#nature is not a backdrop

[thewitchaskew]

Outdoor weddings occur *outdoors* enjoy nature

[389]

Steven Alexis Valle Assistant Director | Commercial & Film Production

[porto-rosso]

barbara trying to integrate cass into civilian life via boys and reading when all she had to do was sign her up for amateur rugby

[dopescissorscashwagon]

“ℂ𝕦𝕖 𝕥𝕙𝕖 𝕤𝕟𝕠𝕨𝕗𝕝𝕒𝕜𝕖𝕤, 𝕡𝕝𝕖𝕒𝕤𝕖” ❄️ 👍

Great Gray Owl

Alberta, Canada 🇨🇦

Perhaps not a popular opinion, but I look forward to the arrival of the “white stuff!” ⛄️ There is something special about capturing the magnificence of wild things in a snowy backdrop, don’t you think? 📸 😉..

📸 by Lisa M Jones Photography

Click on photo

[unproduciblesmackdown]

aaah lsoh pics!!! ft. their corpse-flower-inspired audrey ii!!

[antlerpunk]

thoughts on sound design and Divinity in ultrakill

[herbalnature]

Caught in mid-twirl, this red bloom is a sight to behold as it's gently held against the urban backdrop. Its petals curve with a flamenco dancer's flair, paired with vibrant, splay-tipped stamens reaching out like curious antennae.

[miqojak]

And I keep talkin' like I'm taller than the trees

But my eyes never see much higher than five feet

And I keep on telling everyone the truth

But maybe that's not the move

And they say honesty is the best policy

If that were true

Don't think all of my friends would hate me

-THAT BITCH, Bea Miller

[zareleonis]

i think we moved on too fast from hoyo using furina's special demo font + black backdrop to introduce remuria in the 4.6 special program

[littlepawz]

This cheerful yellow house in Nova Scotia was abandoned by the owner due to a lack of jobs in the area. Eventually Mother Nature provided a perfect landscape to create this monochromatic masterpiece.

[gemwing1988]

Sunrises and sunsets in snowy environments and the winter season can be just as beautiful. 🩷💜💙❄️

[ford-ye-fiji]

You know, ngl, Niles kinda carries the entire show

[a-ramblinrose]

Whoops It’s A Book Haul!

My dad and I escaped midweek up to my cousin’s ranch for a late birthday trip. We ate lots of good food, fished the lovely lake, were awed by all the wildflowers and, of course, did some shopping. The local secondhand bookstore has new owners and I look forward to seeing how the shop changes.

[ali-1996]

Chinese natural culture wall paper

[gaykarstaagforever]

Yeah sure, the soundstage and the shots at Vasquez Rocks look like the same planet, whatever, it's fine.

[golvio]

This video about the set design for Phantom of the Opera has me thinking about design engineering, and how it contrasts with regular engineering, and how that demonstrates the contrast in design philosophies between the Sheikah/Princess Zelda and Ganondorf himself.

The Sheikah design philosophy revolves around their spiritual idea that destiny governs everything, that everything was created with a purpose. To that end, the things they designed tended to be very pragmatic and illustrative. The Shrines themselves were designed with this ethos, each building being built for a specific purpose first and foremost. The decorations of their buildings were mostly focused on reproducing the world and cosmos in microcosm, not as something that distracts from the building’s intended purpose, but in order to explain to viewers in the know how this particular structure fits into Hylia’s Grand Design. Zelda herself is very pragmatically minded, attempting to reverse-engineer this ancient technology, or at least understand how it works well enough to reproduce it. She can be a very passionate, emotional person, but she’s not so hung up on aesthetics or trying to figure out “what it all means,” just “how does this work?” No frills, no artifice, just straightforward and to the point.

Contrast that with Ganon. After hearing a bunch of theorists describe Calamity Ganon as something akin to Puppet Ganon from Wind Waker, it clicked into place for me. Ganon is a set design engineer, rather than just a guy working in a workshop to build machines like the Royal Research Lab. His creations weren’t just built to fulfill a purpose, but to communicate something. The purpose his creations serve, while important, is secondary to that desire to communicate a concept, to produce a specific effect in his audience, even if the only thing he wanted to communicate was his contempt for Hyrule and its people.

“The Calamity” is a coup de theatre: this great big spectacle designed to produce a specific impression in the people of Hyrule. In this case, the desired impression was mass panic. Ganon purposefully obfuscated his methods in order to give the impression that “Calamity Ganon” was this vast, incomprehensible force of nature that could not be predicted or countered. Once you start seeing what he’s working with, as you start making connections between the Malice and whatever that ectoplasmic substance the Ultrahand is working with actually is, the actual mechanisms he used turn out to be relatively simple. He just relies on optical illusions and hiding his tricks in order to make things seem more vast and terrifying than they actually are, like how Bjornson used foreshortening to make the chandelier look like this perfect reproduction of the Garnier opera house’s chandelier when it was actually just a flat oval that could fit in the tiny theater and wasn’t as much of a pain for the stagehands to transport, raise, and lower as a perfect 1:1 scale reproduction would’ve been.

And then with Ganon’s takeover of the Guardian tech, he injects this design philosophy into the stuff he’s working with. A lot of what makes the Possessed Guardians so scary is the musical/sound cues associated with them, as well as their body language that suggests a cold, driven, purposeful hostility. Without that, they’re just big goofy buckets with legs. Just compare the Guardian you see in the castle flashback that’s unaccompanied by the iconic, anxiety inducing heartbeat of the “Guardian” music, being gently prodded along in a certain direction by soldiers with the Guardians you’d see patrolling Central Hyrule 100 years later. Ganon doesn’t just want an ambulatory robot that shoots lasers. He wants his war machines to intimidate, to terrify, to make their targets so scared that they freeze in fear (and coincidentally become much easier to hit). The Blights, too, were designed with this aesthetic of fear in mind. They’re also designed to suggest Ganon’s present, even if the artist himself is technically absent.

The desired effect is to establish the omnipresence and frightfulness of Ganon himself, to terrorize his targets, and to communicate his general contempt. He is concerned with the aesthetics of power, as opposed to just having impressive weapon specs. The Guardians by themselves are already potentially dangerous and destructive, as all weapons of war are, but Ganon needs to take it further, injecting his personality into each one he touches to turn them into a tool of communicating his will in addition to just weapons he tries to use to destroy Link/Zelda.

In summary, their general philosophies are like this:

The Sheikah: This is the world, this is how it works. Everything was made to serve a purpose, and this building, too, has a purpose. It was built to fit into this grand cosmic design we depict on its walls.

Ganondorf: I Want These Cretins To Pee Themselves In Terror When They Gaze Upon My Works. Let Them Hate Me, So Long As They Fear Me.