#motion graphics for starters

[separatist-apologist]

What Died Didn't Stay Dead

Summary: Gwyneth Berdara has been promised to a brutal prince who imagines himself a god. Setting sail across pirate infested waters, she and Nesta Archeron hatch a plan to escape her arranged marriage before they arrive.

Chapter 1 | Read on AO3

TW for depictions of sexual assault- reminiscing on the event, but it is graphic so please take care of yourself.

-

Ship life was miserable. Nesta seemed to master her nausea by sheer force of will, though her skin had taken on a green pallor, Gwyn, however, lacked Nesta’s iron will and spent that first day emptying her stomach into a wooden bucket. Nesta had alienated the crew, who laughed quite loudly every time she trekked up the stairs to dump the bucket overboard.

She hated them. 

She was starting to hate every man, truly. Gwyn hadn’t forgotten why she was taking the voyage, though Nesta continued to pester her day and night about just taking off. Gwyn wasn’t convinced it was the right course of action given the fact that she had no practice in hiding or defending herself, and he had the largest army the world had ever seen at his disposal. Surely he also employed trackers? 

What happened when she was found? Even if she managed a year, or two, or even five—she’d grow complacent and then she’d be dragged before him. Gwyn didn’t want to risk it. Certainly not on the word of a stranger who, truthfully, was not very likable. 

There was another state room below deck that seemed to belong to a woman of such high stature, even the crew whispered her name. Emerie. Gwyn had yet to see her, though she sometimes walked very slowly through the rocking hallway between their two doorways, hoping for a glimpse of the woman. 

Three days of journeying hadn’t drawn her forth, and Gwyn suspected they’d never see her until they disembarked. It left her with Nesta Archeron, a born and bred noble lady who just barely acted like it. Gwyn was half obsessed, half irritated with Nesta. She liked the way Nesta barked orders just as much as she disliked it—Nesta was oozing with a self-assured kind of confidence Gwyn wanted to emulate. 

Every time she tried, though, she caught herself apologizing. Sorry, could you— 

Nesta, to her credit, would shoot Gwyn a side glance, her lip half curled over straight, white teeth. Stop that, those blue gray eyes seemed to demand, even when her lips said nothing at all. It was far easier to practice on Nesta than the strange men in charge of their existence on the ship. She’d heard stories of what men did at sea to women—how they regarded them as bad luck and, if there was trouble, would cast them out to sea by making them walk a plank.

Some stories were worse. Gwyn chose not to think of those, though they lingered at the back of her mind. 

Nesta and Gwyn woke on their third day to gloomy sunlight filtering through the ships little window. It was stuffy inside the cabin, leaving them both with sticky skin and hair curling against the nape of their neck. Gwyn groaned when Nesta tossed all the pieces of their clothing onto the bed, dreading the layers she’d need to lace herself into. They were breezy enough if the weather cooperated, but in the oppressively still air, the layers just caused sweat to pool, leaving her clothes frustratingly damp.

She was almost looking forward to disembarking and meeting her future husband. 

“Is a shift not enough?” Gwyn grumbled, well aware it wasn’t. For starters, it was thin and shapeless, and when it got damp, you could see hints of the flesh beneath. 

“Are you trying to give the sailors a thrill?” Nesta asked, motioning for Gwyn to spin so she could lace her up in the dress. Nesta wasn’t aggressive with the laces the way her aunt had been, trying to bruise her ribs as some sadistic form of punishment. No, Nesta was gentle, lacing enough to keep Gwyn in the dress while remaining comfortable and free. It was strange—Nesta had no reason to be kind to Gwyn, and yet in these small ways, she was.

Gwyn offered Nesta the same courtesy, admiring the fine embroidery work on the blue gown she wore. Gwyn’s wasn’t half so nice—she didn’t have a lot of nice clothing to begin with, and the one beautiful gown she did own was earmarked for her betrothed. 

They didn’t bother making their hair look nice. Given the lack of bathing facilities, Gwyn was certain hers must look stringy and wild thanks to the salty air. Nesta helped her pin it against the nape of her neck before quickly doing the same with her own thick, waist-length tresses. 

The air on the top deck was a relief. The sailors ignored their presence as they so often did, not wanting to be subjected to Nesta’s sharp tongue. 

They weren’t alone. In a rather simple, purple gown, stood the specter that must have been Emerie. Her brown skin gleamed even in the moody light and her chestnut hair curled in loose ringlets down her back. Turning her head to the side, Gwyn found hazel eyes peering back at them. Set inside a beautiful face, with high cheekbones and full lips, Emerie was impossibly lovely.

Even Nesta hesitated for a moment, smoothing her hands over the front of her dress as if that would make them look better. Gwyn was the one who made her way toward the railing where Emerie leaned, resting her own elbows against the rough seas.

“Hi,” she said, tucking a loose strand of hair behind her ear. “Emerie, right?”

“Right,” Emerie agreed in a soft voice. Her nails were clean, Gwyn noticed, hiding her own fingers before Emerie could make similar observations. “And you are…?”

Nesta came forward, protective in her way, buffering the other side of Gwyn. “What are you doing here?”

Emerie arched an immaculate brow, turning her gaze outward toward the open ocean. “Same as you.”

Gwyn could feel Nesta’s curiosity radiating from her, but Gwyn was squinting at the horizon Emerie was staring at.

What was that? 

“Is that a another ship?” she asked to no one in particular. Emerie only shrugged slim shoulders, her expression impassive.

“You thought we were the only ones out here?” Nesta asked, covering her eyes with her hand to try and see.

“Well—no,” Gwyn mumbled, though yes, that had been exactly what she’d thought. She certainly hadn’t expected to see another ship in the distance. Realistically, of course there were others carrying goods and people between the continents, but the ocean was big. 

“There are shipping lanes,” Emerie explained to both Gwyn and Nesta. “Coordinates they have to remain in to avoid pirates or ships flying other flags.”

“Are they friendly?” Gwyn questioned, earning a shrug from Emerie. 

“Let’s hope,” she replied before pushing off the balcony. “You two look like you need baths.”

Nesta’s eyes narrowed. “What are you trying to say?”

“Nothing,” Emerie lied, looking as though Nesta’s sharp words and cold expression amused her. “I have fresh water in my quarters if you want to wash yourself. If you don’t, don’t.”

“I do,” Gwyn said, not daring to look at Nesta. She’d have done almost anything for a bath at that point, even if it was merely a wet cloth she ran over her skin. 

Emerie turned her gaze toward Nesta, who was likely too stubborn to admit she wanted one, too. Gwyn looped her arm through Nesta’s.

“Come with me?” she asked, giving Nesta an out. Gwyn didn’t miss that flash of relief in Nesta’s gaze, banished so quickly it might never have happened at all.

“Alright,” Nesta agreed. Emerie smothered a smile, nodding toward them to follow her.

“What brings you here? It’s unusual to see so many unchaperoned ladies aboard a ship,” Emerie began conversationally, walking across the deck. “I’m surprised the sailors allowed it.”

“Gold is a powerful motivator,” Nesta replied noncommittally. “Women aren’t bad luck.”

Nesta said it loud enough that several heads turned to look at them impassively. Gwyn caught them all, always hyperaware of every man within touching distance. She didn’t trust any of them—she saw the way they watched when they didn’t think Nesta or herself noticed. It wasn’t women who were bad luck, but men who were often the harbingers of poor fortune when it came to women.

“I never claimed to think so,” Emerie replied easily, leading them toward the stairs and her own cabin. Hers was far superior, with food laid out on a desk that was barely touched alongside a large basin of clean, albeit salty, water. Nesta let Gwyn go first, none of them minding when Gwyn stripped before them. It was just the three of them—all ladies accustomed to being washed by others—so what did it matter?

Nesta and Emerie sat at the little table and picked at the food, a larger window opened to allow breezy air into the interior. It was almost pleasant. Gwyn was quick, rinsing out her hair and washing her skin with the soaps Emerie freely offered up. Nesta made stilted small talk, the worst “polite” lady Gwyn had ever met.

Emerie seemed to agree, laughing at one point over Nesta’s unwillingness to even pretend. “Who taught you manners?”

“I had tutors,” Nesta grumbled while Gwyn toweled off, despondent over how the once clean water was murky. Nesta didn’t seem to care, already unspooling her hair. “I can make small, polite conversation, I just…”

“Hate it?” Emerie guessed, head tilted to the side. “I can appreciate that.”

“My younger sister did most of the talking for me,” Nesta admitted while Gwyn took her spot at the table. Just as Emerie and Nesta had done for her, Gwyn didn’t look while Nesta sunk into the water. “I find the whole thing tedious.”

“I’m glad I never had to deal with that. My father wasn’t terribly wealthy until the spice trade,” Emerie confided with a secretive smile, “the rules are different if you’re low born.”

That was true enough. Gwyn nodded as she placed a grape in her mouth. “Your father trades spices?”

“He did, before he died,” Emerie murmured, eyes cutting toward the window in memory. “He’s dead now.”

“Condolenses,” Nesta offered with a splash of water. 

“No need,” Emerie replied, a grin washing over her lovely face. “His death was one of the best days of my life.”

“I will feel the same when my own father goes,” Nesta admitted, catching Gwyn by surprise. Maybe she shouldn’t have been, given Nesta’s quick assumption that Gwyn wanted out of her marriage—that she should just leave at port and vanish forever. 

Would Gwyn feel that way when her husband died? Or when he inevitably tired of her, too, and sent her away to some convent? Gwyn wanted to tell them everything, but the words got caught in her throat. She was scared—so very afraid that if she told them what had happened to her and Catrin, they’d view her as damaged. Soiled and spoiled, the wrong kind of woman.

Merril had warned her not to talk about it to other women, who would see her as loose and immoral, regardless of the circumstances. Would Nesta worry that associating with Gwyn would make her seem less marriageable?

No.

The first thing Nesta had done, when they’d met, was try and convince Gwyn not to get married. They were strangers, and still Nesta had offered to help. Gwyn thought she could tell Nesta the truth. Maybe Emerie, too, who was still smiling over the death of her father. It was the sort of smile that made Gwyn a little afraid to ask how, exactly, he’d died.

She suspected she already knew. 

Nesta rose from the bath to the sound of water sluicing from her form. She dried herself quickly, allowing Gwyn to relace her dress before nimbly braiding her hair in a crown around her head. 

“Should we head back up?” Emerie asked. Gwyn shrugged—she didn’t care either way. It was warm in the cabins but uncomfortable above deck, and if Gwyn stared at the waves for too long, she got sick.

They climbed back into the gloom, the ship rocking enough to one side that the three of them pressed into the railing for a moment to keep from tumbling backward. Above deck, Gwyn expected to see choppy seas and stormy clouds—not that ship that had once been a speck on the horizon coming toward them at a speed that was, frankly, alarming.

Black sails blotted out the sky. Gwyn was certain they hadn’t been that color before. As the sailors scrambled, Emerie continued climbing the steps upward, a grin spreading over her lovely face.

“Get below deck!” A sailor bellowed, only to be met with the end of her pistol.

“Where did you get that?!” Nesta screeched as Emerie pulled the hammer back. 

“I forgot what I’m supposed to say,” she began, looking around at the deck of men who had all suddenly gone still. “Oh, I remember. Surrender, and nobody has to die.” Nesta and Gwyn looked at one another, eyes wide.

“You’re a pirate?” Nesta hissed.

Emerie offered up a smile. “Surprise.”

—

Azriel knew Emerie had made the same offer she always did—surrender and no one had to die. That was made a tad more difficult when, after Azriel had secured his pirate and captives, Cassian blew a hole directly into the ship.

He’d expected screaming from the women, now tied back to back. Neither of them made a noise, eyes wide while they watched the crew of the ill-fated voyage leap from the sides, as if that would save them. 

Their silence didn’t bode well—they looked like fighters. Survivors. 

Well.

That suited Azriel just fine.

[in1-nutshell]

Hello! If it's okay to request could you do another request (Elita One's twin sister w/ Sg Blackarachnia)?

Another of reuniting with Sentinel and Elita. But in the perspectives of the bots and/or cons on the reunion and aftermath of it, and also to Buddy's kidnapped by Meltdown

You can Add this idea/s, if you want:

Megatron and the Cons found out that Optimus, Sentinel, and Elita, are the ones who left Buddy for dead (and also found out that there are some Autobots who are good terms with Buddy)

Autobots found out that the Cons care about Buddy

You make separate part/s of this request

Thank you and also take care!

We are changing the POV's! Lets see what was going on while Buddy was away.

Hope you enjoy!

Elita One's twin sister get's kidnapped by Meltdown from the Bots/Con's POV

SFW, Platonic, Hinted romance, Familial, Angst, mention of injuries but nothing graphic, Cybertronain (techno organic) reader

TFA

Optimus was called to the Elite Guards ship once he was finished talking to Buddy about the nature lens.

Elita had called him.

She wanted to talk about… that night.

All three of them stood inside the main bridge of the hull.

“I don’t know what else you want me to say.”--Optimus

“Tell us who that Con really is for starters.”--Sentinel

“For the last time Sentinel, that Con you referring to was our friend.”--Optimus

If she was really Buddy, then how come she knocked both of you unconscious.”--Elita

“Because she thought someone who was going to hurt me!”--Optimus

SPLAT!

Swoop’s face smashed into the thick glass of the hull and fell down.

“Was that a bird?”--Sentinel

“Since when have you seen a bird that big? That was one of the Dinobots.”--Elita

Optimus went outside to find a slightly confused Swoop.

Swoop kept on repeating Buddy bot repeatedly.

This couldn’t have been good.

It must have been a serious situation if one of the Dinobots went out of their way to travel for help.

And injured dinobot…

“Go fly back to Dinobot Island, I’ll follow behind—”--Optimus

Sentinel stops Optimus from taking another step as Swoop flies away.

“This conversation isn’t over.”--Sentinel

Optimus miffed and swatting the servo from his shoulder.

“It is for me.”--Optimus

Sentinel moving in front of Optimus again.

“Sentinel I don’t have time for this. Buddy could be in danger if I don’t go now!”--optimus

“That Con is not Buddy Optimus! When will you get that through that thick processor of yours!”--Sentinel

“She is!”--Optimus

“Boys, boys, why don’t we all go.”--Elita

“What?”--Sentinel

“Listen Sentinel, if we go and we find the con we arrest them and you can tell Optimus off.”--Elita

“And if you’re wrong? What happens when you realize that its Buddy and she’s hurt?”--Optimus

Elita and Optimus look at each other for a bit.

“…Lead the way Optimus.”--Elita

Optimus quickly comms in Ratchet to meet him by the docks.

Ratchet had a bad feeling when Optimus, Elita and Sentinel were all waiting in the dock.

Optimus brings him up to speed on what was happening once they boarded the boat.

Ratchet got worried.

He had faced the Dinobots one on one before, if they had been sent back up and were constantly talking about Buddy, nothing good could come from that.

“How much longer until we reach the island?”--Sentinel

“A couple more minutes Sentinel. Have some patience will you.”--Elita

Sentinel huffs.

“The sooner we bag the scummy Con the better.”--Sentinel

Ratchet glares at him.

“I’ll have you know—”--Ratchet

“Hold on Ratchet I’m getting a call from them.”--Optimus

“You have their line?! Why didn’t—”--Sentinel

Optimus making the shushing motions as he walks a little bit away to try and hear the comm better.

The three bots can’t make out what Prime was talking about, but by the looks on his face, nothing good.

Good thing that they were coming by the shore.

Now all they needed to do was find Buddy.

Meanwhile in the Decepticon base…

Lugnut was on the main computer monitoring the waves while Blitzwing and Starscream came back from patrol.

He was thinking about sending Strika a poem he had been working on when Buddy’s frequency came online.

Lugnut pressing the one button on Buddy’s commlink.

“Buddy? Are you coming back from your free day—”--Lugnut

A sudden scream startles Lugnut out of his seat.

Blitzwing and Starscream come running in.

“What’s going on?!”--Blitzwing

Lugnut looking a bit dazed.

“Buddy…she’s screaming—”--Lugnut

More screams of pain rattle the Decepticon’s audials.

Starscream quickly goes to the board turning the comms on again.

“Buddy report! What’s going on! Buddy! Buddy, do you hear me!”--Starscream

Megatron comes running in.

“What—”--Megatron

“PLEASE STOP PLEAHHHHHHHHHH!”--Buddy

Megatron moves Starscream out of the way.

“Buddy! Buddy where—”--Megatron

A sinister laughter filled the comm

“If you stop squirming, dear, it wouldn’t hurt you some much now, wouldn’t it? Oh, who am I kidding, pain is progress!”--Meltdown

“GGGAAAAAAHH—”--Buddy

The line went dead.

Megatron is the first to act.

He puts Lugnut in charge of the base and as reinforcements in case they needed it, while Starscream and Blitzwing were going accompany him to Buddy’s last known coordinates.

For once in a very long time all of them worked together and swiftly.

Both parties arrived at the island at the same time.

On the same shoreline.

Megatron, Blitzwing and Starscream all held out their weapons.

Optimus, Sentinel, Elita and Ratchet also pulled their out.

“Optimus Prime. Step forward.”--Megatron

Optimus looks at his team for a moment before doing so.

Megatron steps forward too.

“Megatron, I don’t have time for this. My friend is in trouble, and she needs us right now.”--Optimus

Megatron growls a bit.

He polishes out this sword.

“I am only going to ask you this one time Prime. Where is Buddy?”--Megatron

“Buddy?”—Elita and Sentinel

“She contacted you? But she said she—oh Primus…”--Optimus

“How do you have her line?”--Megatron

“She gave it to me. Like I said, she is my friend. She reached out to me.”--Optimus

Megatron suddenly flashes a look of worry on his face.

“Buddy is my best medic. I had a feeling she was contacting you Autobots, but for the sake of my medic, I’m going to ignore that and propose a temporary truce.”--Megatron

“A truce?”--Optimus

“We join forces to find Buddy, it will making finding her much easier and quicker.”--Megatron

Megatron holds out his servo.

“Do we have a—“--Megatron

Optimus quickly shakes his servo.

“Deal, now let’s move out.”--Optimus

Sentinel tried to voice his displeasure about all of this, but one look from Elita and Ratchet made him shut it.

The group walked into the bush, Megatron and Optimus simultaneously leading the group. Behind them was Ratchet with Elita and Blitzwing. Sentinel was watching the back with Starscream.

The tension between them was thick between the two opposing sides.

“Prime.”--Megatron

“Megatron.”--Optimus

“Why did your team react like that when I mentioned my medic?”--Megatron

Optimus giving him a look.

“This has nothing to do with the war. Just curiosity.”--Megatron

“How do I know you won’t turn this against us when the truce is done?”--Optimus

“…I swear on Buddy’s life—”--Megatron

Optimus has rage in his optics.

“Don’t you even dare finish that sentence.”--Optimus

“I can assure you Prime. Buddy’s life is one I treasure. Ever since we found her on that wretched spider infected planet.”--Megatron

Elita and Sentinel looked up shocked.

“Excuse me did you say spider planet?”--Elita

“Of course he did. That’s where we found Buddy after her miserable team left her for dead.”--Blitzwing

“…”—Sentinel and Elita

“You’re looking a little pale Autobot. What—no…”--Starscream

Starscream pulls out his guns out and points it at Sentinel and Elita.

“Starscream stand down!”--Blitzwing

“Starscream what is the meaning of this.”--Megatron

“These Autorats, minus the old one, are the ones who left Buddy for dead!”--Starscream

Megatron slowly turns his head towards Optimus.

His sword clenched tightly in his servos.

“Is this true?”--Megatron

Optimus looks at him dead in the optics.

“Yes.”--Optimus

“And what is stopping me from throttling you where you stand?”--Megatron

“Because like it or not you need him alive, for Buddy’s sake.”--Ratchet

Megatron turns to Ratchet who firmly stands his ground.

“What makes you say that?”--Megatron

“Despite whatever hatred Buddy should have for her team, she doesn’t have it in her, not anymore. She forgave these numbskulls a long time ago. You three seemingly haven’t on her behalf. How do you think she is going to feel when she finds out that you murdered some bots that she still cares for?”--Ratchet

Silence.

Megatron orders his mechs to stand down.

“You are lucky that we care for Buddy little Prime.”--megatron

The march continues while Elita and Sentinel have their mini crisis in the background.

Eventually the group finds the Dinobots looking at a giant hole in the ground guarded by an electrical pulse.

Ratchet used his EMP generator to get rid of the covering.

This left the hole uncovered and a ramp led towards the darkness below.

They quickly descended into the darkness.

The lab was a mess.

Flickering weak lights on the ceiling amongst dead ones.

Pieces of shard and metal littered the walls and parts of the walls.

What was interesting was the giant slash marks etched on the wall.

In the center of it all was Buddy still strapped on the lab table.

It made everyone sick to their tanks.

Ratchet quickly made his way to Buddy’s frame and began examining the injuries.

Megatron also came to her side gently holding her servo.

He had a glare in his optics a ‘Say-something-I-dare-you.’

Ratchet made everyone wait outside while he continued.

Even Megatron eventually went outside.

Everyone was on edge while Ratchet continued his work.

Megatron looks agitated while Starscream and Blitzwing both have slightly worried faces.

Sentinel and Elita stood by the side worry gnawing at their pedes.

Optimus walks up to Megatron.

“Ratchet is one of the best field technicians I’ve met. Buddy is in safe servos.”--Optimus

Megatron gives him a side glance.

“Ever so optimistic Prime. Buddy is the best medic I know.”--Megatron

“Then Ratchet did a good job teaching her.”--Optimus

The Decepticons optics widen in surprise.

“She’ll be fine.”--Optimus

“… I hope your right Prime.”--Megatron

Soon enough, Ratchet called them in.

Buddy was going to make it.

She was going to be fine.

Everything was going to be fine.

[cerenemuxse]

Happy Halloween! 🎃 I give you Bunny Edward! 🐰

oh wow, i actually did something for halloween :0 shooketh (/s /j)

ok but in all seriousness, i wanted Edward dressed as an animal after watching Thomas' Animal Friends (Season 24), so I did it myself. >:3 Used the design he would have in present day so he's got his piercings! Really happy with how this came out. I went with something simplistic, reminiscent of the James and Edward screenshot redraw I did a while ago. Still love that one, despite some proportion issues.

The bunny costume is a play-on of multiple things:

For starters, the breed he's dressed as is the Smoke Pearl rabbit, which is native to Scotland. (CHONK)

In Mattel's interpretation of the steam engines as zodiac signs, Edward was labeled as a Cancer (like me! :D). You know who else is a Cancer? Usagi Tsukino. What does her name translate to? Rabbit of the Moon. SPEAKING OF! I was originally going to replicate the motion of this pose (with Edward as an engine)...

...but it didn't work out. Sketches were done on paper, which were really messy. Managed to make it work though. 👍👍👍

"Bunny" is Edward's nickname that was initially given to him by his crews during his time on the FR. James reuses the nickname when they start dating but by that point, he doesn't know that Bunny was one of Edward's previous nicknames. The reason why Edward was called Bunny in the first place by both parties was because he has the tendency to twitch his nose subconsciously when he gets upset.

also guess who figured out that Krita has layer styles like Photoshop does? meeeeee <3333 (access to Photoshop is limited to schoolwork. not ideal for drawing, imo but great for graphic design)

[raccoon-eyed-rebel]

Part 26 - New Year's Day

Masterlist

Series Masterlist

Part 25 -- Part 27

Summary: The morning after the New Years party, the kitchen gets rather crowded...

Warnings: mention of eating disorders, mention of horrible parents and divorce, and also chaos. This is a kitchen scene, after all.

Word count: 2.4k

A/N: So this includes some talk about eating disorders, some jokes, even. Obviously those are always very personal, so if some of this makes you go 'that's not a realistic thing to say', please remember that for some of us, it absolutely might be.

@geralts-yenn @summersong69 @peaches1958 @fvckinghenrycavill @keanureevesisbae @livisss @sillyrabbit81 @ellethespaceunicorn @ylva-syverson @poledancingdinos @deandoesthingstome

"Good morning." If anything, Geralt sounded a little tired, but that was all. He looked around the still mostly empty kitchen, where his greeting was met with a more hungover-sounding growl. Leon looked like he'd seen better days, for sure, but the most striking thing about his presence was the absence of Ariel. 

"You still struck out last night? Man, you- ow!" Dani elbowed Mikey in the ribs to shut him up - a strategy that worked perfectly - before looking at Sol and rolling her eyes. 

"Don't act all high and mighty, ladies - please move, too," August said as he came up behind them, moving to do what no one else seemed inclined to do: make coffee. "I know how you talk about us." 

"In private," Anjelica countered. 

"In excruciatingly graphic detail," August snapped, raising his voice to a point where apparently Leon's hangover couldn't handle it.

"Shh," he groaned miserably as he let his head hang. August scoffed. 

Solveig and Anjelica shuffled to the other side of the kitchen.

"We can't fit sixteen people in here," Sol noted casually.

"Well, for starters," Mike said with an unbearable smirk, "it's fifteen at best. Right, Leon?" 

"Mike, don't be a cunt," Marshall said behind him right as he swung his hand into the back of Mike's head. All heads turned to him immediately. He looked like shit - really, any other way to describe it would by no means cover just how terrible he looked. Now, it was just a matter of time before someone would bring up what happened. 

The girls watched in awe as none of the guys said anything. Even when Elena and Sherlock, and later Charles and Sloane came into the kitchen, everyone pretended like nothing had happened, and Marshall's face didn't look like a raccoon that had been run over by a monster truck. 

"I'm sorry, this is nuts," Anjelica snapped after a while, as she tore herself away from August and walked over to Marshall, who had slumped down in a chair. 

"Ange," Sy said from the doorway leading into the kitchen, "before ya open that can o' worms… Fourteen people can't cook no breakfast in here at the same time." He was right, though: it was incredibly crowded in this kitchen. 

"That's the bigger problem to you?" Dani asked in disbelief when Ange looked around and seemed to actively work on a solution for the issue.

Ange turned around to her. "It is. They'll get hungry. If we don't want these big babies to break the house down, we'll have to feed them." 

"I'll be outta your hair, anyway, Sy," Alicia said softly, barely loud enough for anyone but Sy to hear. She turned away immediately, making her way to the door.

"Liz, wait!" Sy followed her into the hallway. "I'd love to take you out soon. I-if you'll let me, 'course." 

"Alright, text me," she said before giving Sy a quick kiss and disappearing. 

Back in the kitchen, the girls had decided that, since they had cooked for the boys a few days before, it was now the guys' turn to make them food. The motion had made it through by unpopular vote, which meant no more than that each of the girls had given their respective boyfriend that look, and the boys - who would really like to get laid again somewhere in the next month - had agreed. Now, Mike was on pancake duty, August in charge of bacon and eggs, and Sherlock was making more coffee. The smell of food made Leon's face paler than it had been when he had first sat down at the table, and it wasn't long before he disappeared into his room - well, after a rather unpleasant sounding stop in the bathroom. 

"None for me, thanks," Sol said as she took another sip of her orange juice, absentmindedly waving the plate August held out to her away. 

"Sol," Geralt started, but he didn't get very far. 

"Geralt, drop it," she snapped back at him. 

"One egg, please," he tried again. Sol whipped her head around and scowled at Geralt. 

"Geralt, over the course of two weeks I have moved to another country, been surrounded by far too many people almost constantly, suffered through a party where I didn't even know most guests, and I took care of you when you were overwhelmed… Now look me in the eye and listen: I don't. Want. Breakfast." Without saying another word - and almost burning herself on the pot of fresh coffee Sherlock was holding - she paced out of the kitchen and up the stairs, leaving the boys behind in a state of bewilderment. The girls, less so… 

"Eating disorder?" Anjelica asked Geralt point blank. 

He nodded, disarmed by her bluntness. "I don't get it, she looks fantastic, I…" Anjelica rolled her eyes and waved at him dismissively before getting up on a chair, putting a hand on either side of his face and pulling him in. 

"Listen," she said, "that's not what that's about. Right now, it's her coping mechanism. She's overwhelmed - and who can blame her - and she doesn't know what to do. We'll all keep an eye on her, but for now you just focus on helping her wind down, okay? She's going to be okay." She let go of his face and stepped off the chair. 

"How do you know?" Geralt asked hesitantly. 

"I'm the same way," Ange answered, "I mean… I have August to slap the shit out of me now…"

"Always happy to help," August interjected dryly. 

"Oh, shut up," Anjelica chuckled. She looked at the table, where Elena, Dani and Sloane were sitting. "Ladies?" Her eyes were asking a question, but the boys couldn’t put a finger on what it was until the girls began to answer it.

"I mean, you've all met my mother," Elena half-joked. All eyes were on Dani next.

"Gymnast," she answered in between bites of pancake. Apparently, that was all the explanation the others needed, leaving the guys looking confused. "Slo?" 

"I was a dancer, classical ballet. Puberty hit early, I got a little too much shape… Bada-bing, bada-boom, next thing you know, I'm thinking two rice crackers before a four-hour pointe class is plenty," she said, "Ange?"

"Hockey and horseback riding," she mused, "plus, I went to private school. Boulimia was like the newest Marc Jacobs bag. No one actually liked it, but you just had to have it." 

When the girls laughed about Anjelica's story, the guys looked at them as if they had gone absolutely bat shit crazy - which didn’t change much, even after the explanation that being completely miserable about it all of the time wasn’t going to do anyone any good, either.

"Right," Sloane said after she finished her toast and eggs, "I should get going. I have studying to do, because med school is a bitch!"

"Alright, let me…" Charles tried to get up from his chair, but Slo pushed him back.

"Your front door is right there," she said, "I can see it from here." And with those words, she just got up and left, leaving Charles behind in a somewhat… befuddled state. Not that it fazed him for long: he seemed to have no trouble at all going back to his toast and eggs, holding up his cup to ask Sherlock for more coffee. 

“After this, it’s every man for himself, I would also like to eat,” Sherlock said calmly as he poured out the last of the coffee to whomever came first. 

“Yeah, you should be hungry enough,” Mike teased, wiggling his eyebrows as he quickly shoved a whole pancake in his mouth before handing the plate with what started as a stack - and was now just a pile - to Geralt. Sy and Charles laughed, and there was a hint of a smile on Ange’s face as well, but Mike must have been glad neither Dani, nor Marshall and Geralt could reach him. 

“Speaking of,” Elena bravely interjected, “what the hell were you two doing last night?”

“I don’t remember,” Dani muttered with a red face and a mouth full of pancake. 

“We were making out on my bed,” Mike said, clearly missing the slight but distinct edge of embarrassment in Dani’s voice, “and suddenly we were accidentally making out next to my bed… It was pretty funny.” His tone was so casual that even Dani couldn’t help but laugh as he talked. 

The result of breakfast for eleven people was an ungodly heap of dishes that needed washing, and although the house did have a dishwasher, that hadn’t even been stacked with the other ungodly heap of dirty dishes - namely the ones from the party the night before. Mike, August and Sherlock immediately washed their hands of the task. After all, they’d already cooked everyone breakfast, which left Geralt, Sy and Charles grunting by the sink. Geralt’s appeal to check on Sol was denied by the other two, and he got put on dishwasher duty. The only person who was absolved of any involvement with breakfast: Marshall.

Anjelica pulled up a chair in front of him and sat down, with Dani and Elena flanking him - possibly so he wouldn’t run away, but what were they going to do if he decided to leave after all? Mike, August and Sherlock looked at each other. He wouldn’t talk, would he? Maybe if Ange asked him nicely? 

“Marshall, what the fuck happened last night?” So much for ‘asking nicely’... The boys, however, had to watch in awe as Marshall covered his mangled face with his hands, and when he started talking, his voice sounded strangled and broken. 

“What’s there to tell? I think everything is pretty self-evident,” he groaned.

“If I had to guess,” Dani said, “you slept with your best friend’s sister, regretted it, hoped he’d never find out, but he did because she told him after she saw you sneak off with whoever the fuck that was, and then he very nearly punched your lights out.”

“Off by a few,” Marshall groaned again.

“He didn’t regret it, he’s in love with her.” Elena almost sighed her romantic realization.

“And I ruined everything by trying to get over her. That’s it. That’s the whole story.” He pulled his hands away from his face, leaving the guys speechless. He was crying. “Happy now? I fucked it all up. For good.”

“Marshall, do you remember what I told Mike the day I made him send that text to Dani to ask her out?” Anjelica said to Marshall - before turning to Dani briefly: “You’re welcome, by the way.”

“I distinctly remember ‘God, men are stupid, you all know jack shit about women’,” Sherlock helpfully provided. 

“Exactly,” Ange confirmed. “That definitely still applies.”

“Hey, is anyone else coming on the ski trip?” Mike asked after the girls had decided to cease their interrogation of Marshall. “Not enough people signed up, they’re cool with non-freshmen tagging along.”

“I ain’t got the grades,” Sy said - Charles had the same reason for staying put. August offhandedly mentioned that he’d been thinking about it - to which Ange responded that she had already signed him up. ‘Just in case.’ She, of course, played a major part in organizing the whole thing. 

Dani looked up in surprise when Anjelica mentioned that her name had also been on the list. 

“I’d have to ask my parents for the money,” she warned Mike, who just shrugged. 

“My mom paid,” he said plainly, “worst case scenario I call my dad and ask for the money. He’ll pay up.” 

Anjelica and Dani both looked at him in shock when he said it, but Elena was the only one brave enough to say something: “Mike, that’s incredibly dishonest.” Understatement. 

“Listen,” Mike snapped, startling all the girls - and the guys, too, even though they probably wouldn’t want to admit it, “I had to repeat my junior year because I got caught in the middle of their horrible divorce. They were literally fighting all day, every day about fucking everything.”

“Mikey…” Dani started, but he held a hand up to get her to - bluntly put - shut up.

"No,” he said, “Give me a minute.” He took a deep breath and continued: “I move in with mom, because dad moves away to God knows where, I barely talk to him for a year, and I make it through my second junior year just fine. Then, during my senior year, my mom gets a new coworker who she really gets along with. The coworker is always talking about her husband and her kids, things are fun. She’s been together with him for five years, she says, but they’ve only been married for one, yada yada. One night me and mom are invited over for dinner, get to her place, only to come face to face with her husband, who just so happened to be my fucking dad, okay? Sent my mom into hysterics. I got caught in the middle of that hot mess - and didn't graduate that year, either. So forgive me if I’m not overly worried about lying. Between my dad’s new family and my mom’s fucking midlife crisis, the only thing I ever get from either of them nowadays is money.”

Sy, who had been listening while finishing up the dishes with the others, turned around with a puzzled look on his face. “Come again?” 

“Alright, TLDR: My dad married his side piece after divorcing mom. Side piece became mom’s work friend without knowing who she was, and then she turned out to be the woman my dad had been cheating on mom with for years, got it?” Mike clarified with a grin on his face. The girls looked at each other in awe. Even Marshall - whose face was barely in any kind of state to portray any kind of emotion other than agony - looked completely stumped. 

“I’m sorry, Mike,” Elena said, “I shouldn’t have said anything.”

“You couldn’t have known,” Mike said in a small voice. Dani wrapped her arms around his neck and planted a kiss on his cheek. 

“The trip sounds fun.” Elena turned to Sherlock, who looked at her.

“It does,” he agreed, “and you were probably invited to go.”

“My study advisor did mention I could take a spot, yes,” she said coyly, waiting for him to catch on. Of course, he had caught on. He had caught on immediately! Now, all he wanted was for her to stop playing these infernal games! “Oh, for God’s sake, Sherlock, would you come along, too?”

“I signed up a week and a half ago.” For a brief moment, Elena looked like she wanted to slap the smirk off his face. And who could blame her?

“I think I might go, too,” Marshall suddenly said, surprising everyone. The guys - and Ange - knew he loved snowboarding, but they wouldn’t have thought he’d be in the mood to tag along. The man could brood for a while. 

“You should!” Anjelica said immediately - maybe a tad too quickly, and too enthusiastically. 

Seconds later, a message appeared in the girls’ group chat: 

Guess who’s name is also on the list… Carson, Alexandra…

[kylesvariouslistsandstuff]

Well This Looks Pretty Damn Cool!

At long last... NIMONA, visually in motion! And a concrete release date, too. June 30th. Same day as DreamWorks' RUBY GILLMAN, TEENAGE KRAKEN, which will be rolling in theaters. I wish we could this very gorgeous and dynamic-looking picture on the big screen too, but... Oh well...

Anyways, not much for me to say other than it looks every bit as cool as I imagined. Another CG-but-painted-looking movie, with some very smooth work and such a cool look. It looks way more like a classic 2D animated picture, or a really painterly indie game.

Arriving now, this picture was about 3/4 done in animation before the studio it originated from, Blue Sky Studios, was shut down by The Walt Disney Company's former CEO. I'd like to think a lot of what we're seeing here was laid down in 2020/early 2021, so in a way, it was doing some neat stuff before other neat stuff came out. Namely THE MITCHELLS VS. THE MACHINES, ARCANE: LEAGUE OF LEGENDS, and PUSS IN BOOTS: THE LAST WISH. The picture was in the works for a while, too, under FEAST director Patrick Osborne at first (later taken over by Nick Bruno and Troy Quane, of SPIES IN DISGUISE), and I'd assume it was always aiming for this kind of look, pre-SPIDER-VERSE even.

It's also refreshing to see a big-time animated movie with more of a, shall I say... Mischievous bent to it? Not quite moral protagonist, for starters, and that's on full display here in the trailer... if the first-look images released in the lead-up to this trailer's release didn't already spell it out for you. That smile of hers just got more and more (delightfully) devilish with each new image. That's good, we need more variety in PG-level stories. Nothing wrong with protagonists who are a little bit on the bad side. Worked okay enough for DESPICABLE ME and MEGAMIND. From the graphic novel synopsis, it seems like it's going to be a very subversive take on good and evil, if the law is actually right or not (very timely, I'd say), etc. Maybe our leads aren't so bad after all, I've got some reading to do!

I still consider this to be a Blue Sky movie, their final film - partially... A bittersweet coda to their long existence. The movie was 75% done before the plug was pulled, and reports have said that the crew did NOT start from scratch after production resumed... and I'd imagine a lot of what was finished was kept in the movie despite some things I've heard it about being significantly retooled after Annapurna and Netflix picked it up. I'd imagine there were some things the directors and writing team could get away with there that they couldn't under Disney. There were reports from former Blue Sky crew members that Disney higher ups did push back on things in the movie. Keep in mind, Disney was going to release Pixar's LIGHTYEAR without the lesbian kiss - a barely second-long scene, until they faced pressure due to the former CEO's initial support of that wet-sandwich Florida governor's draconian anti-LGBTQIA+ nonsense. STRANGE WORLD, as we all know, was straight up dumped with very muted fanfare. NIMONA's poster curiously lists Robert L. Baird and Lloyd Taylor as the writers. Years prior, the movie was being written by Marc Haimes, a writer on Shannon Tindle's meditative Laika wonder KUBO & THE TWO STRINGS. (Just so you know, that picture was largely taken away from him.) Haimes is credited as "Story by", including a curiously large amount of people including the two screenwriters and the two directors, in addition to two other people: Pamela Ribon and Keith Bunin... That's... Quite a lot of writers on this one.

Either way, I'm excited nonetheless. Forward-thinking visuals, LGBTQIA+ representation, a seemingly new kind of story for this animated feature format, something a little edgier... Might just be "the one that got away" from Disney, may even cost them their usual Oscar win come this winter. I will consider this film to be Blue Sky's swan song, I hope they get some kind of mention in the credits...

Speaking of Disney... Not cool that they're flat-out removing movies and shows from Disney+, amidst a writer's strike, and some with LGBTQIA+ themes and content... Right before Pride Month. I don't understand why removing something they made and/or own from a service, and having it not be available anywhere else, helps anybody. Them, or the market... At the very least, they can put some of these movies, such as the Howard Ashman documentary HOWARD, on physical media. Nasty side effects of what David Zaslav did to Warner Bros.' library and all the content purges happening under his leadership there. Capitalism, how you don't make any sense...

Somewhere buried in all the Cannes Film Festival news is the selling of an animated feature called THE GROWCODILE, a little romp about a young girl hiding her ever-growing pet croc from her shoe store-owning father, and the adventure she goes on with her grandfather to give the animal a new home. It's based on a book, and will be directed by Cartoon Saloon veterans Joost Van Den Bosch and Erik Verkerk.

What else? Awkwafina has been cast in KUNG FU PANDA 4... Apparently. I'm not sure how reputable "The Hollywood Handle" is, a site I've barely ever heard of... but if she's onboard, I wonder who she will be voicing. She was, after all, in DreamWorks' own THE BAD GUYS as Ms. Tarantula. The villainous Chameleon is said to be a female character, so I wouldn't be surprised if she plays the main antagonist in this. From bad guy to really bad guy.

That's pretty much all the big animation news I can think of, but... Yeah... NIMONA, finally around the corner, and we finally get to see how it actually moves and plays out...

[hawaiiantrend]

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Learn more: 5 Unique Snoopy Hawaiian Shirt Models for 2025

5 Hottrend Snoopy Hawaiian Shirt Designs for Summer

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[kob131]

https://x.com/storvensen/status/1896369263776010241

I just found this out and...I need to dissect this.

Yes the industry is collapsing, and people are in denial if they say otherwise.

So, place your bets people. Is he gonna mention the innumerable layoffs? Being over-reliant on live services?-

2 of the 4 gaming platforms run on Microsoft: PC and Xbox. Microsoft is putting its games on Switch 2, jumping off their own 2 sinking ships. Steam tried to copy the Switch and failed miserably, while Valve stopped making games years ago.

... What?

By 'run on microsoft', I assume they include PC through Windows. But Xbox doesn't benefit from Steam sales just because most people use Windows, similar to how Sony doesn't get a boost from people playing their consoles on their TVs: the revenue generated is still going to Valve.

And yeah, Valve doesn't make games. The reason why is hinted at in every discussion of gaming as between Xbox, Playstation, Nintendo and PC. Notice that three out of four comprise consoles? Valve IS the PC gaming space. They can make money simply by making a space for other people to sell their games and take a cut.

Valve not making games is sad but not a sign of them dying.

P.S. The Steam Deck is still fine. Not a record breaker like the Switch but if given enough time and upgrades, it could very easily make Valve a competitor with Nintendo in the hybrid market.

That leaves only Sony, and 40% of their customers are still using the PS4 from 12 years ago. PS5 isn't doing well. It's just a PS4 Pro Pro. Their only plan for a successful PS6 is to wait and copy the Switch 2. They're desperate.

Okay, PS's not in the best of places right now. They're better than Xbox but that's mostly because Xbox injected a drug known as 'ovrreliance on porting' and they OD and only NOW has PS started injecting that. PS can certainly turn things around. They just need to start investing in cheaper games, work to make developing their large scale games cheaper, maybe cut the price of the PS5 and accept a loss and extend the PS5's lifespan.

Yeah, the PS5's power is so negligible that it's functionally just an upgrade to the PS4 but that's in terms of graphics I'm sure there's a niche the PS5 can fulfill beyond 'PC for the tech illiterate.'

Though I can't deny that Nintendo does tend to be a trend setter, given how the Wii caused an eruption of motion controls and the Switch popularized the hybrid console. And while I went into this thinking that the PS4 numbers were bullshit...yeah, turns out that as of a year ago, half of Playstation's users were playing on the previous gen's console.

Meanwhile the Switch 1 has more million-selling games than the other 3 platforms combined. Switch 2 will run those games at 4K 60fps, but that's just for starters.

Okay, maybe they do have a lot of million-units-sold games but I need numbers for this to matter.

And I've said it once, I'll say it again: if the Switch 2 is stronger than the Steam Deck (which I don't think can do this), I'll buy a copy of Mirrorjade the Iceblade Dragon and piss on it. Nintendo has not tried outdoing the competition in goddamn decades. It'll likely be the same price as the Steam Deck LCD, might be slightly better than this budget version and it'll sell based on console exclusives.

While the rest of the industry is struggling, Switch 2 will stand alone as the sole 10th generation console. The only console with DLSS hardware, the only console with Vulkan, the only console with Mousecons and proximity sensors and several new ways to play video games.

Why doess any of this matter and why do I think the other two guys probably have this shit except for the mouse stuff?

Also it's a NINTH gen console, dumbass. And didn't you say that PS was gonna release a PS6? Meaning they WOULD be releasing a 10th Gen console?

It's too late to stop Switch 2 from dominating the video game industry. 3rd party developers have been working on their Switch 2 games for years, because Switch 2 can do things the PS5 can't do.

And if Nintendo's decisions decide to fuck 3rd party developers? Or is shovelware infest the market like it did with the Wii and, frankly, the Switch E-Shop?

It's too late to stop Switch 2 from dominating the video game industry. 3rd party developers have been working on their Switch 2 games for years, because Switch 2 can do things the PS5 can't do.

Like, I guess the Mouse feature is something other consoles can't do yet. PC can though, it's called 'a mouse'.

Also that source about 3rd party devs making Switch 2 games or ports?

For the first time since the NES, the industry will be unified behind one platform. All the best talent, the money, the experience, the hungry young geniuses looking to prove themselves, they'll all be contributing to the success of 1 machine and building on each other's innovations.

You do realize that in capitalism, there's no reason to keep putting in effort if you hold a monopoly, right? That in the past, Nintendo tends to get pretty anti-consumer when they dominate the industry and start harming things because a giant corporation isn't meant to be the only success in a capitalist system, right?

But the last time there was only 1 major platform, the industry was hampered because the NES was very limited in its capabilities. The Switch 2 isn't. It can do anything.

Can it run games of MHW's fidelity at 8K graphics and at 120FPS?

No? Then there's still space for other people. PS and Xbox just need to invest in smaller projects while they try breaking through this next barrier.

All man-made endeavors on Planet Earth will benefit from this concentration of wealth and intelligence working together. Art, music, philosophy, literature, design, architecture, social relationships, all of these go into video games. All of these things will go into the Switch 2 and then come out again, amplified and purified, shining upon the world.

...Is this what we sound like to the commies?

So we are about to witness and enjoy the first true Golden Age of Gaming, and the second Renaissance. The women and non-binary devs will be unemployed, unless they can quickly figure out how to actually do their jobs.

Nintendo actively supports gay employees against their homeland's government.

You're not even shoving politics into the right hole here.

Do you think Nintendo waited 8 years, for the first time ever, just to release the same thing again? Then you're not thinking. All 7 Nintendo consoles have introduced new controller features which are now adopted by the rest of the industry. Every Nintendo console, without fail, was copied by Sega and Sony and Xbox and PC.

Where did everyone copy the Wii U?

Buddy. Nintendo might have more foresight than the other guys, likely since they were around for the original crash. But they're just as susceptible to hubris. Temper your damn expectations.

So will Nintendo stop innovating now, for the first time in over 40 years, when they're at a new peak of success and profit and popularity? No, the innovation will continue.

Well, I mean. Success breeds complacency.

If I'm wrong, then Switch 2 won't break all records for a console launch. Historically, companies have to launch as soon as possible to start recouping their costs. Because of the rush, nobody has ever launched with more than ~2 million consoles available to sell. But Nintendo isn't desperate for money, no rush. They've been manufacturing Switch 2 units since last year.

If your standard is 'The Switch 2 will break all launch records despite the lightning in the bottle that was the Switch OG'- Yes , you will be wrong. That is a fucking ridiculous standard.

So, for those still in denial, the Switch 2 launch obliterating the previous sales records will be your first sign. Then you'll see the games. Then you'll see the new features. Then you'll see the Switch 2 sell more consoles the first year than Xbox Series has ever sold since it launched.

I mean, the Xbox Series systems are considered a colossal failure at around 12 million units sold. The Switch itself sold around 17 million in its first year. The PS5 sold around 13.5 million in its first year. Not THAT big a deal, man.

Then maybe you'll still refuse to get a Switch 2, out of spite. But every AAA game on Switch 2 will weaken your self-destructive bitterness, until you let go of the pain and anger and allow yourself the freedom to enjoy life. To enjoy Switch 2. Instead of allowing yourself to die along with the rest of the video game industry, you will choose to join the living on our joyous journey into the future with Switch 2.

I took more psychic damage from this than a Toxicroak getting slammed with a Psystrike by a +6 Mega Mewtwo Y...in Gen 7 Psychic Terrian.

Switch 2: Rising from the ashes of a dead industry

Mother Original Copy (Internet Historian)

To be upfront: I think the Switch 2 will be a success. Likely. If the specs can reach the level of a PS4, then it means developers will probably feel comfortable porting their games to the Switch 2. It also means that the 3rd party devs who fled the Switch as its hardware constricted might come back and make Switch ports. But I HIGHLY doubt it will surpass its predecessor in impact and sales. That was lightning in a bottle, a rare moment of both competency and the stars aligning and the people in charging taking advantage of it. It's a success that's hard to repeat as the novelty of hybrid consoles has been worn away.

Nintendo can VERY EASILY fuck up the Switch 2. Asking for just 399 is gonna be enough to drive some people away, let alone 449 or god forbid 499. They might charge 70 dollars for their games at base, cutting people out of the market. The Switch 2's leaked specs might be overselling the console. The Switch 2 could have a catastrophic design flaw. There are numerous ways Nintendo can fuck up.

I like Nintendo. I think they're at least pragmatic enough to not be the worst and kill their industry. But their success lately has definitely been a case of the Luigi Manuever.

Calm the fuck down.

[kinobasel]

KHRUANGBIN: Two Fish and an Elephant from scotty_fingers on Vimeo.

The story of a final goodbye and one last dance, based on the Khruangbin song, 'Two Fish and an Elephant'.

Music video for 'Two Fish And An Elephant' by Khruangbin Writer and Director: Scott Dungate Two Fish: Chihiro Kawasaki The Elephant: Hugo Luck Executive Producer: Paul Glancy

Somesuch Production Company Executive Producers: Tim Nash and Sally Campbell Head of Music Videos: Hannah Turnbull-Walter Head of Content: Sarah Pearson Producer: Tom Gardner Director of Photography: Jackson Hunt Production Designer: Sam Tidman Choreographer: Alexandra Green Costume Designer: Gleb Ignatov Casting Director: Leanne Flinn Production Manager: Elly Camisa Gaffer: Phil Penfold Hair and Make Up Artist: Gaby Winwood Location Manager: Thomas Gale

Wieden + Kennedy Executive Producer: Danielle Stewart Art Direction and Titles: Cal Al-Jorani Motion Graphics: Jon Harris BTS and Stills Photographer: Ben Hutton PR: Madoka Shimotsunuki

Kickstarter Campaign Team Social Strategist: Rob Meldrum Kick Starter Video and Stills: Dan Smith Story Board Illustrator: Hiro Enoki PR: Heidi Atwal, Lucy Murray Wills

TRIM Edit House Editor: Paul Hardcastle Editor’s Assistant: Ed Hanbury

THE MILL Post Production Company Shoot Supervisor: Gareth Brannan, Liz Mitchell, Sal Wilson 2D Lead Artist: Gareth Brannan, Sal Wilson, Warren Gebhardt 2D Artists: Jeanette Eiternes 3D Artists: Philip Maddock, Nico Domerego, Vicky McIntyre, Pavel Mamichev Matte Painting: Aurelien Ronceray Colourist: James Bamford Producer: George Reid

FACTORY Sound design and Mix Supervising Sound Editor: Anthony Moore Sound Designer: Jon Clarke Re-recording Mixers: Jon Clarke and Anthony Moore Producer: Lou Allen

[mayimkjs]

FOOL's MATE Update Post #3

Master Post　　Last Update

This has been a productive month production wise. I've also decided to add a school date to these posts so people know sorta where I am and how close I am to my docu class. Don't worry, these are vague enough that I won't get doxed. The master post has been updated to include this info.

School Date: Summer, Term 8, Week 5

The T2 Summery and Kazui's Birthday

I wouldn't say the T2 summery caused problems, but it caused a lot of work. I ended up looking more into the novel because of the end. I also shot up like, 15 slides the day it came out.

So, Kazui's birthday timeline was a thing. It's honestly sorta cute, but MIKOTO ADMITTED TO HAVING ISSUES! And he's finally talking to people. So that convo is now everywhere it needs to be. I'll probably have a separate post about that convo honestly.

Props & Shipping Frustrations

So Prime Day happened. I was able to get a lot of small props that will be placed around the set that represent the other prisoners. I'm currently waiting on the keyframe desk mat and keyframe MeMe poster. The Double pin set and the Double EP acrylic stand somehow shipped before them. MILGRAM CF was sorts a pain because the carrier changed at some point and I had no idea until it was already in Mass. Then I had to wait like, 2 weeks to open it because I had it shipped to my house, not school. Luckily I have PT almost every other week so I have to go home often.

Also, since I already had her, I decided a while ago to include my copy of Miku V2 in the set. That then evolved to including all of he VOCALOIDs that DECO's used except maybe galaco. I might eventually get galaco V6. I want to get the MEIKAs first cus I want to include them in the set because one of them is named Mikoto. I recently found a copy of Megpoid - Native, which I promptly snagged up. I was originally going to use one of her V3s cus I had all of them except her Native. Even though he's only used Luka and galaco once, I'm still including them.

Side note: If your interested, I'll be holding a V3 giveaway if the serial isn't dead because my new GUMI is in a starter pack and I already have 2 copies of the base V3 editor. > https://x.com/ametra_voca

The script books were sorta a headache because of the misprint. I decided to use From Japan to order them not knowing that Buyee allows you to request items from shops that they don't have listed on their massive list if you email them I believe. So I had to go back and forth with support, which was fairly easy but support them self's were a little confusing. Then when the replacement arrived at the warehouse, I was not notified and only learned that they had it by looking at my profile. They also reset the holding time so I didn't have to worry about them throwing away the books which was nice. So those have shipped and should be here this or next week.

The Intro & Music

I'm currently taking Motion Graphics 3 and our project for this class is to make a show intro. So I'll be making a prototype intro for FOOL's MATE. I'm also taking MIDI which is a 5 week class instead of the normal 10. So I'll also be using what I make in that class and improving it to use as parts of the soundtrack. In total, I've made 4 or 5 short loops that I'm planning on improving in probably Cubase. I'll probably upload them to Audiomack once they're done. I want to get used to using Cubase so I can use it and Studio One in tandem. Also Cubase is just more common then Studio Once in the west and knowing how to use it will make my life easier. I also made a track list and have started to gather royalty free music I can use. If you have any ideas for track names, please share!

Filming

The tarot interview is on hold for the time being. I'm probably going to rework the email and guest brief. But I just need a break from all that bull. I "scripted" out all of the timeline convos. I pretty much just threw them into Celtx and mostly formatted them correctly for a script. Each convo has the date at the top, character's name, sprite info and dialogue. I also finally made the set layout.

HQ Version of the Set Layout

I'm Looking to Start Getting Other People More Involved

This means volunteer and commission work. I am looking for some proof readers for the research doc to check spelling, grammar and make sure that things make sense and are correct. If you're interested in that, just DM me or fill out this form.

I'm also looking for artists to commission. See this post for more details. If your interested in helping with the music, you can reach out in the same means as the art commissions.

Storyboarding

Decided to do some storyboarding both on my own, and because I needed one for the MGFX project I talked about earlier.

Little know fact (I think), storyboarding isn't just for animation. They are used in every aspect of film/TV. And web development too I guess. So I've started making storyboards for the scripted scenes of FOOL's MATE.

Intro

So the start of the intro will be an IRL bit. This plays out right before the opening.

Then it will go into a very condensed version of the credits that will only contain production, story, character design, music and creation credits. This'll be sorta true crime inspired.

Full Intro Style Guide

Timeline

For the timeline, the layout and habits of the assets are going to be similar to the VD translation videos that people make. So I went through all of the convos I'll be using and made a list of what sprites I need. I'm thinking of commissioning my childhood best friend, LJ, to do the sprites. Her art's improved a lot since I've last seen it and I also just wanna reconnect with her and this is an excuse to do so.

Timeline Script　　Timeline Storyboard

Needed context for "microwave". I had no idea what to name it. I image that he's viciously vibrating here and the only thing that came to mind was "microwave".

Changes

Added

Last/Next Section Navigation

Info from the T2 Summary 

Sub-sections to MILGRAM Theories

Links Page

8/5/24 Timeline Info

Reformatted

“Table of Contents” 

“Precursor”

“Who are the people behind this?”

“Color Scheme Meanings”

Moved

Mikoto Knew That Something was Wrong > Mikoto Theories

The Kayano System and Es are more connected than we think. > Mikoto Theories

Jackalopes in Folklore > Who is Jackalope

The Origin of the Modern Jackalope > Who is Jackalope

Credits & Sources to its own document

Other

Removed “Personal Theories”

Relinked navs to “Table of Contents” 

Removed unneeded drop shadows

Reorganized beginning

Links

Research Doc (Comments on like always)

Milanote

Reddit Post

Feedback Form

Commission Form

[gertlushgaming]

The Outlast Trials Review (Xbox Series S)

The Outlast Trials Review, Red Barrels invites you to experience mind-numbing terror, this time with friends. Whether you go through the trials alone or in teams, if you survive long enough and complete the therapy, Murkoff will happily let you leave… but will you be the same?

The Outlast Trials Review Pros:

- Decent graphics. - 30.4GB download size. - 1000 Gamerscore. - Graphics settings - brightness calibration, and motion blur on/off. - Network settings - turn region servers in/off individually. - Two ways to play - solo, and multiplayer (in multiplayer you meet and can group up with other players). - Extensive opening tutorial. - In-game cutscenes and character interactions can be skipped and fast-forwarded. - Excellent voice work. - The character creator lets you pick a preset avatar and then tweak it and set a voice. - First-person view. - Cross play - on/off. - Three interface presets - standard, accessible (all options are enabled), immersive (hides all Hud elements), and classic Co-op (has all party member info displayed). - Horror survival gameplay. - Night vision goggles play a huge part in the game but require you to find batteries to keep the power on. - You can hide in cabinets, cupboards, etc, and leek out. - Doors can be opened slowly and quietly allowing you to look around first. - Uses the stealth mechanic where you have to crouch and hide to avoid enemies. - Gore galore. - A lot of jump scares. - A full 3D world with 360-degree camera control. - Handy mission and objective markers can show on the screen. - Nails the tense atmosphere from the music to the footsteps and rapid heartbeat sections. - You can get infected with psychosis which changes how you see the world, how you see people etc. You need to either wait it out or find an antidote. - When carrying items your mobility is compromised but you can drop the item at any time. - The stamina system is in play. - To keep the tension going you cannot pause the game even in solo. - The terminal is your hub where you select trials, do upgrades, etc. - Loadout allows you to equip rigs, tools, skills, and medicine. - Badges act like in-game achievements. - Earn experience from playing trials and level up to increase your therapy level. - Evidence is lore-based Collectibles found in the game world. - Weekly therapy is weekly challenges that change. - The game is split into programs that house multiple trials within them. - You are trying to achieve rebirth through therapy and trials so you can leave this place. - Easy to invite friends into your game. - You have your cell that you can decorate and customize. - Joined players can explore your terminal and visit your cell etc. - Such cool art and posters are everywhere. - The game is best played with headphones. - Very handy button prompts. - Anything you can pick up or interact with lets off a shiny glimmer. - It's a game that is a mix of stealth and puzzle because you have to navigate these labyrinths, avoid enemies, and do your task. - Unlock and lock doors to open or shut shortcuts. - Glass on the floor or running on metal are a few examples of how you can alert enemies to your presence. - The game does have a degree of helping in that you can usually run and hide from triggered enemies. - Use bottles, bricks, and whatever you find to cause distractions. - It gets very addictive. - The gameplay and level design are done so that you have a lot of freedom and choice to attack each objective. The Outlast Trials Review Cons: - Limited character creator. - Very slow starter. - Loading times are up and down in terms of length. - The game doesn't pause even in solo. - Cannot remap controls. - It takes a lot of time to get used to enemy detection distance. - Learning new trials is difficult as you are not always sure what or who you are after. - You cannot tone down any of the blood or Gore. - Early days the game is frustrating especially if you never played the first game. Related Post: Unables Review (PlayStation 4) The Outlast Trials: Official website. Developer: Red Barrels Publisher: Red Barrels Store Links - Xbox Read the full article

[jworthingtonreview]

Design Tips for Eye-Catching Car Wraps

In the bustling cacophony of the marketing world, there’s one unassumingly powerful canvas that often slips under the radar but has the potential to revolutionize local brand visibility: the car wrap. These vinyl graphics are more than flaunting a company logo on four wheels. They're mobile billboards, command centers of first impressions, and a testament to how design can captivate a moving audience in mere seconds.

Understanding the Essence of Mobile Marketing

Before we roll up our sleeves and talk about design, it’s crucial to grasp the essence of mobile marketing in its literal sense. A car wrap's visibility is not bound by a physical address; it rides the highways, parks curbside, and travels through bustling city centers. The potential for organic reach is staggering, as each wrapped vehicle is a platform for instant brand recognition, essentially a non-stop, 24/7 commercial.

Capturing Attention in Transit

Translating a brand’s message into an effective car wrap design is an art and science that starts with the basics: simplicity and boldness. Designs need to be clear, legible, and impactful considering that they will be observed in passing, often at high speeds. The understanding is akin to creating a logo; it should remain identifiable when scaled up or down, albeit with the unique challenge of being viewed from varying distances.

Images and graphics play a pivotal role in telling a story about the brand. A striking visual can linger in the observer’s memory long after the car has disappeared from view. Color psychology—using colors that evoke the right kind of emotive response for your brand—can either reflect your business as friendly and approachable or as a high-energy, exciting proposition.

Thoughtfully Incorporating Brand Elements

Each design detail, from choice of font to the placement of key brand elements, should serve the overall objective of creating a cohesive and impactful identity. The company’s logo or slogan should ideally take center stage, positioned strategically to maximize visibility. A seamless integration of these core elements with the design’s layout and color scheme ensures the wrap is a harmonious extension of the brand’s visual language.

When in motion, the wrap design should flow gracefully and guide the viewer’s eye naturally. Avoid cluttering the space with excessive text or images that may overwhelm or dilute the message. Remember, the goal is not just to be seen, but to be remembered.

Ensuring Quality and Practicality

The car wrap design may stand out, but its longevity and application quality play critical roles in the overall effectiveness. A poorly installed wrap can reflect poorly on the brand’s image, which is why working with professionals to ensure high-quality materials and skilled application is always advisable.

Further, consider the practicality of the design. An effective car wrap not only looks good but also takes into account the vehicle’s shape and contours. The design should be resistant to weathering and fading, ensuring that the brand message remains vibrant and clear over time.

Measuring Success and Iterating

A successful car wraps design is not a one-time achievement. It should be viewed as an ongoing project that is subject to measurement and refinement based on performance. Collecting feedback, monitoring brand exposure, and being open to adjustments are integral to maximizing the impact of this unique form of outdoor advertising.

Car wraps represent a potent yet often underutilized opportunity for local businesses to stand out. By following the design tips outlined above, brands can transform their vehicles into both a statement of professional presence and a mobile conversation starter. It is the meeting point of strategic design and practical marketing, encapsulating the essence of what good branding is all about—engaging an audience and leaving an indelible impression.

[video-production-leeds]

How Can Using Regular 2D Animated Videos Help Your Brand?

2D animated videos have become an integral part of brand marketing strategies due to its ability to captivate and engage audiences effectively. By working with a professional animation studio, brands and businesses can harness the power of this versatile medium to effectively communicate their message, improve sales and increase brand awareness. Animation packages offered by animation studios, such as Shot Blast Media, provide a range of options for creating regular animated videos that can be used across various platforms. Regular video content is crucial in today’s digital landscape for several reasons, which is why using a subscription based or packages service is really popular amongst businesses looking to stand out from the crowd. Consistently producing regular animated videos helps to maintain brand visibility and relevance in an increasingly competitive market. It allows businesses to stay connected with their target audience by delivering fresh and engaging content on a regular basis. Furthermore, regular animated video production can help build brand recognition and establish a unique identity. By incorporating consistent visual elements and messaging into each video, businesses can create a cohesive brand image that resonates with their audience. In addition to these benefits, regular video content also has the potential to improve search engine optimisation (SEO) efforts. Videos are highly shareable on social media platforms and have the potential to go viral, increasing organic reach and driving traffic back to a business’s website. These animated videos can be tailored to suit different marketing objectives, whether it’s explaining complex concepts, showcasing products or services, or simply entertaining the audience. Shot Blast Media are now offering regular 2D animation packages for businesses across the globe. What is 2D animation video? 2D animation production is exactly what it says on the tin, a colourful, vibrant and fun style of video with two dimensional graphics and text to tell your story in an engaging and appealing way. A truly memorable film-style, animation quickly wins over the hearts and minds of its audience. It’s safe, it’s familiar and it’s clear – making it a genuine story-telling winner. Our packages will aid business with their social media presence, website SEO, YouTube content and sales for products and services. One of the key advantages of 2D animation is its flexibility. It allows brands to bring their ideas and stories to life in a visually appealing and dynamic manner. From character animations to motion graphics to kinetic typography, 2D animation offers endless possibilities for creative expression. Moreover, 2D animated videos have proven to be highly effective in capturing and retaining audience attention. The combination of visual storytelling, vibrant colours, and smooth movements creates an immersive experience that leaves a lasting impression on viewers. Incorporating 2D animation into your brand strategy can help elevate your marketing efforts by delivering engaging content that resonates with your target audience. Whether you’re looking to explain complex concepts or simply entertain your customers, partnering with an animation studio can provide you with the necessary tools and expertise to create impactful animated videos that leave a lasting impression on your audience. Find some of our 2D animation packages examples below: Starter package examples: Corporate Animation Production Explainer Video 2D Animation for Npower Video Production Premium package examples: Animated Video For Internet Communication Company 2D Animated Video Health and Safety Training Elite package examples: Safety Explainer 2D Animated Corporate Video 2D Animated Forklift Safety Video Production Contact us today to find out more about how we can help you with your animation and video production needs: +44 (0)113 288 3245 | hello@shotblastmedia.co.uk Your Industrial Story Starts Here Press the button. Make the call. Transform your media. +44 (0)113 288 3245 hello@shotblastmedia.co.uk Contact Us

[memynissanandi]

The New Nissan Qashqai SUV Is INCREDIBLE!

Through its first two generations, the Nissan Qashqai for sale was a relatively affordable but somewhat conservative player in the compact-to-medium SUV space, but the third-generation model that was launched in South Africa recently is a whole new ball game.

Most vehicles in this segment have moved upmarket and the new Nissan Qashqai is no exception, with its starting price of R568 200 for the manual transmission base model (who still buys a manual in this segment?) while the top-of-the-pile Acenta Plus that we had on test recently commands R670 000 (in December 2022). All are powered by a 1.3-litre turbo petrol engine.

Sure, that seems a bit steep for a Nissan Qashqai, but there are two things to keep in mind here. For starters, rivals with similar specs such as the Toyota Rav4, Kia Sportage and Hyundai Tucson are all priced in the R650 000 – R700 000 ballpark. Second, the redesigned Nissan is quite a bit more sophisticated than its predecessor.

Built on the Renault-Nissan Alliance’s new CMF-C architecture, the new Qashqai is 48mm longer and 29mm wider than the previous version, but despite this, it has only gained 37kg in weight, while torsional stiffness is significantly improved.

But the real drawcard for consumers will probably be its striking new exterior design, with its crisp, chiselled lines, 19-inch Diamond Cut alloy wheels, boomerang headlights and large V-Motion grille.

What is it like to drive?

The new Nissan’s beauty is more than skin deep and on the road, the SUV is impressively quiet and refined. It has a sophisticated feel to it and although the suspension is a little on the firm side, which you’ll feel over larger speed bumps, the ride quality is still more than acceptably comfortable.

Being engineered for European roads, it handles well for an SUV and the steering feels communicative and well weighted.

Power comes from a 1.3-litre turbo petrol engine that produces 110kW and 250Nm, fed to the front wheels via a CVT gearbox. If you opt for the manual base model, outputs are restricted to 96kW and 240Nm.

The 110kW automatic model that we spent time with delivered adequate performance. There’s enough low-down torque to avoid the excessive revving that results in that annoying CVT drone, most of the time at least.

As for fuel consumption, we achieved 6.6 litres per 100km at highway speeds, while in-town driving saw the readout climb to 10.7 litres per 100km, and that’s after some careful driving. Show some right pedal enthusiasm and it can easily swing towards the 13 litres/100km mark.

What’s it like inside?

That refined and sophisticated feel that I referred to earlier? That’s very much apparent in the cabin design of the new Qashqai, with its tastefully executed lines and high-quality materials. The command centre is a new 12.3-inch (31cm) touchscreen infotainment system, which impressed us with its crisp, modern graphics. The system was also fairly easy to operate, with main menu items placed along the right side of the screen. The new dashboard also has separate ventilation controls below the screen which are user-friendly.

Sadly the digital instrument cluster that is available overseas isn’t fitted to the South African models, which ship with conventional analogue dials.

Equipment is generous in the range-topping Acenta Pus model, which comes with a 10-speaker Bose sound system and diamond-quilted leather seats with electric adjustment as well as heating and massaging for the front occupants. As with the mid-range Acenta model, it also comes with automatic climate control and Nissan’s Pro Pilot driver assist package, which includes Adaptive Cruise Control and Lane Keep Assist. Click here for a full-grade walk.

Is the Nissan Qashqai practical?

Rear legroom is decent enough, as there is a little bit of stretching space for normal-sized occupants, but it’s not as spacious as some rivals. Rear headroom should be sufficient for most passengers, but taller folk might struggle.

The boot has a volume of 504 litres with the seats in place and 1 593 litres with them folded. The loading compartment is a bit on the shallow side, but the area is quite vast.

Verdict

While it has become somewhat more expensive, the Nissan Qashqai has made a decent stride upmarket with a package that is somewhat more refined and better equipped than its predecessor. Its striking design and smart cabin are also likely to win fans.

The Qashqai has an impressive warranty, valid for six years or 150 000km, but the three-year/90 000km service plan is unfair on those who don’t do high mileage.

FACTS: Nissan Qashqai 1.3T Acenta Plus

Engine: 1.3-litre, 4-cylinder, turbo petrol

Gearbox: CVT

Drive: Front-wheel drive

Power: 110kW from 5 500rpm

Torque: 250Nm from 3 750rpm

Fuel use, highway: 6.6 litres/100km (tested)

Fuel use, urban: 10.7 litres/100km (tested)

Ground clearance: 193mm

Fuel tank capacity: 65 litres

Boot volume: 504 litres

Warranty: 6-year/150 000km

Service plan: 3-year/90 000km

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.

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 Review compiled by https://www.iol.co.za/motoring/

[kylesvariouslistsandstuff]

Before I started collecting Disney VHS tapes and home media...

Growing up in the mid-to-late 1990s, most of my Disney VHS tapes were post-1994 titles. My sister and I only had a few of the Classics releases, the majority of what we had were from the Walt Disney Masterpiece Collection. That included titles that were previously in the Classics line.

And as a kid, roughly 5, 6, whatever, I noticed the differences. I saw some cases had that shiny black diamond logo saying "The Classics", and others the glitzy castle and the "Walt Disney Masterpiece Collection" text underneath.

The only Classics tapes we had until I was about 10, and started sorta soft-collecting these things... Were the 1992 releases of 101 DALMATIANS and BEAUTY AND THE BEAST, the 1993 releases of PINOCCHIO (which I count, for various reasons despite the diamond being nowhere on the packaging/tape label) and ALADDIN, the final title THE FOX AND THE HOUND, and...

This release of DUMBO.

As you can tell, this copy has seen better days. I probably mangled that protective plastic as a kid, lol.

That's the 1989 cover of DUMBO, but with the 1991 tape master inside. It opens with the 1989 Walt Disney Classics logo, a restored Buena Vista title card with the opening music intact, and it has the white ink-on-shell label. The copy was printed in May 1993:

While not our oldest Disney feature tape, technically, it was our oldest release. DUMBO was one of those titles that did not go on moratorium, so that cover was available from 1989 to 1994. Then the Masterpiece Collection cover, which re-uses the same artwork and slightly modifies it, replaced it. Someone must've gotten this Classics version of DUMBO for the two of us sometime in mid-to-late 1993, maybe it was a Christmas gift.

But this, visually, felt like the oldest tape of a Disney feature film in our collection.

For starters, as you see in the vid above, it had no previews. Every other Classics tape we had, had previews: 101 DALMATIANS, BEAUTY AND THE BEAST, PINOCCHIO, ALADDIN, and THE FOX AND THE HOUND all had at least one preview, and a Feature Presentation logo preceding the Classics motion graphic intro.

Second, the FBI and anti-piracy warnings were red-orange, not green like on the other Classics tapes.

Something seemed "older" about this release because of that. I also want to make a weird-ass sidenote, and say that as a kid - the logo for DUMBO on this cover (in pretty much in the movie, proper) always looked like the Marshmallow Fluff logo to me. Those big, tall, blue serif letters... Something about the two registered and connected in my little autistic brain as a toddler. DUMBO and Fluff.

Our oldest Disney tapes, period, were all Winnie The Pooh. We had the Walt Disney Mini-Classics releases of the four theatrical Pooh featurettes, all of those VHSes came out in fall 1989, but our printings were from mid-1990 onwards. We also had the second grab-bag compilation volume of THE NEW ADVENTURES OF WINNIE THE POOH, that tape also came out around the same time. What else? We also had the Disney Sing Along Songs volume UNDER THE SEA, an August 1990 release that also opened with the red-orange FBI warnings and had no previews on it. And another NEW ADVENTURES tape, Volume 6, which came out in 1991. There's actually a photo of me, roughly a year old, holding that tape - sitting around somewhere, lol.

So that DUMBO one seemed the oldest, and it also helps that the film itself was the second oldest out of all the ones we had in the Classics line. PINOCCHIO first came out in 1940, DUMBO in 1941, it just added to the vintage-ness. This was waaaaay before I looked up the order of Disney films, what their release dates were, etc. That would become a thing for me when I was around 8. I'll also add that those FBI warnings use the font Exotica Bold, which gives Golden Age of Hollywood aesthetics. Yep, it all ties together.

Whenever I was at someone else's place, I'd notice that their Disney VHSes were... Ones I didn't have, ones I didn't even know existed. I'd also notice these at my local video rental stores.

And that, there were "Classics" versions of titles that I associated with the Masterpiece Collection: CINDERELLA, BAMBI, THE JUNGLE BOOK, like wow! They all had different cover artworks, that looked older than the ones I was familiar with. And they all opened with that Sorcerer's Apprentice Mickey Mouse introduction! These actually existed! That *blew* my mind at age 8-ish!

Then one day, I saw an earlier version of DUMBO. The 1985 cover artwork, with the pink spine... Though it was a later issue from late 1986.

So there was *another* Classics version of DUMBO? That also blew my mind!

Then a few years later, in around mid-2005, I came across a fan page dedicated to these releases. Back when information wasn't as commonplace as it is now. The person who made up the page thought the line began in 1988 and ended in 1993 with ALADDIN, that's how outdated it is now. And there I saw... That cover of DUMBO, again. That's right, that thing existed! That older pink DUMBO cover...

I wanted to get it.

And I got it shortly thereafter. This was around, I want to say June-August ish of 2005? I was like 12 and 3/4... and from that summer onward, I became a full-fledged Disney VHS collector.

[steveharrington]

hi sarah! if it’s not too much trouble can you give starter horror recommendations for a guy who feels some trepidation about the genre because i think it’s like, very cool and interesting and have been thinking about writing some horror stories but i’m also the easily frightened type so i was wondering if there’s a way i can ease myself in before working up to the super duper scary stuff?

yes!!! i will try to give you some variety of subgenres/subject matter but if you have like a specific type you’re looking for i can also add more recs based on that! but just in general:

•cloverfield (2008) is one of my all time favs and i think it walks the line of being scary but not like….disturbing. it’s not shield your eyes and grit your teeth type horror, it’s more like adrenaline and putting yourselves in the protagonists shoes and wondering what you would do in their situation. it’s found footage (it may or may not give you motion sickness so if you’re sensitive to rapidly moving camera work maybe watch it on a small screen or skip it) and i get full body chills when i watch it every single time because of how real it feels. despite all that, there’s very little up close shots of the monster and pretty minimal blood/gore.

•scream (1996) due to it being satirical and self-aware, a lot of the scary tense parts are cut by comedic moments and i think that helps a lot. i honestly think the scariest part is the opening sequence, so if you get past that feeling okay you’re probably gonna be fine throughout. there’s definitely injuries and blood but nothing i’d constitute as body horror, and again the movie likes to make little wink wink jokes which makes the tone pretty tame

•the cabin in the woods (2011) basically see above it’s also very self referential and subversive and also just like if you’re interested in horror such an amazing take on the genre, but it’s a little more intense than scream with the gore in certain parts

•poltergeist (1982) is considered a family friendly horror movie and i agree with that assessment <3 the silly little 80s practical effects make it hard to get scared despite the child actors absolutely slaying, and i think as far as horror creatures (villains?) go, ghosts and poltergeists and spirits are pretty chill

•the blair witch project (1999) is very iconic and like laid the groundwork for other found footage films, and luckily it is not very scary until the last like 2 minutes <3 and when it is scary, nothing gory/graphic is shown! for me the real horror of blair witch isnt even the witch, its the thought of being lost in the woods with no way out and the movie is just so realistic that i always start to panic a little on behalf of the characters. some people think its boring though! i dont i love it <3

coherence (2013) is not very well known but its (to me) the coolest fucking movie in the world. i think it has such a brilliant and original premise, and i’d categorize it as horror even though i consulted my mom and she thinks it’s more of a thriller. either way i highly recommend and there’s no blood or gore or anything like.....in your face scary? its more like a sense of dread that builds up over the course of the movie

they live (1988) is john carpenter <3333 and it’s pretty tame compared to other john carpenter movies. it’s horror but it’s also scathing social commentary and kinda action and again it has those 80s special effects so the scary little faces are less scary and more like...party city masks. its also referenced in a surprising number of other things (free guy feat. joe keery for one) and i think its a prime example of how horror can communicate such a wide variety of themes

and you probably already know about this but in case you dont: doesthedogdie.com has a comprehensive crowd-sourced list of potential triggers for every movie. the site does a great job including phobias/triggers that aren’t necessarily common and warning you if a movie has those, so it’s a great resource if you want to avoid certain subjects all together. happy horror watching <3