#like technically that would include a wide variety of characters

[punkbeetleart]

Honestly after 13 years I just call them the not-Strilondes

Honest to god u have a point here

[olderthannetfic]

I don't know beans about traditional Chinese clothing and I'm not in any fandom where characters were hanfu, but I'm finding the conversation about it really interesting by analogy to something I am familiar with, Highland dress. I wear a kilt maybe about once a week, and the historical and cultural significance is important to me.

The full outfit one traditionally wears with a kilt has a gazillion pieces, and each pice has at least two names, was probably invented a few hundred years later than you think it was, and almost certainly is at the center of at least one political issue in the 18th or 19th century.

The thing you think of as a kilt is also called a small kilt, or a philabeg (a loan word from Gaelic, also spelled filibeg or phillibeg), and is technically half of the great kilt (aka philamor, also with spelling variations). It may or may not have been invented by an Englishman.

The Jacobite shirt is a recent invention. The wide belt with a huge buckle comes from military dress. Tartan is technically the name of the cloth, and a plaid is a sort of mini cloak you wear on your shoulder. Kilt pins only go through the top layer of fabric and don't pin the kilt together, and are a Victorian invention. Tartan patterns only gained close and official identities with specific clans or families or groups in the Victorian era. Some modern Tartans are under copyright and you need permission from the designer to weave or sell them, others are public domain and literally anyone can wear them, despite affiliation.

I could go on....

Or you can wear a kilt with stompy goth boots and a band tshirt, or with hiking boots and a polo shirt, that's fine too (and how I wear mine, more often than not).

It's not hard for me to see that hanfu is just as complex and has just as much historical and cultural significance as the traditional cultural clothing I'm more familiar with, and getting it wrong in a fic would look just as silly.

But you don't have to actually do this much research and know everything I know about Scottish history to write a character who wears a kilt, whether it's in a historical, present day, or fantasy setting.

You probably want to have an OK grasp of what Highland dress means to your character and why they wear it, and you want to acutally know what a kilt even is in the first place (it's a little more specific than just a skirt), but that's all you really need.

If a Chinese fanfic author wanted to write Outlander fic, and didn't want to do the in depth research to get the clothing terminology exactly right for the time period, that's fine. Just put the pleats in back and call it a kilt instead of a skirt and that's good enough.

-- Same anon who just sent the ask about Highland dress. I can see where the "it's not a robe" anons are coming from. To me, the word "robe" covers a huge variety of unrelated garments, including bathrobes and wizard robes and hanfu and kimono and togas and the sack-like things graduates wear and the things Medieval European kings wear. But if someone called a great kilt a robe, I think I'd have a fit. Yes, just like the other examples, it's a large flowing piece of cloth worn around the body in a certain style, but it's more specific than that. I most likely feel this way because I'm more familiar with great kilts than I am with the other examples. The others are all just different kinds of robes to me, but a great kilt is something specific that I know a lot about. If you described a great kilt to someone who didn't know anything about it as a type of robe, I would consider that accurate, but if you said of an Outlander character "he put on his robe", I would be like "excuse me???? that's a great kilt". That's probably how the "hanfu ≠ robe" anons are thinking.

For me, as a novelist, the calculation is simple:

When I'm writing in third person limited (as I usually do), how would the character be thinking about this clothing? That's what the argument boils down to.

On one side, we have "This word is more Chinese, so it feels more like it's honoring that these are Chinese canons".

On the other side, we have the equivalent of "Your Scottish guy from 1350 is not going around thinking 'He was clad in Scottish dress' about his bros who are just wearing normal clothing."

--

No one is confused about the two sides of the argument. They just disagree about whether 'hanfu' is anachronistic and exoticizing.

[corruptimles]

What pokemon would your favorites of the mob psycho cast have, in your opinion?

anon I hope you're alright with how long this answers going to get because I sat down and went:

because I LOVE assigning pokemon to characters

We all know Mob and Espurr are pretty much made for each other but I'm putting a read-more because this answer is embarassingly long

I deleted it earlier because I wasn’t sure if it was the correct idiom, but my friend warns that you've "opened a can of worms" here

A little context/worldbuilding before I get into the lists:

These answers are in the context of a Pokemon/MP100 crossover in which Seasoning City is an existing city in new region, or is expanded into its own region entirely. Other countries are not brought up that often in MP100 so those could be replaced with existing Pokemon regions instead. (I think only America is mentioned, which could be replaced with Unova)

(this is as opposed to, an isekai AU, or if you decided the characters are from Kanto or something)

I won't be creating Seasoning's pokedex by any means, but this means I won't be limiting Pokemon geographically (like I assigned TSV characters with mostly Unovan Pokemon because they're from New York)

There's still the exception of the type of environment/region being very significant to that Pokemon (aka some regionals, legends/mythicals, endangered, etc))

Regarding Psychics/Espers

Psychics or Espers already exist in the Pokemon world, but the actual differences between them and Psychic-type pokemon is not widely explored, nor the fact there are non-psychic types that can technically use psychic-type moves, or abilities associated with psychics (telekinesis, telepathy, whatever it is empaths got going on, clairvoyance, etc)

There's also an unexplored difference between ghost-types and ghosts

but the point I want to make here is that I don't think psychic pokemon are absolutely necessary for an exorcism business like Spirits & Such, especially when psychic-types are weak to ghost-types in the Pokemon world, and MP100 espers usually have a natural shield against, like, possessions specifically

So we're going with Psychics/Espers being able to be exorcists, mediums, etc, with their wide variety of psychic abilities at their disposal compared to specific Pokemon with specific skillsets.

There's also more apparent leniency with the fact that Psychics post-gen III use both psychic-type and ghost-type pokemon on their teams, and you can debatably include hex maniacs and channelers as psychics or espers to a degree

A human Esper could possibly perform exorcisms themself or with the aid of a psychic, ghost, maybe even fairy pokemon, or pokemon with those moves

This means that I'm wont be assigning MP100 espers with psychic pokemon just because they're both psychic, but I acknowledge they'd likely be drawn to each other eventually, and it's up to the character if they'd interact with ghost types

There's also if the city/regions's general consensus on ghosts is similar enough to MP100 originally, which mean they're not as normal to see around as other regions for one reason or another

Personal Preferences / Headcanons

It's Very fun to match Pokemon to a character in how similar they are but other times I also like to try avoiding literal matches like that, or ones that are too on the nose

(what pokemon a character would be could be very different to what they would have!)

Often times I don't use the more popular pokemon either (like eeveelutions, sorry) unless it feels like that pokemon really works out for the character

It gives Pokemon ppl might not have thought of nor remembered a chance to shine

I also imagine if a character doesn't seem the type for competitive battling, they wouldn't have a 6-pokemon team, unless maybe they're the type for appearing strong, or under specific circumstances. Like petsitting or gifting. NPCs often have 1-3 pokemon if they're not strong league trainers. People with more would probably have lower maintenance pokemon

What pokemon could they have in their daily lives? What are they willing to take care of? If they do stumble upon a very specific Pokemon, how do I imagine they meet and how this influences their character? (for situations like this MP100 scenario, I like to impact the main storyline or characterization as little as possible if I'm not doing some in-depth canon-divergence or post-canon stories)

anyway

"What pokemon would your favorites of the mob psycho cast have, in your opinion?"

These answers may be tossed around or changed in the future but

Reigen

Lurantis I deleted the post saying why, but trust me on this Helps with the everyday life. Got terrified when it was a Fomantis thinking it was a bug-type but turns out they're both scared of bugs

Nacli whether he found it by accident or actively sought it, he kept it thinking it'd help w the business (it... kinda does? but not really)

Greavard (temporarily) (a la Uu-chan)

Nickit, maybe I prefer this as a pokemon he could be instead of have; it's very on-the-nose so I'm fine either or

I specifically imagine that in this world, like in canon, Reigen didn't know that espers were real, or didn't take them too seriously, especially when Pokemon could be doing all the stuff on TV

Serizawa

Hatterene (temporarily) "gifted" by Toichiro, but returns to Toichiro after Serizawa's fight with Mob (you know why)

Wimpod been with him since his years in isolation, evolves during World Domination Arc (you know why)

After Hatterene is gone, he probably only has Golisopod with him during the adjustment period with S&S but I do think he might take in another Pokemon by the time of the spin-off

(Swadloon -> Leavanny evolution via friendship is very reminiscent to Seri's character development and fight with Mob but idk if it's too much for two Pokemon to evolve back-to-back for him. It could also be what he takes in later on instead. )

Tome

Hoothoot I have my reasons

Elgyem her first encounter with the extraterrestrial, sparking her drive to know more about aliens and alien pokemon

looks up stuff like Deoxys and Ultra Beasts stuffs

Mob

Espurr evolves after confession arc?

Poliwag, maybe someone helps him evolve to Politoed over the course of the series?

okay I referenced Espurr multiple times so this might be redundant at this point, but I don't actually imagine him with more than maybe two pokemon? He's a middle schooler who might not be up for the responsibility of multiple pokemon, especially with the stress of his own and Espurr's explosions. Maybe he tries training more later in the same way he tried the marathon?

I just looked up the Poliwag line and I love that the lines' shinies do not look that different to the original but shiny Politoed has Mob's aura colours lol

He's not part of the cast but

Yoshioka

Herdier, or Watchog

yeah that's it

and they're not my favourites but some others I thought about:

Teru would have a full team, probably half left by his parents, which match his initial personality. He wouldn't be that close to them, but they're strong or rare and that's what's important until he's humbled later and actually learns to talk to them as companions He might not keep all the Pokemon by the end because he doesn't need to keep a reputation like that anymore, but has a select few strong ones that are strong because he actually trained together with them ^ the pokemon he'd have would still be very extravagent/gaudy in appearance though, like a Bruxish

Shou, and maybe Toichirou, may have Pokemon specifically from Unova or other farther regions because of Toichiro's travelling ^ Toichiro returning to Seasoning City is very Giovanni revealing to be the absent gym leader to me ^^Shou and Toichirou's teams could be styled in opposition to each other like Ghetsis and N. Shou spent so long preparing to be the protagonist against his father's plans, so

I firmly believe that Mob and Ritsu's parents would still be blasé about Pokemon like everything else that if either brother did come home with a legendary, they'd still be like "just make sure to clean after it. no battling in the kitchen"

it's not Reigen's, but there's a Fidough in the cafe above the office that he adores

Organizations like Claw, or the Rising Sun Spiritual Union would definitely employ a lot of psychic- and ghost-types for their needs

Dimple is either exactly the same, or the ugliest Gastly you've ever seen. I'd love to make a reference to the LOL cult and Yamask, but a fart cloud is a fart cloud

.

I have more but this list is too long so ppl can send another ask if they're curious about anything

final words: typing this was a nightmare because of how often I mistyped 'region' and 'reigen'

[boredtechnologist]

"Super Star Wars: Return of the Jedi" for the Sega Game Gear is an adaptation of the popular Super Nintendo Entertainment System (SNES) title, bringing the thrilling conclusion of the original Star Wars trilogy to a portable format. Released in 1995, this version was developed to deliver the epic storyline and action of its console counterpart to the handheld audience, adjusting its gameplay and presentation to suit the Game Gear's capabilities.

Graphics and Audio

Considering the limitations of the Game Gear’s hardware, "Super Star Wars: Return of the Jedi" manages to impress with its graphical presentation. The game features scaled-down versions of the SNES game’s sprites, which remain detailed and recognizable, despite the smaller screen and reduced resolution. The backgrounds are simplified but effectively recreate key locations from the movie, such as the forests of Endor and the corridors of the Death Star.

The color palette is well-utilized, with the Game Gear’s ability to display a wide range of colors on screen at once making the visuals vibrant and engaging. This is particularly evident in levels like the Speeder Bike chase through the forests of Endor, where the green hues and motion effects create a sense of speed and danger.

Audio is another area where the game stands out, given the limitations of the Game Gear’s sound hardware. The iconic John Williams’ Star Wars themes are adapted into chiptune format, maintaining the epic and adventurous feel essential to the Star Wars experience. Sound effects, from lightsaber clashes to blaster fire, are effectively recreated, enhancing the action and immersion.

Gameplay Mechanics

Gameplay in "Super Star Wars: Return of the Jedi" is adapted from the SNES version, focusing on platforming and action. Players can choose from multiple characters, including Luke Skywalker, Princess Leia, and Han Solo, each with unique abilities and weapons. The game includes a mix of side-scrolling combat and vehicle-based levels, which adds variety to the gameplay.

The controls are responsive, which is crucial for the Game Gear’s smaller form factor and button layout. The game accommodates the platform with simplified controls that still allow for a good degree of precision, necessary for the platforming sequences and combat.

Innovations and Influence

While "Super Star Wars: Return of the Jedi" on the Game Gear does not introduce new gameplay innovations, its ability to translate a complex SNES game onto a handheld system is noteworthy. The game demonstrates how well action-packed, multi-genre gameplay can be adapted to a portable format without losing its essence. This adaptation is an early example of how console games could be reimagined for mobile play, a concept that would become increasingly important in the gaming industry.

Cultural and Historical Context

Released towards the end of the Game Gear’s lifespan, "Super Star Wars: Return of the Jedi" represents one of the more technically ambitious titles for the platform. Its release during a time when portable gaming was becoming more popular showcases Sega’s commitment to providing a diverse library of games, including adaptations of big-name franchises, which helped to sustain the Game Gear’s market presence against competitors like Nintendo’s Game Boy.

Conclusion

"Super Star Wars: Return of the Jedi" for the Sega Game Gear is a commendable adaptation of a more technically advanced game. By successfully bringing the excitement and narrative of the Star Wars universe to a handheld device, it offers an engaging experience that respects its source material while making necessary adjustments for the hardware. For fans of Star Wars and retro gaming, this game is a fascinating study in adaptation and a testament to the capabilities of the Game Gear.

[away-ward]

About the DN series, I would've loved a bit more diversity (like between the girls), and especially with Emory (like she would've been another race, another religion...) the drive between Will and her would've been more significant, so more angst and her being way more different than everyone else at Thunderbay Prep (or in the whole town in general). High school Emory mentions that she felt really different because the school or town was full of WASPs (white Anglo-Saxon Protestants), so she was a minority. The only times POC were mentioned were in Killswitch (the young black escort) and in conclave (the Asian lady that Alex was taking nude pictures of), which was only about sex work (nothing wrong with sex workers, but as a POC I felt weird undertones about it). I know Kai is a POC (half-Japanese), but it doesn't really feel like it, it was just giving diversity hire.

I also found Rika and Winter really bland. In the sense that they're both blonde, white girls with blue eyes, wealthy, privileged sure they have their traumas, I actually sympathize with Winter more, since she's blind and all. But with Rika, when she becomes Ms ninja, swords and knives, he didn't feel authentic, I just think PD wanted a heroine that they could live through, but chose the wrong girl to do that.

Also, I would have loved it if Damon ended up with a girl as intense as him. I appreciate Winter's character being soft and strong when needed, but she lacked intensity.

Also, is it just me, or does Michael doesn't really have a personality, one that screams him. Kai should have been the leader, it makes more sense.

I would really like your opinions on this and love your WillEmmy fanfictions

(sorry if there are any mistakes, English is not my first language)

You’re English is wonderful; probably better than mine! Please don’t apologize.

So, first, I want to say that I agree with you. I have wished and thought that there should have been more diversity in the books. Whether it would have made sense for the part of the US it’s set in (small town in New England) or not, it’s a work of fiction and including more POC is a choice. There was no reason not to in this case.

Second, I want to say that PD’s choices seem to be… on the safe side. I think they wanted to include POC but, and speaking only from my experience as a white person who writes on occasion, there’s a very real fear of getting it wrong. From personal experience, even having a wide variety of friends that have backgrounds and heritages from across the globe that I am free to consult at any time, I still have a fear that I’ll give it my best effort and still get it wrong, even for a minor character much less a main one. The added pressure of publishing to a wide audience would be enough to make me hesitate and pull back some. The thinking is people will get mad if I don’t include POC characters, but people will also get mad if I don’t portray them accurately. It takes a certain skill level, and honestly, some authors and writers just aren’t there yet. I’m not saying this is what happened with PD. I just don’t know. But I wouldn’t be surprised if it was. All that considered, the result tends to be POC characters that are a bland and neutral and don’t feel like authentic POC.  PD is always going to put sex-positivity first because that seems to be something they’re comfortable with, and it seems to be for them a safe way to include any minor character, POC or not.

Again, not an excuse but a possible reason. I haven’t contributed any negative motives to PD on that area, taking from my own experiences with writing. Then again, I’m not a person of color, so maybe it’s not for me to say.

All of the girls felt very similar. Two blonde, two brunette. PD tried; Rika is technically South African; Banks is half-Russian; Emory is at least a quarter Jewish, possibly half. But it didn’t feel like any of it affected their characters. At least, I wasn’t sensitive enough to it, and that could just be me. Though it sounds like it felt that way for others as well…

As for Emory, she is a minority but with her being agnostic or only taking part in certain traditions, it doesn’t feel as important to her or the reader. Though, that is a very real identity that people have, being Jewish culturally or ethnically but not religiously, so I don’t want to pick on that. I have found myself wondering how deep it goes for her. Like would she get a tattoo? Will is obviously very into them, so would she get one as well? Even a little one? Where are her boundaries? We just don’t know, because she never talked about it really.

I think I would have liked to see Kai struggle a bit more with his cultural backgrounds, but he seemed to struggle more with his class. As he mentioned, his father was poor growing up and his mother was wealthy but knew how to manage money. He seemed to take it all for granted. Somehow, through all of that, he was in touch with his father’s Japanese side and his mother’s Italian side fairly well, which felt odd to me. I would have thought that taking his wealth for granted would have transferred to other parts of his life, such as his heritage. I would have thought he’d try to be more American TM, like his friends. But in the narrative, I don’t remember him fighting with it all that much. I think he probably did struggle a bit to balance them, we just didn’t see it on the page, which is sad.

Honestly, the one I felt was the weirdest was Aydin, a Middle Eastern man, becoming so completely obsessed that he derailed his entire life for what I considered to be an average white American woman. Like? I mean, don’t get me wrong; Alex was obviously gorgeous. But… So are a lot of people. And Alex was obviously confident and appeared to him to be smart. But so are a lot of people. This was a man who was going to be a doctor, but was sidetracked by a 19 year-old white girl?

I guess it’s just one of those ‘you had to be there’  kinda things. TBH, a lot of the romances in this series relied on what feels like an insta-connection that is quickly approaching insta-love. Not saying it doesn’t happen in real life. Just saying it happened a lot here in this series.

Maybe that’s partly why Will and Emmy felt different. At least he had three years of watching and obsessing over her before we got to the start of the story, and even then, she was still resistant and in denial of the connection, unlike the other girls. That made a bit more sense to me.

At times Rika did feel like a self-insert for PD wish fulfillment, but I’m not going to begrudge them for that. We all do it. If they put a lot of themselves into Rika – thinking Corrupt was going to be a stand-alone – then they probably weren’t thinking about where the character was going to go in the long run. At least that is where I place the blame for the progressive weakening of Rika’s character. She really wasn’t meant for more than one book.

Same with Michael. After Corrupt, his personality tends to disappear too. It’s not just you; a lot of readers say that I think.

I will say, if I were to make any changes, I would keep him as a leader but show more of his strategic side. To be a team captain, he’d have to have some sort of mind towards that. And in Hideaway, we see him seeking out Banks’ guidance because he knows he needs to improve in this area and has identified her as someone with the same skill (sidenote: which, oh my god! Why are you seeking out Banks’s guidance? She doesn’t like you! Just dumb.). I would keep him as leader and keep Kai as his second but give Kai more opportunity to display the wisdom he’s supposed to have from his father. That way, he can act as the team’s heart. This isn’t to say that I think Kai’s unintelligent; it’s just a different kind of intelligence. Kai would have to have the skills to follow Michael’s thinking, act on it, but also know when he’s going too far. In some ways, he need to be smarter, both mentally and emotionally, than Michael. I think Kai is to start with, so that’s a good building block. It just also think there was more that could have been done there. These two are supposed to complement each other, work in tandem. I really would have focused on showing that. And even if it was weakened by Kai going to prison, I would have tried so show that too. I’m not sure if I could have executed it any better than PD, but that’s what I would have focused on as far as Michael.

Oof Damon and Winter. I agree with you. I liked that Winter was soft at times, because Damon needed someone that contrasted his own hardened shell, but I kept waiting for that moment where I understood what he saw in her other than her softness. I kept waiting for that moment she showed me she was something different, but it never came for me. So she bit him once and showed him that pain can be redirected? And that’s why he’s obsessed? I didn’t get it. I didn’t see anything else for him to latch on to, other than her being a pretty dancer. But maybe I’m missing something; other people seem to get it. I’m still not sure what she “brings to the table”, so to speak. For me, Winter is still… loading??? Buffering? Processing? If any of those make sense. Idk anymore.

Thank you for your love of the willemmy fics. I appreciate it. Always happy to share the joy.

Thanks for the ask. It’s an interesting topic I haven’t been able to get into before, not being sure how to approach it. I’d be interested to know what other’s thoughts are of the diversity, or lack thereof, in the series. What could have been done better?

[ridley-was-a-cat]

What I Watched This Week – 6/25-7/8

The Melancholy of Haruhi Suzumiya - There are multiple ways to watch this series, and I went with the chronological order because that was how Crunchyroll had the episodes ordered. This is one of those series I watched less because I liked it or was interested in the idea behind it, and more because it's sort of foundational or often referenced. On paper, a whole show about a self-centered girl making the entire world revolve around her didn't appeal to me, and after watching this series, it still didn't really entertain me too much. Admittedly, the idea behind it is creative and fairly interesting, and I enjoyed watching all the side characters running damage control, but I never stopped wanting someone to just crack her across the face and tell her to grow the hell up. 7/10

House of Five Leaves - I've been wanting to watch this series for a while now, as I don't think there is a Manglobe anime I haven't enjoyed, and I really enjoyed ACCA 13, which is by the same author. I can imagine that the art style was divisive for people, but I really enjoyed the way it looked. The faces were expressive, and the overall vibe of the art felt like an Edo era woodcut print. The story followed a somewhat naïve young ronin down on his luck who gets involved with a mysterious man who heads up a kidnapping ring and unravels the mystery behind him. It was just a thoroughly satisfying little vignette about a man's troubled past and complicated present. 8/10

Ōoku: The Inner Chambers - Despite this winning awards from feminist science fiction organizations, few things interest me less than gender plague stories, so I didn't initially intend to watch this. Curiosity got the best of me though, and I'm glad it did, because it engaged with the topic thoughtfully and had me riveted throughout. The plague in this instance is a deadly pox that attacks young men, eventually bringing the male population to a quarter of the female, leading to a wide variety of challenges and changes for Edo era Japan. The story mostly focuses on the inner palace and the men gathered there to serve the female shogun, as the concubine system of the previous generations flips genders. Despite being a shoujo, this is a fairly violent story of upheaval that spends a lot of time dealing with the way a gender imbalance would change sexual politics, and works that question out through many scenes of sexual assault and sexual coercion, from the first episode straight through to the end. Sexual violence is as central to the theme of this story as war violence is to Vinland Saga, and it engages the idea just as intentionally. 8/10

All Saints Street - This technically isn't anime, since it's a Chinese donghua, but it's on Crunchyroll and MAL and has a Japanese dub, so I'm including it here. The Japanese release that I watched condensed the original 36 5-minute episodes into 6 standard-length episodes, and had a top-notch cast of the voice actors you often hear in comedy anime. The skits center on a young demon guy who moves into a shared house in the human world with a variety of supernatural roommates and the silly little situations they get into. The worldbuilding was fairly creative, the characters were amusingly relatable, and the character designs were adorable. This was just a fun and short comedy series.  7/10

[irresistiibles]

was that dori sakurada? Oh no no, that was just kageyama ‘mob’ shigeo, a canon character from mob psycho 100. They are twenty years old, use he/they, and are aware that they are not actually from Washington DC. Too bad they can’t stray from this city for long.

how long has your character been here

about a month now.

what is your character’s job

he is a college student and makes money doing odd jobs on the side with his powers. back home he worked at a consultation office for issues with spirits and such, but since that isn’t as big of an issue here he probably makes most of his money just like moving really heavy stuff with his powers and other small things

where has your character been pulled from in their fandom

the end of season two. i have not watched any of season three yet because i’m waiting till it’s over so that i can binge it. i will make a post if i’m updating him after i see it.

has any magic affected your character

nope!

any other info!

okay so mob! he was born with extremely powerful psychic abilities, including but not limited to extremely powerful telekinesis to the point that he can just like fly, psychic energy absorption, psychic energy transference, cholorokinesis, and astral projection.

mob’s struggle is that when he reaches a certain level of emotions he loses control over his powers (it’s called mob psycho 100 cause this happens when his emotions hit 100%)

he also has a ???% mode he enters when he’s knocked out or under extreme stress in which he basically unleashes all of his psychic power at once and while he can do just about anything in this form he has literally no control over himself at this point so it’s not something he would ever use by choice.

he has accidentally hurt people this way before, and as a result works really hard to restrain his emotions. as a result he comes off as blunt, awkward, and just overall has a hard time connecting with people

which sucks ! cause that’s what he wants more than anything. so many people tell him how great his powers are but he doesn’t care about that he just wants to be able to make friends. incredible psychic powers have never made him happy and they probably never will.

he’s really just trying to improve himself as a person and keeps getting caught up in all this esper nonsense that adult psychics pull him into.

the only chill adults in his life are his parents and his mentor at work. this is always a gag because his mentor is technically a conman, running a spirit consultation shop while not being a psychic at all himself. he uses mob to do any real psychic work, though the majority of the customers he gets are people who are stressed and blame it on spirits that aren’t really there

but he’s actually a really positive influence on mob cause he tells him being a good person is more important than any specific psychic powers and tbh mob knows he can’t do anything psychic, but finds him to be a really good guy and doesn’t mind working for him anyway

some possible connections (just some ideas i’m def open to other stuff):

CLASSMATES/TUTOR/OTHER COLLEGE CONNECTIONS: mob is not exactly a strong student by any means, and has no idea what he even wants to study but he’s determined to get a degree anyway. it feels like something he should being doing but he’s not great at it and could def have some people he has classes with, or a tutor to help him, or professors who recognize him despite the fact he avoids speaking up in class at all costs, literally whatever.

CUSTOMERS: like i said he takes on basically odd jobs that his powers can help with so this really has a wide variety of possibilities! i feel like a lot of the time he just winds up helping people move by using his powers to carry boxes and stuff but i’m happy brainstorm possibilities for this

WORKOUT BUDDIES/TRAINER: this!! listen mob joins the body improvement club at his school and it’s one of my favorite things cause he is not physically in shape at all but the jocks are so nice to him! he is determined to keep working out. girls like muscles, not psychic powers, people with muscles are cool and have friends. he wants to get some muscles. give me some dumb extrovert jock/extreme introvert friendship lmao

MENTOR: someone a little older who kinda helps take mob under their wing. could be someone super powerful who helps him more with the power issue or someone completely normal who tries to navigate social situations (tbh the second one is what he needs more but i’m open to someone for both)

PEER PRESSURE: idk someone who thinks he should be using his powers for more to like help the world or be a hero or something like that and mob is just not at all interested. could also be completely not power related and just someone who drags him around to events and stuff. man is bad at saying no to people.

ACCIDENTAL ENEMY: now here me out mob would never purposely start fights or make an enemy but he is way too blunt and doesn’t pick up on social queues, so he could definitely accidentally upset someone and turn it into a whole thing where someone thinks they have beef and mob is borderline clueless about the whole thing

GENERAL FRIENDS: like i said he’s not good at socializing but he wants to be! let him make some friends he is so nice at heart i promise. could be literally anyone mob has so much patience for people.

[northwest-cryptid]

If you're an artist out there during November and you don't draw at least 1 Native thing but you'll draw for every other random celebrated month, yea I do kinda question why that is; can you really blame me?

Now here's the thing, I will say this; if it's because you don't want to be insensitive and you're unsure how to draw Native folks respectfully. I get it, but also if you've thought about it that much, then why don't you give it enough thought to go do the research?

I mean okay, I hate the whole excuse of "EDUCATE YOURSELF" because a strong majority of the time, people don't even know what they need to educate themselves about. I can't fault someone for simply not knowing something, if they don't know how do I expect them to randomly just, do something.

However if someone has actually sat down and thought: "Well sure I'd love to draw my OC/this character/a random thing, as a Native; but I don't know how to do that without possibly being disrespectful. I worry I might use too many stereotypes or maybe I won't get something right." But then they don't stop think: "Good thing Native people are literally still alive, and active online, with tons of Native artists drawing characters and things from their own culture. I could look up traditional or modern culture for tribes, and even a quick search on the internet would let me see which tribes exist if I don't know their names." I don't know, I just figure with how many people will research things for other projects, that's just kinda weird to me.

Like it really feels like people WANT to ignore us, you know?

I've seen maybe 2 pieces of art for the entirety of November so far. Do you know why that's so annoying to me? It's because November is literally Indigenous People's month, and I've seen more shit for ZZZ, Honkai, and Genshin than I have for Indigenous People's Month.

I'm really out here on the leftist activism website and I see more shit for Columbus, and racist games that directly target Natives; than I see anything in celebration of Native people, and our culture.

If nothing else you could literally just slap a red hand-print on a character and raise awareness for MMIW.

But listen, here's the thing; if you maybe just didn't know about all of this and you're finding out through this post. Understand that I'm not pointing a finger at you calling you some bad person. If you didn't know, well then I assume you fall into the category who I can't blame for not knowing something.

If you DO want to do some cool art for Indigenous People's Month, consider a few things:

Natives actually come in a variety of skin tones, some are lighter and some are darker. A lot of Natives get called "white" or "black" because people don't understand that our people come from a variety of places. Different Tribes do tend to have different skin tones and different facial features.

Not everyone is going to agree on what is or is not offensive; not even all Natives. Some Native artists I follow include feathers, braids, and more traditional war paint in a lot of their character art; while others consider those things to be stereotypes. I believe a lot of this has to do with the culture they were raised in.

There are tons of tribes out there, and a lot of us do or believe different things. There is no such thing as stating "the Native people believed [whatever]." As a result of this, if you draw The Four Directions in a piece of art, I might tell you the Yellow is supposed to face East while another Native might tell you it's inaccurate because it doesn't contain Blue or Green. We are both technically correct, but it really depends on which tribe you're drawing for.

If you don't know how to draw things respectfully, try looking up art made by other Native creators. Whether that's people here on tumblr, or even professionals. You'll see a wide range of art styles and depictions of Native culture.

If you do make any art for Indigenous People's Month I'd love to see it, so don't be scared to tag me in it!

[thebandcampdiaries]

Casey Frensz presents Captain Queso and the Intergalactic Battle of the Bands.

Multi-talented artist Casey Frensz has released an album titled Captain Queso and the Intergalactic Battle of the Bands. This innovative project blends a variety of musical styles into a cohesive rock opera, demonstrating Frensz's versatility and creativity as a musician.

However, this is more than just a concept album. It's a whole new musical world, as the artist truly managed to meticulously craft characters, a story, and a whole universe to bring this release to life as something that is greater than the sum of the parts.

Frensz, the mastermind behind the album, wrote, played, recorded, mixed, and mastered nearly every element. His wide-ranging musical talents and ability to blend different influences into something truly original is the main idea of the album. It's like taking The Beatles' 'Sgt Pepper's Lonely Heart's Club Band' to a whole new level. This release features not one, but five imagined bands, each representing a distinct musical style, as they compete in an epic 'Intergalactic Battle of the Bands.'

The character of Captain Queso offers a lively funk sound reminiscent of the likes of Parliament/Funkadelic, while Divatronic introduces an electro-dance pop vibe with prominent synthesizers. Old Dusty contributes a more intimate country/folk sound, while Riffrat delivers hard rock vibes and punch. Last but not least, Ga Na Na adds tribal elements to the mix, bringing a very unexpected dimension to the album. The overarching presence of the "Intergalactic Overlord" ties the narrative together with grand, orchestral arrangements, making the album feel very ambitious. Although incredibly diverse, the music is bound together very seamlessly, especially due to the overarching concept and the narrative behind this release.

Frensz also expanded the sonic palette of this release by enlisting a few collaborators. This enabled him to bring additional voices and rhythms to the album. The featured vocalists include Andrew Groble, Rick Kieffer, and Sharisse Germain, who each lend their vocals to the project, adding depth and diversity to the musical storytelling. Additionally, the sixth song on the album features drummer Matthew Mwangi, whose percussion work adds a dynamic layer to the album's complex mosaic of sounds. It's absolutely remarkable to think that Frensz curated most of the technical aspects of this release as well. Not only did he practically write and record the whole thing, but it also mixed and mastered the album. With so many different pieces of the puzzle falling into place, this is a very demanding project, which would be challenging even for the most demanding engineers. However, the artist managed to create a very professional and beautifully dynamic sound.

The progressive nature of the album enabled Frensz to embrace a retro aesthetic with more organic sounds, even when it comes to the tracks with more prominent electronics within. The analog flavor of the mix comes through (it doesn't really matter whether it was mixed on a computer or with outboard gear; the style has that much sought-after analog touch either way, which makes the listening experience all the more enjoyable and unique.) The song "In The Middle" is a perfect example of this. The track has a truly unique vibe. If you can picture Daft Punk building a time machine so they could travel back in time and jam with Pink Floyd, this is very close to what it might sound like! The dream-like quality of the vocoder layers and the floaty tempo make the song one of the most outstanding moments on the release. However, there is room for so much more. "Momentum," with Matthew Mwangi on drums, showcases the album's hardest-hitting edge. The sound is reminiscent of rockers such as Eagles Of Death Metal or The Hives, with overdriven guitars and huge riffs.

With influences ranging from Frank Zappa and Phish to The Who and The Beatles, Captain Queso and the Intergalactic Battle of the Bands is a genre-defying journey that pays homage to a wide array of musical traditions. Frensz's ability to seamlessly integrate these different styles into a single narrative is a testament to his skill as a musician and producer.

This album is likely to appeal to fans of rock operas and those who appreciate music that pushes the boundaries of genre and form.

Listen to the album and support the artist directly via Bandcamp.

[intergalactic-zoo]

I've never been in any real fanfic circles, and certainly am out of the loop when it comes to modern fanfic discourse, but when I was writing my little fanworks about 80s cartoons in the late 90s and early 2000s, it seemed to be pretty generally acknowledged that it was all probably technically illegal or at least in a legal gray area such that if, say, Mattel wanted to sue me over "The Chronicles of He-Man," I probably wouldn't be able to fight it for a variety of reasons. Nearly every fanfic you ran across had some kind of disclaimer about how the author doesn't own the characters and this is all done without permission and maybe some of the more savvy writers included a note about fair use, though I feel like the term wasn't as widely-used back then.

It's also a little presumptuous to want authors to be approving of fanworks? Like, yes, a lot has changed since the 90s, but authors feeling protective about their characters and worlds hasn't. Authors typically don't read suggestions or unsolicited submissions because if they were to write something with a similar plot element or character or literally anything to that submission, they'd be opening themselves up to accusations of plagiarism and possible legal action. Widely-published fanworks and the availability of authors on social media make that kind of thing an absolute minefield. "Look, the new Dirk Musclor book follows the ship that was in my Musc/Mellon fic, and I tweeted the link to the author so I know they must have seen it!"

If you're listing "people who acknowledge the likely legal problems involved in fanfic," "people who would prefer not to see your fanfic but don't care that much," "people who are generally opposed to fanfic," and "people who have actively gone after fanfic writers with lawyers" on the same list without actually differentiating between them or acknowledging that those are different positions with wildly different levels of potential harm, then I have to question your purposes in putting such a list together.

Authors Convinced Fanfic is Illegal/Requires Permission

Terry Goodkind: “Copyright law dictates that in order for me to protect my copyright, when I find such things, I must go out and hire lawyers to threaten these people to make them stop, and to sue them if they don’t.”

John Scalzi: “Let's remember one fundamental thing about fanfic: Almost all of it is entirely illegal to begin with. It's the wild and wanton misappropriation of copyrighted material”

Diana Gabaldon: “OK, my position on fan-fic is pretty clear: I think it’s immoral, I know it’s illegal, and it makes me want to barf whenever I’ve inadvertently encountered some of it involving my characters.”

Robin Hobb: “Fan fiction is like any other form of identity theft. It injures the name of the party whose identity is stolen.”

Anne Rice: “I do not allow fan fiction. The characters are copyrighted. It upsets me terribly to even think about fan fiction with my characters. I advise my readers to write your own original stories with your own characters. It is absolutely essential that you respect my wishes.”

Anne McCaffrey: “there can be no adventure/stories set on Pern at all!!!!! That's infringing on my copyright and can bear heavy penalties…indiscriminate usage of our characters, worlds, and concepts on a 'public' media like electronic mail constitute copyright infringement AND, which many fans disregard, is ACTIONABLE!”

Chelsea Quinn Yarbro: “No. Absolutely not. It is also against federal law.”

Lynn Flewelling: “Whether you are writing about Seregil or Fox Mulder or Sherlock Holmes, if you do not have legal permission from the author, their estate, or publisher, then you are violating US copyright law. It is creative piracy. Doesn't matter how many disclaimers you put on, or if you're being paid. It. Is. Illegal.”

Someone Else, elaborated in the notes

[yombleflobber-mobile-emporium]

Physical Trauma and Shock in Writing

Something that I think is interesting is the dichotomy of Story vs. Realism. The idea is, when you're writing with the assumption that your humanoid characters have the same basic anatomy and physiology of real-world humans, you have kind of a slider with regards to how that works out in your narrative. When writing ordinarily, much like in real life, you don't have to deal with the more technical aspects of body beyond what serves character development — most people are not terribly concerned about how long it takes to digest food, for instance, but if you make a character with gastrointestinal issues who is preoccupied with that, it might be helpful to keep a food log yourself and track how long that might take, and note what points that would be important.

Something that might happen more often in writing than in real life, however, is Physical Trauma. Maybe a character gets in a fight, and is grievously injured. Maybe they get shot. How you deal with scenes like this is going to depend on where your slider is. Maybe you have it all the way over in Story, and your character shrugs off bullets like raindrops. Maybe you have it all the way over in Realism, and your character takes one bullet graze and is constantly in excruciating pain. Maybe your slider is different for different characters (don't do this much; one of the most helpful pieces of writing advice I have been given is to be consistent — if readers smell an inconsistency, you better have a really good reason).

I recently wrote a scene that involved a character getting stabbed. Because of world-physics and reasons, I decided to put the slider fairly close to realism and, since I wanted my information to be factual and I AM NOT A MEDICAL PROFESSIONAL I had to do some research. This is what I found.

First off, let's talk physiology. Physiology differs from anatomy in that it is more concerned with a conceptual, molecular explanation for how the body works. Think "The crystal structure of this type of steel" rather than "Sword shape"; it all still relates, but in different applications. Physiologically, any body wants to remain in a neutral state (for more information about this, check out Hank Green's Crash Course Series of YouTube Videos. I highly endorse, even though I do not particularly like Hank Green) known as Homeostasis (etymologically, this word means "Same State"). Homeostasis encompasses a wide variety of factors, including, but not limited to, Hydration levels, Saturation levels in your body's various fluids, and Temperature. Your body is constantly adjusting in response to changes and stressors, in order to maintain the optimal levels of everything for peak performance.

Now, because of The Fall, the body does not always react appropriately to stressors. For instance, when you are allergic to something, your body reacts as though the allergen is a pathogen, and may do so to the extent that you die. Sometimes your body is deficient in something, and is unable to return to homeostasis (like if you're diabetic and your pancreas is broken). Sometimes you don't have enough blood, and you enter a medical condition known as —

Shock

Often when we talk about shock, we're not referring to the medical term. If someone saw something "shocking" they might be "in shock" in the sense that they need another jolt in order to get their act together. That is not the same thing.

Let's shift to Anatomy for a second. You have nerves. A lot of them. Some pretty long ones. There are a lot of divisions and subdivisions, but the two main ones we need to talk about right now are Sympathetic and Parasympathetic nervous pathways. Again, check out the videos on these two systems. Simply put, the Parasympathetic Nervous System is in charge of general maintenance and growth, while the Sympathetic Nervous System engages when your body perceives it is in danger.

The PNS, as it is referred to because I don't want to write that out every time, is in charge of "Rest and Digest" which, as that implies, means it is primarily responsible for sending resources (blood) to your visceral organs in order to facilitate the accumulation of nutrients and general upkeep and chronic repairs.

The SNS, on the other hand, is in charge of "Fight or Flight", and sends resources (blood) to Brain, Heart, and Muscles so you can deal with acute trauma.

Now, if you see something crazy, or you hear something shocking, your SNS will most likely kick in, and your heart rate will skyrocket, your pupils will dilate, you'll hear the soundtrack from Doom playing in your head, etc.

What happens with shock, however, is that your body enters this state, as it were, half-cocked.

(If you were a diesel engine enthusiast, I believe this would be referred to as runaway. Except your body doesn't typically explode when it gets too hyper.)

(Usually.)

In any case, if you get stabbed, what are you supposed to do? Leave the knife in there (or whatever) as best as you can. Blood is your body's best method of transporting oxygen, and it just so happens to also transport platelets that facilitate clotting. Removing the knife is like removing a cork, and the less blood your body has, the less able you are to function properly.

You start going into hypovolemic shock (hypo=less, vol=volume, emic=presence of blood. Hypovolemic=less volume of blood) when you lose around 15-30% of your total blood volume. Shock is typically characterized by shivering, palor, clammy skin, weakness/fatigue, and rapid heart rate.

Shock treatment is different for different ailments. If it's heat-related shock, chances are you don't want to keep someone warmer. Loosen tight clothing to increase circulation. Elevate feet to encourage upper-body circulation. Don't move someone if not necessary. Call EMS and get help as soon as possible.

(They used to say not to let people go to sleep. They don't say that anymore; it really barely matters.)

One thing they do say, which I found initially perplexing, was that you should not give someone in shock food or liquids.

Which I thought was strange. Maybe you can see why from what I've already talked about. I'll walk you through my thought process.

Shock results from lack of blood volume/dehydration. Giving someone water might be good for fluid replacement. High-sugar foods could help raise blood sugars.

Everywhere I looked said, "Well, they could choke, or aspirate the water (and get fluid in their lungs and maybe get a bacterial infection)" to which I thought, "Well, if I'm really careful, and the person in shock was really lucid, I could probably get some food down with no issues. Maybe if it's mushed up or something."

Do you know the Number One reason why you don't feed someone in shock? I'm belaboring this point because even if you don't trust your abilities, or your gut, your gut may really mess you up here.

It's an Anatomy and Physiology issue. Blood Loss and your Sympathetic Nervous System. While in shock, your body does not digest food or fluids because your PNS is not engaged. While in [hypovolemic] shock, you have less blood available for your body to use. If you eat or drink while in shock, you put more unnecessary stress on your already super-stressed body, and demand more resources that aren't there, thus taking away the limited resources your body needs to keep itself alive.

And you might choke and die from eating a candy bar.

And you might get a bacterial infection, malinger and die from drinking some soda. Fun fact: the PNS (you know, the one that is not engaged) is responsible for fighting off infections, so any infections you accrue are going to have Compounding Interest by the time your body gets around to dealing with them — great for your bank account, horrible for your lungs.

I just wanted to really hammer that home. I have a highly competitive nature (hidden under the surface a bit), and telling me there's a mechanical solution to a problem engages that competitive side massively. If it isn't something I could possibly fix, I can focus on other things, like actually helping someone in shock instead of increasing their likelihood of dying.

If nothing else, you can look at it like a priority list. First you put your certainties, then your less-certainties, then your peripherals.

You will definitely slow your entire system down if you ingest food or imbibe water.

You might choke on large chunks of food.

You might aspirate water into your lungs and get pneumonia.

You could possibly screw up diagnostics when EMTs arrive.

Anyway. That has always bothered me. I'm a curious person, and I also consider myself fairly learned and careful. I don't think I'm the only one.

Oh yeah, usually EMTs won't just give people a saline drip, either. I always thought the blood volume was the biggest thing, but no. If you're trying to bring up volume, you start a blood transfusion (whole blood if available). Saline dilutes the blood and lessens clotting factors.

Anyway.

There's some of my research for you.

Again, I am not a medical professional. Do your own additional research. Get CPR certified.

[mayookhpallikandi]

Sources and Significance | Critical Analysis

Thesen, T. P. (2020). Reviewing and Updating the 12 Principles of Animation. Animation, 15(3), 276-296. https://doi.org/10.1177/1746847720969919

I have chosen the article which analyse the content from the journal named “Animation: an interdisciplinary journal (Volume 15 Issue 3)”. This article is written by Thomas P Thesen from Singapore.

In this article the author discusses about the reconfiguration of the 12 principles of the animation and also to refine the principles for adapting in the modern animation industry. He has mentioned that these 12 principles were developed in 1930s and 1940s by the Walt Disney studios by researching and understanding the natural human, animal and object motion and action to meet the needs of the hand drawn animation during that time. Over the years, these principles were widely adopted and used in the animation industry.

The articles argues that the complexity and diversity of animation techniques necessitates a reassessment a reassessment of these principles again. In the whole article the author talks about the Limitations across the animation techniques, necessity for refinement, advantages of the 12 principles of the animation and last the author concludes by reorganization and the expansion of the 12 principles of the animation which includes the updating terminologies to fit better requirements of the animation techniques.

In this article I got interested in the 12 principles of animation. I would like to take 2 pages 8-9 for analysing. These two pages made me interested because it examines the principles “Squash and stretch”, “Anticipation”, “Follow through and overlapping action”. These principles were my favourites and the author discussed about the reconfiguration and the expansion of variety of approaches.

The author started his analysis by mentioning the original 12 principles that originally proposed by Thomas and Johnston He argues that despite the simplicity and movement is true, these principles cannot meet the evolving demands of ongoing modern animation industry. He argues that it “is in need of expansion as a response to the artistic and technical demands of animation and its variety of approaches.” The author is discussing about each principle and including the experimental techniques, also he gives wider scopes for the principles.

The author discusses about the principle 'squash and stretch’. Here Thesen says that “A character that is jumping, when gaining the momentum for the jump, will crouch down and squash and then stretch when leaping up into the air, releasing the stored energy of the squash into the stretch. In another example, a character who is chewing food with pleasure can show the forces created in the deformation of the face through exaggerated squash and stretch, thus pushing the entertainment value” (Thesen, 2020). He argues that this principle is also used in some emotional and mental aspects also. He gives statement by an example “in Tex Avery’s short film Red Hot Riding Hood (1943), the wolf’s eyes stretching out longingly towards the female dancer, Red, signify his highly aroused state” (Thesen, 2020). He also comments about the bouncing ball. The ball will squash by the weight and material then it eagerly wants to bounce, then reaching out (stretching). The author says about that this principle is easy to use in Hand drawn animations, but it is also used in CG animation. And also, he says that it is less feasible in stop motion animations. The discussion about this principle ends up with the comment that “With the rise of replacement animation through digital printouts. This introduction of digital processes into stop-motion animation is starting to blur the lines between the two animation techniques, shifting the handcraft quality and unique aesthetic of stop motion toward the precision of digital animation.” (Thesen, 2020).

Then he examines about the principle ‘Anticipation’. He starts with stating what Thomas and Johnston explains. Author claims about ‘overshoot’ as an aspect of the ‘anticipation’. He argues that if an action starts with anticipation it is overshot before settle down.

 In this principle also he argues that has two aspects, Physical and emotional or mental states. The author argues that anticipation not only prepares us for physical action, but also for the emotions or thoughts of a normal or unnatural person. This doubly effective expectation adds depth to the story in the animation. The finding that emotional or cognitive expectations contribute to reading and understanding a character's inner life points to the importance of communicating emotions and thoughts in an engaging way. Author provides valuable insight into the complexity of anticipation, enhancing the understanding of this animation principle.

After these two principles the next section the author examines the next principle ‘Follow through and overlapping action’. Here Thesen deeply explains how this principle “’ deals with the continuous progression of forces through the body and its effects on the various appendages. Limbs, clothing and accessories or hair are affected in their timing and motion, and so their movement is affected by an external force (like wind for instance) and/or a force that has been transmitted by a connected body part.” (Thesen, 2020). The author add an additional concept of ‘energy flow’ to the concept of ‘follow through and overlapping action. Thesen argues that “In Mattesi’s concept, these forces are not only the actual physical forces of the body, but also the aesthetic forces that can be exaggerated through the line itself and its design and flow. Webster’s suggestion of ‘energy flow’ not only includes Mattesi’s concept, but also allows it to be expanded to stop motion, CG animation and experimental animation equally.” (Thesen, 2020). A comparison with Mattesi’s concept is an emphasis on ‘energy flow’ as an integrative concept contributes to nuanced understandings of animation dynamics.

The author explains every principle and after he concludes by identifying “the need for the refinement and adjustment of the initial 12 principles of animation in order to better align with contemporary animation’s wide artistic and technical scope.” The article proposes to exchange content between designs and proposes to rename designs to ensure inclusion rather than exclusion of animation styles.

This article was interesting to me because the author reveals a thoughtful and comprehensive approach to refining the 12 principles of animation. The article’s focus on adaptability, inclusiveness, and clarity demonstrates a commitment to enhancing application of animation principles in a contemporary animation industry.

[angeliqueshelleyartist]

Light and Shadows

Iconoclast

“Someone who destroyed religious sculptures and paintings“ https://www.vocabulary.com/dictionary/iconoclast

The purpose of this image was for a more technical piece of work with a focus on the design of the lighting.

In my development sketches I wanted to use a light source as an actual device.  When creating the sketch of the noir -style gentleman I found that I liked the idea of the backlighting and how it can be used to create a strong atmosphere while obscuring the details that I usually get carried away with when creating my artwork.

It is well known that in theatrical lighting, colour is used to affect the emotion, but I feel that it is often overlooked that the absence of light can be a more powerful atmospheric tool than saturating the stage in red for example.

From research into backlighting and the power of the absence of light I found an interesting article about a throne room for the Bohemian King at Karlstejn Castle. King Charles IV placed his throne in between two large windows because he “liked to be in shadow so no one could see his facial expressions or read his emotions”.

Karlštejn Castle

This inspired me to try a more conceptual take on this idea and I swapped the, orderly, luxurious Gothic feel for an aggressive scrap-punk image featuring a young warlord atop a throne of debris. The Gothic chapel that she rules from has been desecrated with graffiti, lit by a black light neon-crucifix, unapologetically repurposed from the outside of the chapel and placed in a manner that suggests a downward course.

I used Maya to create the nave of the chapel and to help me align the camera for an appropriate composition. I settled on using the field of view of the camera to create a wide-angle effect, allowing for the character to remain prominent while capturing the scrap-pile throne and the windows all together. I used assets of the statues and guns from Maya's built-in content browser, and created the car seat with simple block modelling and then going to mesh>smooth. The windows were created with symmetry enabled and moving vertices on a flat plane into the appropriate shape and then extruding both inwards and backwards in steps.

I added a directional light for the windows and a point light for the interior but ultimately just used the perspective from Maya and doing all of the lighting on my own.

The statues by the throne were scrapped as they made the scene too busy.

The final 3D Underlay

I tried several different poses before settling on the final one.

Pose 4 was my starting figure which I refined gradually until I achieved the desired look. Pose 3 looked more elegant, but it was too sexy and gave pin-up vibes. I felt pose 1 captured most the relaxed and confident look I was going for.

To create the image, I used a variety of techniques including photo-bashing, painting and many passes to achieve the colour, light and shadows.

The warlord herself, although sitting and beckoning a subject toward her with comfortable confidence, has skillfully considered and manipulated the available lighting to mask her young age. Like the displays of a cobra or a peacock, she has been able to elevate her audience’s perception into one of intimidation, aggression and dominance.

I am particularly proud of the windows. The ones in the final image are not photographs but are perspective-warped scans of ones traditionally drawn with white pencils on black paper. I am happy with how I combined them with a photo-texture of a Gothic wall to create the back of the chapel.

When placing the dobermans, I initially had one on each side to re-enforce symmetry but decided that it looked too staged and that dogs would sit together so placed them on the left. I like the ‘holy’ feel that the godrays and bloom around the dogs provides.

I was aware of the possibly controversy of using religious iconography in potentially insensitive ways but felt that this was part of the story I wanted to tell in this image.

I needed to use purple again despite using it heavily in prior artworks due to the requirement in my scene of a blacklight. The colour green was used as it is complimentary, and together with the composition elements I have used I feel that it still has strong thumbnail presence despite the focal point intentionally residing in darkness.

I also had to spend a lot of time pushing down the contrast of non-focal-point elements such as the Dobermans to ensure that the girl remained the focal point in what turned out to be quite a detailed and possibly busy image.

When I converted the image to grey scale, a lot of the brightness that was created though saturation was lost. I added some more bloom and lighting to her figure to improve the contrast.

Photo-bashing Resources:

Image Links:

Cottonbro Studio. (n/d). White dust and black background. [Photograph]. https://www.pexels.com/photo/white-dust-and-black-background-9665216/: Pexels.

Demicoli, E. (2021). 2021. [Photograph]. https://unsplash.com/photos/brown-and-green-houses-under-blue-sky-during-daytime-HGCqL-tRcac: Unsplash.

Fewings, B. (2021). brown and white wooden wall. [Photograph]. https://unsplash.com/photos/brown-and-white-wooden-wall-4mhc6eQuWbQ: unsplash.

Freepik. (n/d). Close up on film texture details. [Photograph]. https://www.freepik.com/free-photo/close-up-film-texture-details_25054272.htm#query=lens%20dirt&posi: Freepik.

Kozakova, A. (2019). black and brown Doberman dog sitting on shore. [Photograph]. https://unsplash.com/photos/black-and-brown-doberman-dog-sitting-on-shore-x1tdpoFDt1c: Unsplash.

Private Prague Guide. (n/d). Karlštejn Castle. [Online].  Available at: https://www.private-prague-guide.com/article/karlstejn-castle/

textures.com. (n/d). ORNAMENTSARCHES0052. [Photograph]. https://www.textures.com/download/OrnamentsArches0052/47140: textures.com.

[storiedshelves]

the animated cutscenes of ace attorney 5 / the great ace attorney chronicles

something that's been on my mind recently, the anime cutscenes in the games.... long rambly post ahead about those who worked on it & my praise (especially of Dual Destinies) and issues (from a technical standpoint) as an animation fan

so from preliminary research (and after just finishing the great ace attorney chronicles 1) i was genuinely curious, who worked on the anime cutscenes? so i looked up various people from the credits (thank you youtubers who uploaded JUST the credits) and cross referenced names with anime news network.

there were about 60 credits under animation [and main work under JC Staff] for character design, storyboarding and direction, keyframes , in-between, cleanup, color, backgrounds and cinematography, etc... and i tried to look into each person who had an entry on ann. it was so interesting seeing what people had worked on and how impressive their work / history was!

onto the criticisms : [ cs = cutscene ]

mise en scene ; there are a few scenes that have a little too much negative space and end up feeling bare [think cs 2, 3, 5, and unfortunately the last one of the game :(] in moments where you want to feel the scale of the world or large concrete / brick / steel buildings of great britain , the storyboard instead emphasizes some wide shots with no particular focus. it breaks the immersion of the scene at times. various panning scenes too with no focus, again make some scenes feel somewhat bare or lacking in energy [cs3], i also think back to the beginning of the cs on Baker Street , wide shot w/ no focus. it also feels like the layout or composition could've been used to convey more?? [that's exactly why i enjoyed anime cs in Dual Destinies more in a way?]

lighting : for the cs that take place in the daytime there's no discerning shadows on the ground or specific direction & i feel like it doesn't work with this setting for some reason... it ends up making the cs feel flat and somewhat blended into the background

there also feels like a lack of character acting in some scenes overall so the characters feel very static even when scenes are supposed emotional

now i have to say the backgrounds , seeing the designs in action, and the atmosphere they set out to create was really ambitious .

now for an ace attorney game with more compelling anime cutscenes to me was AA5

what i LOVED about the Dual Destinies cutscenes in particular was the direction / storyboarding and layouts (in particular cs 2 with a certain characters backstory, other cs, and school setting cs for the shot composition / imagery / symbolism used to convey that characters inner thoughts just through visuals). the animation also feels more full or well rounded (like the in-betweens aren't as noticeable, not sure what the technical phrase would be???) i think the variety of shots throughout also help with that.

in addition the emphasis on light and shadow feels more used throughout. i think as connecting scenes in animated form, they also capture particular moments well

a reference i found super informative was while browsing wiki for Dual Destinies led me to the Capcom blog post- Intro to Japanese Anime Production Starring Phoenix Wright

it includes commentary from game director Yasuhiro Seto and storyboards from a cutscene from the beginning of the game. it was also interesting seeing how the animation team could add their own flair to the dialogue through the visuals!

overall while i still have some criticism of the cs in game 5, i feel like the cutscenes worked better at setting tone and the team behind them utilized the medium to get the most out of these short scenes and packed more into the minutes available, the action also felt more tangible

i was hoping to also discuss game 6 , will probably do another post on that game :) thanks for reading! i really hope what im saying makes sense & really would love to know if anyone has thoughts on this topic <3

[maacwanowrie]

Best Career Possibilities in the Video Gaming Sector

The future of gaming is bright for professionals with a variety of skill specializations thanks to developments in game production and a sizable rise of players of all ages and interests. People with degrees in areas such as music, business, art, etc. can also find employment in the gaming sector. A degree in enhanced visualization or visual effects teaches students how to manipulate images on the screen to create things that cannot be captured in real life. Training at a VFX institute in Pune will prepare you to become an expert in mastering the equivalent.

 Large gaming development studios like those for UbiSoft, Microsoft, Nvidia, and Electronic Arts are now located in India. Jobs in the gaming industry would be in high demand in India in the not-too-distant future. There are ordinary positions and more specialized ones available in terms of employment. There are gaming courses that are designed with your career in mind that can prepare you for work if you have a clear preference for the technical and creative components of gaming. These courses can teach you both fundamental and more complex ideas.

 But first, let's look at the most typical positions in the gaming industry:  

 * Animator

Video games frequently incorporate animator elements of animation. Large teams may include riggers, painters, concept artists, illustrators, and painters, all of whom have distinct responsibilities. Your chances of finding a good career opportunity would increase if you already have some basic training in animation from a reputable animation school.

 * Videogame Designer

It is undoubtedly one of the most coveted employment opportunities in the gaming sector. Designers assist in developing fresh game concepts in addition to working on the completion of a game's levels, instructions, characters, and locations. Lead Developers are responsible for this task at independent studios. If you get proficient enough, you can also work independently.

 * Game programmers and lead 

Programmers are responsible for all coding, which is the most difficult and time-consuming task in this industry. To make sure the coding is in line with the rest, they collaborate with the game, graphics, and sound designers. For this employment role, having a basic understanding of computer engineering fundamentals would be advantageous.

* Testing QA  

Another popular job description that necessitates a solid understanding of programming languages, defect tracking software, and database management systems. All credit for the numerous job opportunities goes to the ongoing creation of new software applications and developments.

 * Game tester

Game testing is solely focused on games, not software, in contrast to QA testing, which requires you to deal with automated scripts. While playing video games all day while sipping tea may seem like the ultimate dream job of any enthusiastic gamer, this job is far from that. A game tester is needed to assess a game's functionality, device compatibility, user experience, and certification of industry-required tests, which necessitates running the game nonstop.

 * Audio Engineer

Do you still recall how elated you were while playing Battlefield? The sounds of gunfire and the atmosphere of war? It is necessary for sound designers to improve the game's overall experience and add dynamics. Aside from that, they are in charge of every audio component, from the music during the end credits to the sound effect for the menu option.

 Because the industry requires you to be able to wear different hats and communicate with people who have different skills and specializations in the field, it is highly advised that you have a wide variety of skills under your belt. The secret to securing a high-demand position in this cutthroat profession is cooperation and adaptability. The ability to perceive visual aesthetics is crucial; technical proficiency does not automatically make someone an animator.

[talenlee]

The PC Format Archives

The PC Format Archives

Hey, c’mere, I wanna show you something.

This is a cover from the mid-90s run of a magazine called PC Format. I’ve mentioned PC Format in the past, as a magazine that had a particular ethical framework for its reviews. The basic idea was that PC Format was a magazine that only reviewed completed products that they purchased themselves off the shelf of their videogame stores.

The PC gaming market of the 90s was a kind of strange place in hindsight because all the same practices of review culture that are commonplace now were happening then, in a sort of turbo-charged way. People were expected to do reviews quickly, but also, the games just sometimes didn’t… work? Getting a game to work at all on the platform was a lot harder, support was rarer, and sometimes if things went wrong… that was it. You just had to deal with it. Reviewers would in this state, sometimes go to the company in question, on a computer they had set up, and play the game for a predetermined amount of time, with company representatives nearby, and talk to them about the game before writing their review.

That meant that a lot of games with sometimes amazing bugs got through to the market pre-loaded with review scores that spoke of their excellence. I normally mention Rise of the Robots as an example, where that game’s review scores from people who played a preview copy never mentioned that the fighting game couldn’t let the player character turn around.

What PC Format did instead was host a very technically minded group of people on a large number of different PCs that could run a wide variety of games, and played only commercial releases they paid for. This level of rigorous scrutiny for games meant that they were often late to the discourse, but they were so much more reliable, prone to commenting on when a game was absolute horse elbows compared to the way it was being described elsewhere. They’d talk about when a game’s performance impacted its play experience, and they’d even include, in larger articles, contrasting viewpoints from other members of the staff responding to that very article. When I was reading this article, I remember a review of Doom 2, a game I undeniably love, glowingly praising the way it played and flowed, and then a little insert from Paul Pettingale, curmudgeonly tech support guy, pointing out that it adds one weapon and a bunch of enemies – the game is not meaningfully changed by anything added to it.

Which was true.

And also interesting to see someone willing to say in an ad-supported magazine.

Did you know that archive.org has all these issues of the magazine? It’s a bit of a trick to find them — the archive is definitely more interested in preserving the Demo CDs. But the magazines have been scanned and uploaded so, if you want, you can go back and read them. There’s no reason for you to do so, not really. It’s a gem of time, a strange little shard of how people were looking at the future, at the internet, and yes, at videogames. There are passages in this magazine that I read that got me onto usenet, when the time came, or taught me how to edit text files and hex values.

And it also, I have to admit, taught me how to write.

Going back and rereading these magazine issues shows me all these inflections and the ways I tell jokes, in text, and the places they started. Things I amplified, things I wound up taking in their own direction, but which are all positioned with the same, simple, fundamental pedagogical voice. I write like I’m talking to you, and I write that way because that’s how I read these magazine articles doing. Richard Pelley, Paul Pettingale, Ed … Ed…

Shit, I can’t remember Ed’s surname. They used to put him facing across from Paul Pettingale in the tech support colums. I could go check but it feels more true to the experience of hearing me talk to you to include this, and this is all while I try to find a way to wedge in that Richard Longhurst, one of the editors, went on to found the company lovehoney, which you may know as a sex toy store.

One of the cover CDs carries One Must Fall, and a program called Winimages Morph. You could use Winimages Morph in Windows 3.1 to make a step-by-step multi-stage animation in .gif format of an image morphing into another image. That transformation sequence you could then arrange together, very easily in a sort of descending transformation and…

… yes.

Make your own Animorphs covers.

I remember using it for that. I remember using it to make Animorphs images that I shared on the Chee Database, which connected me to people I didn’t, at that point, know, and made a bunch of friends that became really important to whole new dimensions of my life, and it’s just here, as a little bit of free software to move a magazine.

I had a little meltdown when I read these pages again. I sat and read phrases and realised I was making these jokes, all of these jokes and structures that I thought I’d stolen from Yahtzee only to realise that both of us probably stole them from big ginge James Binns. Staring down into this hole of history and realising that yes, on the one hand, wow, these magazines meant so much to me, they helped shape me, and they developed me as an author, but also oh no. There’s so little of me. There’s so little me to me, I’m just copying the things I saw growing up. Everything about me is just a pile of purchases and traumas that have been coagulated into a puddle that I then get to carry forwards. Stolen jokes and badly photocopied ideas and rhetorical strata that’s really just trying to win arguments I lost twenty years ago,

What I’m saying is that, <Foucault Voice> nostalgia is a prison,

Check it out on PRESS.exe to see it with images and links!

#Games #Media