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peachy-writings · 19 days ago

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PARADOX | Viktor AU Pt. 2

Summary: With access to a lab, Viktor and reader can begin creating a method to get him back to his original timeline. Meanwhile, reader’s past wreaks havoc in Zaun and more context into their true relationship with Viktor comes to light.

Content Tags: Gender neutral reader with They/Them pronouns (no use of Y/N), Kinda follows S2 Pt. 2 canon, Angsty, Vi and Jayce deceased in this universe, Strangers to Friends?

Note: Not edited!! This will definitely be getting its own masterlist because it’s definitely becoming a whole ass series. I’m getting super into all the lore I’ve been imbedding into the characters.

Masterlist

Series Masterlist

The keys to the lab drop into Viktor’s dainty hand with a finality in the way they clink against one another. Metal on metal bounces off the hallway walls like the resonating ring of the town’s bell tower. Professor Heimerdinger and you share a concerned look as Viktor’s hand shakes whilst unlocking the door.

“It is quite the journey to get here from Zaun,” the Yordle remarks.

“Yes,” you concur, the three of you entering the large room together, “Viktor is looking worse for wear today.”

“I can hear you,” the aforementioned snarks. “And I am perfectly fine.”

He is already settling down in a chair at one of the desks, fiddling with the various instruments supplied by the university.

“If you say so…”

Heimerdinger claps his small hands together, eyes widening as he goes into a long winded speech. Viktor and you nod along as the professor scurries around as he speaks about safety and the scheduled check-ins he will be abiding by. He preaches the value of never underestimating the power of magic. Many people have attempted to harness it, some with good intentions, others the latter; but all have failed to do so effectively.

“Devastation is the only conclusion to the story of a great mind attempting to master the powerful forces of The Arcane.”

The way he speaks of it, of the dangers wielding so much power can have, causes a chill to trickle down your spine. Not because of the sentiment itself, but the look in Viktor’s eyes when this subject is brought up. An expression that you can only explain as the pain of having learned such a lesson first hand—or maybe witnessing this happening to someone else.

Heimerdinger leaves the two of you alone in the lab. Silence caresses the tall walls and Viktor seems to already be in his groove, gathering materials on his desk like a bear preparing for its hibernation.

“Eager to start?” You ask as you pace the extent of the room, taking everything in.

Large pipes loop in and out of the walls, lending an industrial feel to the room, and a long desk stretches the width of two walls. On the far side is a smaller desk that Viktor immediately gravitated toward. This lends to a personal theory that he is more of the solitary type. You eventually land in front of a window that overlooks a good part of Piltover from above.

“Indeed. I must get an idea of what materials we have so that I can create the blueprint mockup.”

You hum in acknowledgment. “We should ask Heimerdinger if he could provide dorming for you. I know you refuse to acknowledge it, but these long walks aren’t feasible for you.”

The sounds of his tinkering halt and your eyes meet his when he spins around in his seat. “My leg will not stop me from doing what I want to do. I have walked many miles and will walk many more.”

“While I understand that, this is a longevity thing, not a dig at your disability,” you state firmly, holding his gaze until he relents and tears his eyes from your face. Though he does not move otherwise, body still pointing at you. The conversation is clearly not over.

“How am I to know that the next time you return to Zain won’t be the last time I see you?”

You guffaw in disbelief. “I’ve survived long enough in my city, there’s no need to worry about me like that.”

“No.” For as firm as the word is when it leaves his thin lips, there is a vulnerability in the silence that follows. “I am asking if I can trust that you will come back?“

He wants to say more. You can tell by the way his lips part and then close twice before he dares to look at your face again. His insecurity takes you by surprise. It also offends you just a bit.

“Why would you think I’m that kind of person? Surely you know my character from being around me in your world… As unfortunate as it may be for my sake, I can’t just abandon you.” You turn toward the window, thoughtful. “Not until I have all the answers to my questions.”

Viktor huffs a small laugh, seemingly amused. You let him bask in this confession, if only to placate him into staying at the university. Maybe a little space from him will do you good. His presence is slowly growing on you, and you want to reject it before it can bud into anything. You cannot let yourself care for somebody who has a timer ticking down on when they will leave you behind.

Viktor is working on his list whilst you stay attached to the window, enamored by the details of the city. It disgusts you that this place thrives whilst the under city lives in its shadow, but you still can’t help but to marvel at what you had in another life.

As your eyes map out the streets and count the many people on them, a blue mass catches your attention. You squint at the bridge to the city, watching as a cloud of vibrant, powder blue grows bigger. Your stomach drops, throat tightening as realization takes over. Back when you were younger, after Vi passed, Powder showed you the flares her sister made her.

“She told me that if I ever needed her, to set one off and wait,” the girl explained to you as she fiddled with the canister.

“I will take on that promise,” you vowed, to which she smiled sweetly through budding tears.

In the present, your feet move quicker than you can think, pounding down the tiled university floors. Viktor says something when you fly out of the room, but the pounding heartbeat in your ears drowns it out. All you can think about is Powder, that sad little girl, crying out for your help.

The flare canister clatters to the ground when you nearly crash into Powder, squeezing her in a hug. She hugs you back tightly and you struggle to let go because you know that bad news awaits the space that will separate you.

“It’s your father,” she explains, eyes full of grief. “He sent some of his goons to find you and they burnt down your house before anyone knew what was going on.”

“They what?”

All of the paranoia you had been working on letting go of comes back tenfold, head spinning with multiple realizations crashing into one another like dominos. They found you, they intended to do something terrible to you, and now you have no home. Again.

“I’m sorry,” Powder breathes. “Vander and Silco arranged a search for the culprits, but I don’t think we’ll be able to find them. I’m glad you were in Piltover, it could’ve been so much worse if you were there.”

Her voice shakes, and you can only imagine how traumatizing this all must have been for her. “Don’t apologize, it’s not your fault,” you soothe, and then you pause to think for a moment. “I have to go investigate.”

“But they could still be in the city!”

“I know, but I have to do something. That was my home.”

Hesitantly, the girl nods, and the two of you make the journey back down to Zaun. Realization hits as soon as you see what little remains of your dwelling. Powder watches silently as you scrounge through the rubble for anything of meaning you can recover. You find the city alarm invention Viktor mentioned on the first night you met, and you carefully pick it up. The metal is scorched, the face more lopsided than usual, but it’s still somewhat recognizable.

What will you do now? Where will you stay if not your home? The thought of residing in the upper city makes your skin crawl. Being up there is already an internal battle of ethics for you, but it may now be your new primary stay. If not for anything but your temporary safety.

It’s clear that you are being hunted and those wretched people have information on you. If they already have their eyes on you, the safest option for you, Powder and Viktor would be to stay within the safety Piltover offers. At least until you can figure out what your next move will be. Hopefully that happens before your quest to get Viktor home ends.

After spending a long while mourning the place you’ve called home longer than anywhere else, you talk to Powder and quell her worries. You are sure that you can ask Heimerdinger to make accommodations for you as well as Viktor—he’s already offered—so you have options. While you don’t fully explain what the two of you are doing in the city, she is satisfied that you have somewhere safe to go.

You spend a couple more hours in your city, friends and neighbors give you kind sentiments and some goods for your troubles. An impromptu gathering takes place at The Last Drop and you get a couple of free drinks on the house. You try to enjoy your time as much as possible before Vander basically forces you to get back to the safety of Piltover.

A tearful goodbye with Powder at the same spot on the bridge and you’re off to the city with the little tangible items you still own on your back.

“Where on earth were you?” Viktor immediately questions as soon as you get back to the lab, eyebrows furrowed so deeply they almost eclipse his irises.

Him and Heimerdinger seemed to have been having a conversation before you arrived. Both do a double take of your appearance and you realize you must look an absolute mess. You walk over to the long desk and drop your backpack onto the surface, sighing before turning to the two of them.

“I got a distress signal from Powder… My home was burned down.”

“Oh my,” the professor remarks. “While this is a great tragedy, I do have a dorm room just down the hall set aside. Viktor and I were just speaking about this. If you don’t mind sharing, you are both more than welcome to stay there.”

You nod numbly. “Thank you.”

“I will leave you to it then. And Viktor, those supplies will be requested immediately.”

Without another word, the Yordle scurries out of the room and you slump into the nearest seat. You drape an arm over your eyes and lean back, pulling yourself together for the time being. The clicks of Viktor’s cane on the floor barely register in your frazzled mind, and then you feel a hand on your shoulder.

Slowly, you uncover your eyes and find him sat in front of you on a rolling chair with such concern in his gaze that your heart aches. You can’t break, not in front of him. A deep breath clears your mind for the time being. Compartmentalization does happen to be a talent of yours.

“Are you okay?” He asks softly, that look in his eyes too much for you to bear.

You lash out, compartmentalization out the window in an instant. “What do you think?”

A pregnant pause as he readjusts his grip on his cane and pulls the handle inward, toward his chest. “That’s fair.”

You huff, indignant as you push off the floor to gain some distance from him. It’s petulant the way you spin so your back faces him.

“Was it… on purpose?”

“Absolutely,” you mumble, dismissively. “That fucker is out to get me once again.”

“Who are you talking about? I truly don’t appreciate your secrecy,” Viktor drolls out, as though the words themselves exhaust him to speak.

You chuckle, back still facing him. “I’ll tell you when you answer my questions from yesterday. And don’t act dumb, you know exactly what I’m talking about.”

A glance at him over your shoulder satisfies you just a bit. Viktor looks extraordinarily annoyed, but you know he can’t deny the fairness of such a trade. For a single moment, you think you’ve backed him into a corner, but you should expect more of such a sharp mind when it comes to a debate.

“How about we get to know one another a little better then? Before we go diving into the deep, dark depths of our pasts.”

“You probably already know about my fucked up family, that’s not fair,” you reply, one foot gently turning your chair to the side, so that you can see him from the corner of your eye.

His head shows side to side, and his voice softens as he says, “No. I don’t. That’s one thing you never got to open up to me about.”

More questions about his relationship with the other version of yourself arise. If you were close enough to be romantically involved, how couldn’t you have gotten that deep? You suppose that the ferocity in which you hold your past close to your heart could still exist, even if you were to have lived a better life.

“Tell me,” you say, fully turning toward Viktor, “how did we meet? Maybe we can start there.”

He smiles softly and settles in his chair, getting comfortable for the long yarn he intends to spin.

Jayce Talis was a vision of charisma and ambition since he was a child, the perfect foil to yourself. Yet somehow, he was attached to you by the hip like a protective brother. And his mother—that sweet woman—saw you for what you could become and nothing less when she came across you. A tween begging for food on the streets, the same age as her own son. She couldn’t keep her heart from melting at the sight, and her past struggles ignited the decision to take you in as her own.

She was like an aunt, never wishing to replace your parents—not that you wouldn’t wholeheartedly accept her as so—while Jayce became your closest friend very quickly. Going from an extroverted only child to having a new sibling caused him to take on the task of drawing you out of your shell. He would ask you every question under the sun, wanting to know everything about you.

Jayce was the only person you had told about everything that happened before. About your retched father and missing mother. Nary a judgement came through in his words nor his expression. He didn’t look down on you, and for that you loved him dearly.

He knew who he was through and through from the start. His passion for science and his visions for what the world could be drew vivid images on the horizon in your mind. He would create magnificent little gizmos and you would always be enamored by his ingenuity. You liked to doodle silly faces on his contraptions, and instead of being mad that you tampered with his things, he would only encourage you to draw more.

Eventually, he went down the science route and you went into the arts. You attended the same university, but your classes and living arrangements were pretty far from one another. Once the whole Hextech explosion destroyed his Penthouse and nearly took his life, his mom pushed you to look after him more.

This is when you met Viktor, actually picking a fight with him when he came to talk about Jayce’s invention after the authorities confiscated all of his work. You have always been a hothead, naturally. After spending the better years of your life being fiercely protected by Jayce, it was your turn to become that person for him after such an incident.

You were very cold toward Viktor in the beginning, not trusting this stranger and worried about the dangers of their joint project. In an attempt to quell these concerns, you invested as much time as you could into helping them with it. You got to keep an eye on the boys and maintain Jayce’s safety.

Little did you know, it was you who was in the most danger.

Viktor was enamored by how bright you were, how you could come up with such ingenious safeguards for each stage of their inventions. You were practically the safety committee, which led you inherently to look after Viktor as well. Since you would opt to stay in the lab when Jayce was spirited away to do PR, you would spend this time cleaning up and organizing materials. Getting closer to Viktor was inevitable during these times. The two of you slowly built a friendship and would stay up late in the lab, working on your own projects while he did his work. Silent but comfortable; alone together.

As a matter of course, you would talk about any and everything when it became late and the drowsiness loosened your lips. During one of these such nights, you ended up confessing your budding feelings to Viktor, then immediately took it back and told him never to speak of it again.

Of course the ever mischievous Viktor took every opportunity to tease you behind Jayce’s back. You would always scold him, telling him that it would only lead to bad things if you got together. He said he was willing to risk it and sealed the statement with a kiss. You felt ethereal in that moment, like a star sparking in the night sky. It was a special moment, the first kiss the two of you shared, but you were right to worry.

This little budding romance was always fated to be a tragedy.

last chapter here • next chapter here

Taglist: @eternalsams @cosmicporos @omniscientsock @night-fall-moon

#arcane viktor x reader #viktor x reader #arcane viktor #viktor fic #arcane viktor series #viktor imagine #fluff #angst #fanfiction #peach.pen

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zaebucca · 1 year ago

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About scale, process, palette and canvas: a few considerations on pixel art as a medium

User moredogproblems answered an interesting and legitimate question by another, DiscountEarly125, regarding my work and canvas size. He also perfectly isolated two central concepts of pixel art, which are scale and process. Canvas size, which was the theme of DiscountEarly125's specific request, is more of a dependent variable to those two aforementioned concepts, rather than a starting point. I hope the following considerations I shared may help or prompt some other ideas, but this is what I could come up with 15-ish years of experience with pixel art (and a few more years of art and media studies). I was quite in the mood of writing down these few thoughts that have been floating for a while. I apologize as this may also result in a confusing wall of text, but it is all part of a my work and research, and I would love to polish all the material, hopefully with some thoughts, insights from other colleagues, as well as pictures and materials!

A. Scale and canvas size It is true that the bigger the canvas, the more distance one may visually create from pixel art, but I personally think this is to be possibly considered a matter of perceiving pixels, rather than a fundative problem of the medium. In fact I concur with the idea of "process makes the medium" rather than identifying pixel art as how (evidently) pixeled the result feels. The general picture, or the sum of pixels, though, is a really important matter to the medium nonetheless! Pixels themselves work in relation one with another, so it's their overall result that gives context and makes the subject recognizable. This relationship between pixels links back to all the art fundamentals that each artist is taught, from color theory to shape and composition - and so on. So, the canvas size debate usually boils down to a matter of scale or necessity of your subjects. As long as the dimension (canvas) of your subject (as in: a drawing of an apple, a character sprite, a mockup environment) allows you to operate, control and keep an eye on the quantity (number/area of pixels together) and quality (color, shaping of multiple pixels, texturing obtained through color and shapes) of isolated single pixels or pixeled areas, you're in the pixel art universe. The other way around to define the matter of scaling: in order to be operating pixel art fundamentals and techniques, your subject has to be on a scale that allows you to apply principles of pixel art within the space of your canvas and your personal style. These very same principles, or basics, can be applied with different results and extent to bigger and smaller canvases alike, each with their own specific difficulties and variables. It is important to adapt your scale when learning, and trying classic canvases per subject like "16x16px" (standard tile or character sprite unit, tied to older consoles and screen ratios, it's a bit complicated there) is always a nice idea - they also tend to be industry benchmarks and necessities so in case you'd like to consider a professional output, that's very useful.

Scale also applies to the array of colors, and there lies the concept of palette: a number of single hexadecimal hues we are using for each single pixel. Any single pixel can have one hexadecimal color only.

Consequentially it is absolutely true that either a huge canvas or a palette too broad may prevent a viewer from perceiving immediately the "nature" of your medium, namely seeing square pixels, recognizing a certain amount of color - or more thoroughly recognizing that you made some choices for each subject on a pixel level. What could possibly happen on a huge canvas (without zooming in) is that you can't really grasp the pixels, but just the "overall picture" - and that may not differ too much from digital, raster art, which is of course also based on pixels. Therein appearently lies a sort of threshold that is really hard to pin down for us pixel artists, as it depends on screen size, visualization methods, distance, filters and lots of other inherently subjective parts.

This kinda is my case sometimes: I make big environments (possibly too big, and too detailed in each part I tell myself) that are a sum of many lesser parts: both tilesets and sprites that relate (but not strictly adhere) to a basic space unit that is 16x16pixels. You can indeed consider scale in a broader sense as a subdivision or magnification issue, much alike squinting your eyes to focus on a picture's overall contrast or, conversely, analyzing its fundamental parts with a magnifying glass, and then a microscope - an analogy as follows:

a. the picture as a whole is like a colorful rock that you can analyze by magnifying its grain. b. the characters, geographical elements and textures, works like the different substances that compose the rock and give its visible characteristics grain and complexity, c. single pixels constitute the very atoms of those previously recognized substances.

I mean "atom" in the traditional, classical meaning of indivisible, fundative object. That's a "quantized" part of information, which for pixel art is ultimately color (or a binary value, like yes/no black/white). If you were, for example, to crop some parts of my work - let's say 160x144 pixels (a gameboy screen resolution in pixels) you would see the substances that are characters and elements of nature, and when you zoom in again, every atom becomes visible as a single entity of color. There are 29 different type of "atoms" in Ruin Valley as in different, singularly hexadecimal colors that work together in different combinations and shapes to create different substances and characters. 18 of them are used for the different qualities of the environment, and 11 more for extra hues for characters and other elements to pop out a bit.

It's really interesting to see how many pixel artists push this "threshold" of pixel art canvases to the extremely small or the extremely big, whereas, notably, palettes are less open to growth: it is indeed my opinion that pixel art tends to quantize color (quality) over than dimension (quantity). Palettes, notably, do not grow exponentially, but tend to a lower, fixed, controlled amount of individual values instead. This usually gives the artist the true possibility and toolkit through which is possible to think about/with pixels. In other words: color (or its absence) is the founding unit and identity of pixel art as a digital medium.

B. Pixels as process or pixels as objective? Pixels themselves (as strange as that may sound!) are not to be considered an objective of pixel art, I think, but the founding matter of its research as a medium instead. I think that making pixel art is not just devoting oneself to show those jagged, squarey areas or blunt edges that we all know and love: this is just one of the possible aesthetics that pixel art conveys or adopts - especially on small canvases. Pixel art is not about denouncing itself as pixels, but, rather, embracing the square, atomic unit to build an ensemble that conveys a content or a style. That's the important part of the discourse that emancipated pixel art into being a medium, and not just an aesthetic choice or style of representation. Again: process makes this medium. Speaking of that, I consider pixel art as part of a broader family of "quantized art", namely media that operate on/with "indivisible, founding bricks and unities" that can assume a certain quality (color, mainly) within a certain quantity (palette, canvas size) and in relation to its surroundings to describe something. This puts pixel art, with its specifics and with a certain degree of semplification, among other mediums such as cross-stitch, bead art, construction sets, textile art (on a warp and weft basis), (micro-)mosaics and others.

A classic threshold example of process vs objective: oekaki art. Oekaki art - which I love and also happen to make from time to time - doesn't really work or "think" specifically on a pixel base: it doesn't place pixels per se, but uses pixel-based areas and textures on bigger canvases with a certain degree of freedom, like one would normally do with brushes on raster digital art programs (adobe ps, gimp, clip studio and so on) in order to convey an aesthetic with fewer colors and a certain line style and texturing. That way, oekaki uses and knows pixels in a deep way, but doesn't see them primarily in a quantized way. As a result the "overall picture" shows pixels to a certain extent, and it's possible to recognize distinct pixels for each part, but the objective is not an analysis and use of pixel and quantized information, but the use of an aesthetic based upon accessibility of resources, their control and a certain rendering style.

A huge part of pixel art is its absolute accessibility: everyone with a fairly outdated computer or screen and a basic drawing program can study the medium. To be fair, it's indeed considering accessiblity that I highly support an inclusive approach to the term "pixel art" and I think traditional oekaki is a close, beautiful relative that builds upon the rules and techniques of pixel art and pixel rendering, yet keeping its identity as its very own medium - somehow like a dress may be built around/upon textile design. Anyway, boundaries are meant to be crossed and I think there definitely are lots of oekaki and pixel-based art that meet traditional pixel art mid-way - or further. I also think the "is it pixel art?" discourse possibly ensuing - and generally speaking any media belonging purist ontology - is a treacherous, slippery terrain leading to excesses, and this is not my focus today, neither am I able to tackle that subject extensively at the moment.

C. Conclusions and a few good exercises Everything above may be farfetched or too complicated as a starting point. I tried to write all down as orderly as possible. The point of this (possibly discouraging) analysis and the reasoning between scale and process is that (pixel) art is about trying different canvases, and reasoning on one's subject and objective, rather than limiting oneself to presets sizes or styles. It's important to choose something that resonates with us and, in doing so, thinking about other, more interesting limitations: that's the discourse about quantity of space and quality in color. Limiting is the best possible exercise and one I wholeheartedly encourage: by doing so we are progressively delving deeper on the basics, as we learn the fundamental relationships between shapes and colors that we can achieve through pixels. A few good exercises that I too implemented in my own workflow come to mind: 1. Trying different canvases (or sizes) for the same subject (sprite, character art, illustration or so on). This helps a lot finding a comfortable size to apply pixel techniques, as well as getting a hold over fundamentals such as aliasing, linework, conventional representation and so on. 2. Trying different palettes for the same subject, both by varying colors themselves (therefore learning about values and contrast and readability, as well as atmosphere and mood!) or singular hues and their components, in order to discover possible relationship between them. Have fun! 3. Reducing the width of the palette progressively for the same subject: reducing the number of singular colors forces a reasoning on shapes, rapresentation. You may go from 1-bit art (just black/white) to 3 colors, 4, 8 and so on. We'll not talk about transparency as a singular color there, but if you happen to be interested in retro art, transparency counts to the palette size. This exercise is very useful in rendering, and possibly tricky. And definitely fun. :') 4. Choosing an objective and usage of our work: for example trying to learn about old pixel art limitations for games, in order to reason within specifics. Get inspired by traditional games (spriters-resource is your best friend here, in case you have a specific retrogame you're thinking of)! I will probably talk about limitations and style on another post. 5. Four eyes (and other multiples) are better than two: try to talk with people and friends and other artists you trust and feel comfortable with to get their point of view. This can be scary, I know, especially at the beginning. You're not forced to, of course, but if you do (in a safespace) there's lots you can learn about concepts such as readability, subject recognition, rendering and composition. Our eyes and brains get accustomed to something, and pixel art being a rather analytic medium made of synergies, subtle changes, limitations and conventions is especially tricky on the artist's eyes on the long term. Either way, the important thing about pixel art is understanding that this medium is about recognizing and enjoying the process rather than the eventual aesthetic and in order to do so the best choice is to start simple, small, with few colors and techniques at a time! Have fun and hit me up with your progress and considerations. :')

#pixelart #art resource #pixelartist #how to #reference #art tips #learning #insights #pixel illustration

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webfarmhouses-blog · 28 days ago

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ecreau · 2 months ago

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And finally, the last chapter of my Pokécember—say hello to Delibird! All the letters have been delivered, and our Vanillite, ‘Vin,’ is so happy to have finally sent its letter to their loved ones this holiday season.

Happy holidays, everyone!

Let’s take a moment to appreciate the hard work of those in the service industry who keep things running smoothly, even during the busiest times. A little kindness and patience can go a long way. Spread love and remember—it’s the small gestures that make the season truly special.

Thank you, @zestydoesthings, for this amazing drawing challenge! I had so much fun drawing all the Pokemon plus the three different ice forms. I’m already looking forward to your next challenge!

Credits to Envato for the story book mockup and the winter background. I just superimposed my drawings and edited the background and colors to make more festive.

“Beautiful Things Blossom”

#art #illustration #doodle #drawing #nostalgia #sketch #cute #artists on tumblr #procreate #pokemon #delibird #christmas #pokecember

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johnnycrass · 19 days ago

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i interviewed at a local print shop i have somehow never heard of yesterday, and i think it went well, but i have yet to hear back so we'll see. i can tell the owner wants to expand and get some long term customers. but he's like me and doesnt really do instagram and they dont even have a website, yet. i feel like im a good fit for it even tho i interviewed for a Customer Relationships role instead of actual design work - it wouldnt be my first shop, i know that even when ur just communicating with custies u still have to make stuff like mockups, or adjust the shitty files they sent u, or recenter something, or catch and fix spelling mistakes etc. etc. he asked me my pronouns a couple minutes in and then mentioned that theyve had trans and queer employees in the past and they dont discriminate 👍 so hopefully maybe its gonna be me. this job is still customer service, but its an industry im familiar with, im GREAT on the phone, and since i do my own work i understand the importance of getting shit in writing, having contracts, and getting invoices, which seems like a big chunk of the job

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jmsntv · 3 months ago

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Though the initial collaboration with Holly didn't yield any finished songs, the foundations stuck. Le Mans would remain the name and a decidedly less syrupy synth diy approach would stay.

By now, the three songs I had recorded before working with Holly were getting notice in various niche scenes. This set off a number of auditions and try outs with various bands and projects. The most promising was a project comprised of a friend's boyfriend and the touring drummer of a more well know band.

One of them was obsessed with Homework era Daft Punk and the other was going more shoegaze dance-punk. Both retro electronic, but too different blend in their opinion. The project fell apart almost as soon as I found out about it. I recorded demo vocals over an aggressive French house track for one of them (never released) and I stayed with the main project through three demo records.

None of us ended up working together. The music was amazing and I wish I had their talent. It wasn't meant to be. But, my appreciation for the first Daft Punk album (as well as the early 1980s body rock electro funk and Miroder arpeggios, which it references brilliantly) was re-ignited.

So, you take all those influences and my love for everything cyberpunk, industrial-dance, and the ongoing driving/pursuit theme and you get the ingredients for the first true Le Mans song, "Citi de Frag."

Sample lyrics:

"Cat and mouse on the downtown streets...We’re awake while the city sleeps......The harsh bright light spotlights a golden haired thief"

I tried to achieve a dreamy retro-futuristic vibe with the vocals, so I delivered them via vocoder inspired by the chorus in Skinny Puppy's "Worlock". You'll notice the Miroder bass, yearning lead synth, and the drum treatment (especially on the two hits during the outro). All became staples along with nighttime pursuit themes. The streets named run through the center of downtown Los Angeles, and can literally be seen in the movie "Drive" a few years later.

The track did well on early streaming sites like mp3.com and emboldened me to flesh out an entire album. In the early days, I toyed with releasing it on the just recently laid-to-rest cassette format. But, even I felt it was too early the cassette resurgence.

Pictured above is a rough tape mockup from before even a handful of songs were finished. More on the visual aesthetic I created for Le Mans in a later post.

#synthwave #retrowave #cyberpunk #cassette #postpunk

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print247us · 9 months ago

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#designs #packagingideas #packaging industry #packaging solutions #print #print247us #packaging #packaging design #custom boxes #custom box printing #choclate boxes #custom choclate boxes #design #mockup #graphic design

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raul-volp2 · 3 months ago

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I want to find some work in the game industry as game designer, it's something I like and I study a lot about it, but have almost no professional experience safe some help with projects, so I am building some case studies to see if it somehow helps when I send CV to game studios. So most of my art now are just mockups for me to explain the design process behind those studios, peak pixel art and game design am I right?? For this image in specific is part of the layout I am making for a level of one of my personal projects, a turn based stealth game with immersive sim elements, in this mockup I will explain the design intent of the level design, the world design and how the game design mechanics of the game will work. We can see 4 player characters and a guard looking the other way with his vision cone, I will work more on it, it's too sketch even for a sketch version.

#pixelart #pixel artist #game art #game design #level design #game dev #indie game dev #raul-volp

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indigosabyss · 10 months ago

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Senku trying to get to space as fast as possible and learning all there is to know about the world and working on mockup tests for prototypes is all well and good.

Until you realize that the privatisation of the aerospace travel industry make it... Not as out of reach.

Like I'm sorry but with the type of shit going down in SpaceX that I read, if they had a chance to employ a genius fifteen year old with eidetic memory and questionable credentials as an astronaut, they would.

#prolly say that itll lower the weight they have to account for and sell it as a win #senku ishigami #ishigami senku #dr stone senku #dcst #drst #dr stone

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popculturelib · 1 year ago

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Romance Fiction at the Browne Popular Culture Library

Photo: cover art by Frank Kalan for Caroline Anderson's The Real Fantasy (1996)

Romance fiction makes up a large portion of today’s publishing industry, averaging more than $1 billion in sales per year. Combined with the fact that it is fiction primarily written by women meant to be marketed to women and you can see why it’s a growing area of academic study. The Browne Popular Culture Library was one of the first libraries to archive the work of romance writers, and our collection documents the evolution and growth of this dynamic literary genre.

Our collection of romance fiction includes more than 16,000 series and stand-alone romance novels from the 1950s to today. You can find them all in our catalog. We have a selection of titles from every major publisher and many of romance’s most popular subgenres. Researchers can trace the evolution of romance fiction, including its marketing, covers, and content across decades in a way that can’t be done at other repositories.

A unique aspect of our collection are the manuscripts we have collected from more than 50 romance authors. These papers include items like book drafts, correspondence with publishers, and even fan mail.

The Browne Popular Culture Library documents the business of romance as the official repository for the Romance Writers of America, giving researchers the chance to understand the evolution of the first organization to bring together and support romance writers through its organizational records, publications, and conference-related materials.

In December 2017, we received the Frank Kalan Romance Cover Art Collection, more than 100 original oil paintings that Mr. Kalan produced for Harlequin covers. In addition to the artwork, this collection includes paperwork related to each, reference photographs, and cover mockups. For many of these artworks we have also collected the published novel to give researchers a unique opportunity to explore the production process.

The Browne Popular Culture Library (BPCL), founded in 1969, is the most comprehensive archive of its kind in the United States. Our focus and mission is to acquire and preserve research materials on American Popular Culture (post 1876) for curricular and research use. Visit our website at https://www.bgsu.edu/library/pcl.html.

#bgsu #libraries on tumblr #romance #romance writing #romance writers of america #frank kalan #collection showcase

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treasure-mimic · 2 years ago

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Felt like messing around in photoshop today, so, what started as a want to create some franchise icons for Smash turned into full character mockups, so I put together my 10 most wanted characters for Smash Bros., whatever the next game looks like, and I’d like to post them and talk about them a bit.

Quote is I think my most wanted newcomer to Smash, I really like and appreciate everything Cave Story has done, and I think if you’re talking about indie games, Cave Story has probably had the most influence on the industry. Kids today probably don’t know much of anything about this game, but trust me when I say there’d be no Hollow Knight, no Ori, no Celeste, without Quote.

This one might be a little obvious nowadays, but I am fully behind the Waluigi train. Just one point of contention, I think people undersell his potential by just having him reference different sports games and spin-offs. I think the real play is to come up with a wholly original kit based around being a dirty cheater and trickster with a penchant for explosives.

I’d much rather have Paper Mario than Dr. Mario if I’m being entirely honest with you.

This one’s a bit weird, because I don’t have a huge fondness for Excitebike the game or Excitebiker the character, I’m just enamored with this concept of a fighting game character who fights entirely from the back of a motorcycle. I just think that’s wicked as hell. I’ll take it in whatever form I can.

Metroid Dread is in strong contention for my favorite Metroid game ever, and it did finally give us a character with a body plan and toolkit that lends itself to Smash, outside of Sylux and the Hunters, whom I’m not the biggest fans of. I’ve had some contentious history with the way Smash fans talk about Metroid, so I guess I’ll put it out now that I think if, at this point, you’re not vouching for Raven Beak, you don’t know what you’re talking about.

Love me some DS VNs, Professor Layton I think at this point has the strongest ties to Nintendo and, since Phoenix Wright got to play in Marvel 3, it should be his time to shine, though I wouldn’t be opposed to any of them.

Honestly, every generation of Pokemon there’s a couple of new mons that I think would make sick Smash characters, and will inevitably get passed up for a lame starter. Nihilego deserves a spot, dammit, she’s more plot important than any number of fire/fighting muscleheads. But if we’re shilling for the most recent gen, you can’t go wrong with a giant hammer.

The Heavy is commonly in talks around Smash Bros. wishlists, especially here in the West, but the obvious problem rears its head pretty quickly. He’s a giant, lumbering, immobile mass whose main weapon takes several seconds to start up and then chews through anything it hits. This is my counterproposal, I think the Scout is just as iconic as the Heavy, comes with a lot of fun weapons and abilities, and actually has some mobility. Imagine using a downward Force-A-Nature shot to recover while spiking someone into the blast zone!

This is for sure a weird one, but once the idea came to me I started getting really attached to it. The number of Enderman variants from Minecraft Dungeons gives the Enderman a surprising amount of variance to pull from, and the Ender Dragon could be its Final Smash.

For the final suggestion, this is for sure a “there’s no chance in hell” but also “it would be really funny”. Scorpion, I think, best represents the aesthetics of Mortal Kombat, a ninja with fire, bladed weapons, and the ability to teleport, which centers him more than Sub-Zero who uses ice, Raiden who uses lightning, and Liu Kang who’s just a martial artist. Leaning heavy on the fire aspect is also a good way to nerf MK’s hypergore for a Rated E10+ game, though that really is the central appeal of Scorpion, trying to shove this edgelord into a kiddy cartoon beat-em-up.

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