, my thought was that dinos primarily use their head and tails for major bending motions, as most dinos dont have long or flexible limbs that would do much good, at least compared to human limbs. each bending looks slightly different, as with their human forms.

earthbenders are the easiest to visualize to me, as mostly they just do a lot of stomping and head throwing. foot goes down, rock goes up.

airbenders mostly rely on appendages that are feathered, so flapping wings or slamming down a very feathered tail like a fan. i have no idea what a non-winged airbender would do. probably not be very good at airbending.

waterbending is kinda muddy honestly, in my head they're mostly ground based tail and head swingers. less flipping than an airbender, but more mobile than an earthbender. i feel like sokka would use his head a lot though. he's not a bender, so if he wants to get a concussion blugeoning a parasaurolophus, go ahead man.

also also, airbenders and waterbenders can absolutely propell themselves with bending. i mean i guess all of them could if you want, but it's super common in air and water. air dinos flying in dino forms that aren't *quite* built for sustained flight (aang is a microraptor, which is a gliding dino, and not actually able to fly, but with airbending, that doesnt matter!) and water dinos bending while swimming in order to torpedo themselves through the water.

and then firebending is mostly reliant on the tail and legs if possible, basically use the tail as a replacemnt for legs in human form. loooots of roundhouse kick stuff. with a tail. also i was thinking that maybe it's normal to be able to spit fireballs like a dragon? but it's still kinda hard, and something most people can only do in dino form. idk about that one, i just like the idea.

i drew a bit of concept art for this waaay back, but honestly im not all that well versed in how to draw movement, so i feel like the firebender there is the only really clear representation of my thoughts. here's that pic, and a link to the post.

in terms of visualizing the movement, there's this one video game project though called dinoSword by Jean Nguyen that actually really represents what im thinking, even if it's a bit flashy and fast for what i mean. either way, it's badass and might give a good point of reference. absolutely check out their work, here's a compilation of some of their animations

and here's a gif of another one of their animations which i will try so so hard to describe in the alt text

so yeah, all in all super badass! definitely faster and more deadly than what i have in mind, but the general idea about the potential movements and range of motion for these dinos is there

(also a side note, in terms of species for dino forms, my half baked idea is that it isn't really based on nation or bending style as it is geographical location. like, those are obviously linked, but the cause is the physical location. so you can find spinosaurus anywhere you find water, even though it is commonly believed to be a water tribe dino. there are swamp spinos, earth spinos, and yeah, even fire spinos. yes, there are conotations and societal consequences to a fire spino, regardless of how accurate those assumptions are. it got worse with the war

the msot common species for each nation are: mid to large raptors for the fire nation, spinos abd cold weather dinos for water tribes, large herbivores for the earth kingdom, and tiny tiny raptors or flight adjacent dinos for the air nomads. maybe also some lil herbivores, and they just dont get to fly in dino form.)

in terms of what the actual element looks like while moving, i imagine that dinos would have a rougher time with anything that has a huge amount of finesse to it. delicate movements or anything super precise might not be worth it to do in dino form, and most attacks would be more explosive than their human alternative. that whole thing katara did where she incased zuko in a ball of ice in the s1 finale? not happening as a spinosaurus. so while a dino form might give a boost in power, it isn't always practical at the time. not to mention it takes energy to transform, and sometimes it's best to save that for the fight itself.

the general feel of the movements is much more flexible and weirdly athletic than any actual dinosaur would ever be. but at the same time, i want to impose this idea that dino bending, while powerful, can be pretty clumsy, and each dino brings it own limitations. large dinos like sokka and katara are automatically slower, and in fights like the ones we see in atla, that really matters. small dinos like aang and toph also have to deal with how lightweight they are. their natural defenses are to run and hide, so they dont get much in terms of physical equipment the way a large carnivore or herbivore would. they're much more reliant on their bending to stay safe than say a big ol ankylosaurus, who's built like a tank.

SO. that's my big infodump agdkhsjf. i have maybe possibly thought a bit too much about this au. thank you for the aaaask!! so sorry if you didn't expect a wall of text x3

[battboozled]

TISM RANT// HOUSE OF WAX 2005

//possible spoilers? Maybe?? It wont make much sense without the movie context but I wouldn’t consider it so much that there needs to be a cut//

So I see people headcanoning that Bo’s anger issues and violent tendencies is due to brain damage from his dad’s surgery of the twins. In class today I begin to wonder what parts of the brain that had a chance of being affected during the split.

If we’re being generous, the surgery could harm the Occipital lobe, Cerebellum, Wernickes Area, and possibly the Temporal lobe and the Motor Function area (but those last two are being very very generous. Also please consider that the twins were very very young at this stage so the brain size would be drastically different from the diagram ive posted below.)

Damage to these areas could cause the following

Occipital Lobe Damage

Visual illusions

Word blindness/ difficulty identifying words

Blindness or blind spots

Difficulty identifying drawn objects

Movement agnosia

Cerebellum Damage

Loss of coordination of motor movement

Trouble judging distance

Trouble performing rapid alternating movements

Movement tremors

Staggering or wide gait walking

Balance issues

Visual or speech impairments

Posture issue

Wernickes Area Damage

Disorders relating to speech and language

Inability to form sentences

Temporal Lobe Damage

Difficulties talking

Learning difficulties

Difficulty categorizing objects

Motor Function Area Damage

Hand, finger, and wrist issues

Dexterity issues

Lack of muscle tone

Tremors

Muscle stiffness

Trouble with coordinated movement

So what does this tell us? It tells us that maybe Bo might have some issues associated with the original surgery that aren’t behavioral issues. My best guess is that the behavioral issues are hereditary maybe from Victor’s side because me like other people in the fandom assume Victor to be the angrier one.I think some of these issues could be present in Bo as we see him as he does have a particular walk (perhaps associated with a past injury though) and posture issues he literally cannot stand straight up omg it almost bothers me he’s on a slanted axis or he’s leaning or shifting weight. I am definitely looking too deep into this though. This is just a little thing I wanted to post because my 1 year anniversary of loving House of Wax was 3 days ago as of posting on August 23rd 2023.

If you use this for headcanons or fanfiction PLEASE TAG ME OR CREDIT ME. I will be so ecstatic the House of Wax fandom proceeds to be amazingly creative.

[animehouse-moe]

Marriage Toxin Volume 1: A Matchmaker Made In Heaven

Yes yes I'm a little late, but I still wanted to talk about this first volume and maybe even encourage a few people try it out. Really, it's great fun and full of potential as both author and artist have a solid head on their shoulders and some pretty deft hands at work with the series. Plenty to chat about of course, otherwise why would I be here, so I'll just get into it.

The basic gist of it is a bit of an absurdist comedy wherein a master assassin specializing in poisons ends up saving his mark so they can help him get married so his grandmother can be satisfied as the clan line continues onwards.

Yeah, a very very novel concept, and that sentiment remains for the entirety of the first volume. But let's rewind a little, take a better look at the bigger picture here. Marriage Toxin is an author-artist duo, so I have some higher than average expectations for its execution. Thankfully, both ends are promising, and they give me some great ways of highlighting those proficiencies.

Gero here, our poison master and head of the similarly titled Poison Master clan, has a phenomenal character design.

Messy hair, rectangular glasses, long and loose clothing, ankle length pants. Sharp and dark fashion that betrays a disinteresting, unassuming, and even awkward and offputting air. Couple that with his overall build and his slouch/hunch and you have a very low level character that's perceived as "simple".

But, that same messy hair, that same loose and long clothing, that very same hunch can be used to weaponize Gero and turn him into a freaky terror of the night.

It's sublime work that appears ever apparent with the simple addition of a gas mask (and a side profile view). Very very smart work in creating a character whose appeal completely shifts depending on where you're looking at them from.

And just to be a little cheeky, I'll say that that sentence pertains to the work in creating his personality as well. Neurotic and high strung but ever aloof, Gero's identity as a character is equally as fluid. Flipping a single switch accomplishes a great deal with him, and vibrating between those two modes of operation is Marriage Toxin's very charm. Which is still a little bit away.

I'll just take a moment to explain the layouts and paneling for the series. It's good. Rather straightforward in terms of paneling which does weigh it down, but the layouts are really great and express a comfortable amount of range.

Though, I will say that the lack of creative paneling is a shame, purely because of some of the ideas that were cooked up for this first volume. Hopefully we'll see that degree of expression evolve as we go on.

You know, while I'm on the point of hoping for better, it's just a bit of a complaint but I'd really love to see the side characters more expressive. Considering the impressive degree exhibited by Kinosaki and Gero, the gulf between them and the rest of the characters can feel a little odd at times.

All in all, I wouldn't say anything falls short of expectations with art for this story. It's all very solid, backgrounds and environment art are comfortably common, and Kinosaki and Gero command the reader's attention during the volume. It does more than what it needs to in order to engage a reader, and it deserves praise for that.

Of course, engaging the reader isn't a one sided visual affair, the writing needs to be up to snuff, and it definitely is. It's hard to explain without spoilers, but I'll do my best.

I think the easiest way to describe it is practical, and not in a bad way. It lines up countless one two punches of foreshadowing/leadup and delivers swiftly with its relation or reveal. Here's just one example.

Some might argue a little heavy handed, but considering the goal of this series, I don't have any issues with a more straightforward approach to a well written narrative.

And it's not like it's a one off either, the author has very clear intentions and ideas they want to realize with this series, and if you're paying attention you'll understand very quickly.

That aside, let me talk in broad strokes here with narrative work.

Marriage Toxin as an action comedy is really enjoyable. The action is very prevalent and reads easily as it aims for impact over experience with its feeling, and the humor is perfectly exaggerated and telegraphed, effortlessly filling page after page.

I am worried about it turn too action heavy and forgetting its roots (just because the action is that good), but I'm not super worried.

Keeping the ball rolling with action though, an assassin power system? Very unique, and they've chosen all the right ideas for expressing it as a fluid and free scale where they're not likely to encounter too many issues. And I mean that in terms of power balances, but also in regards to how many bad guys they can cook up for this series.

And lastly, LGBTQ+ representation, and not in a "look at me!" way. It feels as natural to the characters as it does for them to breath. It's really great stuff to see in a prominent and popular Shounen Jump title. Hoping they'll give us more details and interactions in that vein, but I think even with what we have in this first volume I'm very happy to see the representation.

At the end of it all, there's a lot of praises to be sung for this first time pair of mangaka. Marriage Toxin is impressive, in every sense of the word. It's not knock your socks off incredible, or once in a generation outstanding, but it's certainly a cut above a lot of other new series in similar veins.

So would I say it's for everyone? Definitely not, no. Humor is touch and go, so it's best to give it a shot before you commit if you're not into the more loud and fast style. Thankfully, Manga Plus has all chapters of the manga available digitally for you to check out, so I really recommend that people at the minimum give it a shot!

[atsoraasayoma]

I have been meaning to have a one sided conversation about this…

Take a look at these two images:

What is the difference between them? They don’t have Takeru or his son in the image. Or Daisuke and his son.

Why is this significant?

Takeru is telling the story of the epilogue. If he is standing with the others in the second pic next to them it makes things appear as if he is not center stage with the wrap up.

…

So what? What does that have to do with ANYTHING Atsora?

Let me ask you a question. If Takeru could decide in the first image where he would stand or where his place would be aren’t you curious?

As a Takari fan it is incredibly important. Before anyone lambasts me about the epilogue how they are not together or he never said they were

I would like to say two things about this.

1. Until we can see faces or learn names of the spouses of the other Digidestined hopefully with the zero two epilogue movie I WILL NEVER GIVE UP.

2. Now for the important part and some creative thinking. At first when I looked at the first image I had thought they were taking some kind of picture but it’s just a visual from Takeru’s viewpoint. It is the second image that is quite telling.

We see in the first image how Takeru views the Digidestined. But, in the second pic we see the same but in reverse. Though I did notice they shifted a bit.

Indeed, if we address the gaps between them in the first picture Daisuke would fill the gap between Sora and Yamato..

But what about the SECOND gap between Hikari and Koushiro that Tentomon is conspicuously blocking from view? That is quite a gap!

Well, in the second image Joe is seen with Mimi and Sora right next to him. Koushiro has shifted to look like he is standing right by Hikari but he is actually behind her.

With the separation Takeru appears to fit right between Mimi and Koushiro who is still standing behind Hikari. So then what does that mean?

It means based off of ALL of this Takeru would fit literally right beside Hikari with Koushiro behind her and Mimi a little bit ahead of them.

Literally it appears as if he would have stepped forward from standing beside her!

Does this mean anything?

Not really. Or should I say it shouldn’t. But from an overly teased Takari shipper it means just another bread crumb to follow.

I mean think about it. This is the very last scene of them all. And where does it look like Takeru placed himself? Where is the gap in the first picture where Takeru COULD place himself? The second picture tied in the answer!

So even if it’s not canon (still possible) the fact in the addressed gaps it appears Takeru comes forward in line to that spot-that gap even IF it’s not canon this is where Takeru and his son are placed.

Now do me a favor. Take his son. Take Takeru. Look at the second picture and look back to the first.

Where do YOU think he would be standing?

…

It kind of makes it look like they are a family doesn’t it?

(Someone photoshop it. It will help keep me sane.)

[cripplecharacters]

In the story I'm writing, a large portion of the characters are humans who can shape-shift into exactly one animal. As a general rule, their animal form usually resembles their human form, but appears at least adjacent to what is typical to the animal they become. How do I go about determining the animal form appearance of someone who has a chromosome non-disjunction, but whose animal form doesn't have the same typical number of chromosomes as a human?

Hello!

This is complicated and can be a bit tricky if the conditions the person has isn't really possible in the animal. For context of this ask I'm unfortunately not a veterinarian but i tried to do research to be able to answer it. I also hope I understood the question properly if not please feel free to resend and maybe a different mod who understands better will be able to help :) (smiley face)

The easiest and least scientific way would be to just apply the symptoms to the animal and ignore the fact that it isn't realistic (which I don't think would be too much of a problem considering they're a human shapeshifting). So if they as a person have widespread eyes or have very small ears, you could just apply the same to the animal. This will be easier done in a animal with a more humanlike face (like a cat or some dogs) rather than something like a fish or a bird in which case it would be definitely harder to conceptualize. But since it's fundamentally unrealistic i think it's fine if you get creative with it ! It would make the most sense I think because even the chromosome conditions that both animals and humans can have mostly have symptoms that are unrelated at best.

The slightly more scientific way would be to pick an animal that can have something similar to the disability the person has. For example cats can't have Down Syndrome because they don't have that many chromosomes but there are cats who visually resemble the human disability to some degree (like Monty the cat) for other medical reasons. If the disorder you're writing the character with also comes with lack of coordination or some kind of problem with movement then you could look up how cerebellar hypoplasia presents in the specific animal (it's present in many not just one species so theres a chance it could apply to the one you were planning to write). It's not perfect either but if you have trouble visualizing how that could look visually then this is a possibility.

The "most scientific" but also probably requiring you to change the exact chromosome disorder is to pick a disorder that exists in both the animal and humans like monosomy X, trisomy XXY, or some sort of mosaic combination. But the animal counterparts of these disorders have different symptoms than the human ones so it wouldn't be as obvious to the readers that their animal version also has the disorder (unless It's something like a cis male or trans female character with Klinefelter Syndrome shapeshifting into a small calico or tortoiseshell kitty, which i think is more obvious because these cats can't be assigned male at birth without the trisomy present). The only exception of that I was able to find (warning: it's a scientific paper) is monosomy X in dogs having some similarities to Turner Syndrome in humans (small stature, "younger" appearance, and excessive skin at the neck). But that's kind of it.

From the research I done so far for this ask it seems that a lot of different chromosome syndromes in animals cause it to be much smaller than it usually would be. So while it might not exactly translate from the human version it's something that could possibly happen if you want to be scientifically accurate.

I hope this answer was at least a little useful ! Sorry most examples were cats but they were the easiest to find references for.

(on a side note it makes me really happy you decided to look for an option for the character to not lose their disability when shapeshifting I wish i could be of better help..)

mod sasza

[tellmegoodbye]

What would 911: Sunshine* look like?

*Texas = the Lonestar state, Florida = the Sunshine state

LEMON!! This is my dream!!!

And yes 911: Sunshine is absolutely what I would call it!

Okay so first of all, location! I think the city a spinoff would most likely take place in is Miami, but in order for me to really personalize this (it's my dream, I do what I want) I'm going to switch things up and have this take place in my city: Tampa!

This location is interesting for many reasons, but mostly because of its layout and it being on the bay. The city itself is probably where most of the show would take place in terms of emergencies, but there's a lot going on here for a city on the smaller side! Of course, there will also be opportunities to see the rest of the bay area. (Tampa is the city, Tampa Bay is the region)

Here are some potential locations/ideas for emergencies

Skyway Bridge. Visually, it's just stunning, and yes many people are scared to drive on it. It collasped once over 40 years ago and it has safety mechanisms to prevent such an event from happening again, but I'm sure a 911 spinoff would get creative and find another way to make something go wrong.

The airport. Like 3x08 except worse because I have a chaos brain.

The arena where the Tampa Bay Lightning play.

Busch Gardens (a theme park)

Pick a beach. Any beach.

Literally tons of forest area where there could be a wildfire. Also tons of natural springs and rivers where you could have accidents.

Toursists. There is never a shortage of snowbirds being idiots in these parts.

Ybor City. There's a LOT of history here. It's also just a really cool place to explore. They have parades here (I've been in a few of them!) so maybe something goes wrong there.

Alligators. 🐊

Now lets talk major disaster arcs. 911 OG has earthquakes and tsunamis, Lone Star has ice storms and tornadoes, and 911: Sunshine would have a massive hurricane arc.

We kind of have an interesting history with hurricanes in Tampa Bay, at least in my lifetime, where every time we're about to get hit it shifts last minute and everyone who evacuated inland ended up being directly in its path. This happened with Charley in 2004, and Ian in 2022. Both made landfall in the exact same spot after shifting away from the bay area, which is kind of eerie.

I'd say a disaster arc like this would have one finally directly hitting the bay, and it would be a lot like the tsunami in 911. Very angsty, similar scenarios where peolpe go missing, and potential for the kind of water rescues Marjan was talking about doing back in Miami.

One little fun fact before I go. This doesn't apply to the city of Tampa, but I absolutely had to share this. If you venture out into the rest of the county like where I live, the firetrucks and ambulances are a lovely highlighter yellow! Or is it green? I've never been able to tell.

Don't ask me why. I have no idea. 😂