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madschiavelique · 2 years ago

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𝐥𝐨𝐯𝐞 𝐛𝐢𝐭𝐞 (𝐦𝐢𝐠𝐮𝐞𝐥 𝐨'𝐡𝐚𝐫𝐚 𝐱 𝐟𝐞𝐦!𝐫𝐞𝐚𝐝𝐞𝐫)

summary : so you were called for back-up on a mission with gwen, hobie, pavitr and miguel. you get him out of a tight situation, he drags you in a dark street, you get back to the team, you get shot in the thigh, and miguel starts sucking on the bullet to get it out of your skin :D (or most simply, how you got wounded and miguel is playing healing vampire)

content warnings : blood, bullet (if there are others please do tell so that i can add them !), biting (literal), miguel licking you, no use of Y/N word count : 5,3k

note : the spider babies feel like a lil found family to me, so i had to make them goofy in this. i thought about miguel’s bites not only being poisonous, but also in another dosage a great pain killer (i have strictly no idea about how realistic all this is but here have fun reading this besties). this stands as the first part of a 3-shot that i am writing for my bday which is in 4 days hehe (crying), also i didn't proof-read this and english is not my first language :D, enjoy

chapters' list : 1 - lovebite 2 - late night training 3 - unexpected mission (nsfw) 4 - shameless (nsfw)

Although this wasn't your first mission, you couldn't help but feel like a frozen steak being thrown into a hot pan. You weren't always flung into the thick of the action, of course, but today you were, because you'd been called in as reinforcements with Pavitr.

Miguel had taken Hobie and Gwen on this mission, hoping to get Gwen more used to the terrain. You had arrived a little after her, and for the moment you had restricted access to the field. But today was clearly an exception. You and Pavitr had been called in as back-up, and you immediately took the portal to the dimension in question.

As soon as you emerged from the portal, your spider-senses alerted you to the need to throw yourselves to the ground to avoid the rush of bullets that had been fired in your direction. Exchanging surprised glances, you began to crawl to the side of the building that seemed to be opposite to where the incessant gunfire was coming from, hoping to avoid being riddled with bullets. Because although Swiss cheese was appetising, it wasn't in your plans to become one.

Pavitr tapped his watch.

"Miguel, we're here, where are-" but he had no need to ask the latter's whereabouts, since right in front of them swayed Hobie and Gwen, who seemed to be fleeing... A bride?

It was a bride armed with some sort of personally optimised cannon that was firmly strapped to her body, and if your instincts were right, it would appear that her ammunition was not as simple as that commonly sold, and you dreaded to know what would come out if she fired. She moved with a sort of jet-pack, following your friends at breakneck speed, her long white veil rippling like a trail left behind an aeroplane. Immediately, the two of you began to follow to join them.

"Hey, Hobie! Gwen! We're here!" you shouted.

Suddenly, the bride's head swivelled in your direction, her big red lips stretching into a smile as her eyes widened like two big marbles. Ouch, maybe shouting your presence in the middle of a fight wasn't the right decision.

You could already hear Miguel's voice echoing in your mind: "You should have taken advantage of the surprise and used it to your advantage instead of letting the whole town know that two Spider-Men had just joined the fight!"

But hey, what's done is done, and you'll certainly remember to be more observant on your next mission.

"Ah, Miguel's little minions have joined the party! Honey?" she shouted as you both reached Gwen and Hobie, "we've got some newcomers, I hope they're on the guest list for the ceremony. It would displease me greatly if we had to eliminate them just for that reason."

"After all, murder and marriage are the same if the two people know each other and it all ends in death," you say, your eyes falling for a moment on the absolutely enormous cannon she seems to have programmed to shoot you.

"Marriage is just another contract to life anyway," replied Hobie, to which you nodded sharply. "Anyway, with her chemtrail theory flying around behind her, I'm worried."

It seemed that the anomaly was not a single anomaly, but rather a couple of anomalies, which was probably why these two had been asked to provide support.

"Where's Miguel?" asked Pavitr, all still running.

"Oh bloke, you're not going to believe your eyes when you see him," sneered Hobie.

"What happened?" you asked.

"I took a few photos of the occasion," said Gwen, "but nothing beats seeing it for real."

A loud bang sounded, and you turned to see what had just happened. The face of the building you were standing on was melting: the bride had fired a bubble of acid that had burst against the wall and was biting all the adverts that were stuck to it.

"Destroying propaganda? Bonkers, I'm starting to reconsider this," Hobie huffed.

"Miguel's further down the avenue, on that street over there," said Gwen. "Go and see him before he comes, it's well worth a look.

When the mystery is too great, you don't dare disobey, so while they were busy evacuating more civilians to reduce the number of casualties from the mission, you set off in the direction you'd been told.

You swung out into the street, and as you rounded the corner, you couldn't help but stifle a laugh. The great Miguel O'Hara, the man at the head of the Spider Society, guardian and master of the inter-dimensional balance of events, was pasted up and looked like an Egyptian drawing in the process of running, or the typical chalk drawing you would draw on the ground at a crime scene, all covered in a gooey fluffy substance.

You swung over to him, and he noticed your arrival. You landed on the edge of the wall he was stuck on, biting your lip to stop yourself from bursting out laughing.

"If you want to say something now is the time to shut up." he said, teeth clenched.

"Gwen was right, it's definitely worth the trip. Comfortable? Need a magazine? A snack perhaps?"

"Hilarious, are you going to mess with me like this for much longer or are you planning to help me out of this situation?"

"My intentions were of a slightly more agreeable nature," you huff, walking towards him on all fours.

The substance surrounding him seemed to be a kind of solid foam that kept swelling slowly. You drew out your claws and began to cut the foam from his arm.

"Lovely couple over there, real synergy between the two of them. Shame almost half of marriages end in divorce."

"You get sentimental about enemies? Keep your sensitivity out of the fight and concentrate."

"Focus on foam? Honestly you know your Marshmallow Man costume lacks realism."

He let his neck tilt back until it touches the wall, murmured between his lips: "todos me vais a matar."

A small smile stretched across your face, the poor guy must have felt like he was babysitting, and although you were older than all the other teammates, hanging out with them brought out your absurd and more childlike side, your inner child in a way.

You managed to dislodge quite a bit of foam, but it was taking too long, it was thick and had the consistency of snow whose surface had crystallised.

"I'm pulling your leg, jefe" you say, the little use of the Spanish name making him react. What, You've got to make a profit from duolingo after all. " Okay, pull in your tummy."

"What?"

You raised your arm in the air, your claws extending a little further. Lately you'd been trying to see how far you could push the limits of your costume, and the increase in your claws was one of them. It was a bit painful, but if it meant Miguel could get out of this situation and get home safe, then you might as well take it. All you could hope for was that you wouldn't fail...

Then, with a sharp, wide stroke, you sliced through the foam. The cut was perfect, and Miguel, who was just as surprised as you were, popped out of his spot as if he'd just stepped out of a mould.

" Well," he turned to you, dusting off the few remnants of foam still clinging to his body, "observations?"

This was an exercise that Miguel inflicted on every recruit during their training or recruitment. It was simple: he selected a small anomaly to keep things simple, and asked the recruit what observations they'd make to neutralise the target. Except that, in this case, the anomaly wasn't so minor. You were racking your brains.

"I didn't see the husband, but I did see the bride. She's got a jet pack that should be neutralisable, it'll slow her down in her movements, but you'd have to aim carefully to do that. Her only power is her weapon, except that as it's attached to her it's going to be complex..."

Then you remembered her attire, and especially the long veil firmly placed on her head.

"Her wedding veil, you should be able to pull it down and hold it still."

Miguel nodded, you didn't know how to take the look he was giving you through the mask, but you hoped he was satisfied with the answer.

"The husband's pretty much the same, except-" but he didn't finish his sentence, suddenly grabbing your arm and pulling you instead into a much darker, narrower adjacent alley. He leaned against a wall, looking down at the street you had just left.

"Here's the husband," he murmured.

The suddenness of the gesture took you by surprise, of course, and you seemed unable to think straight. Not just because you were so close that your bodies were pressed together, but because all your senses, all your nerves, seemed to come together in one and the same place in your body, a place where it felt like sparks were flying: Miguel's hand was placed on your waist.

Through the thin but hard-wearing fabric of your suit, you could feel the heat from his fingers spread across your skin, sending a shiver down your spine and up to your neck and cheeks to warm them. His grip was firm on your flesh, and you tried to calm your breathing, which had been racing as fast as your heart at this closeness.

His second hand still had your arm in its embrace, and the simple thought occurred to you: what if his hand came down your arm to meet yours?

You looked up at Miguel's profile, watching the street you were on, alert. You took a deep breath as you watched him, his scent coming to you through the mask as earthy, pungent. And he turned his head towards you.

The distance separating your two faces was small, terribly small, and you wondered at that moment how the scene would have unfolded if neither of you had masks on. Would he have paid any attention to the way you were looking at him? Would those dark eyes have sparkled? Would you have been able to feel his hot breath on your face?

"Is everything all right? Your heart rate's increased."

The sentence refocused you for a moment as if you'd just plunged into icy water, your reverie no doubt perceptible through the suit. You lowered your eyes, glancing at the placement of his two hands on you, blinking rapidly as you tried to pull yourself together. Quick, an excuse, anything.

"The others," you breathed, using the card of concern for teammates, "I wonder how they're holding up."

"Uh huh..." he murmured, the answer only half satisfying him, his gaze piercing yours through his mask as you felt his hand tighten on your waist, another shiver running through your body. You didn't really understand why he'd maintained this seemingly intimate embrace, but to be honest, you weren't against the idea of this position for a few more moments.

It felt good to be like that, to share someone else's closeness.

He was so big, he seemed to engulf you with his size and thickness, looming over you, and so much strength and threat in one body aroused as much interest in you as it did fear.

Pull yourself together, for God's sake, what's Miguel, your boss? He's got better things to do than that, than get close to you, than get intimate with you...

He seemed to be inspecting you strangely, and the intensity of this gesture made you look down even more, the ground suddenly seeming very interesting to look at. But if he had anything to say on the subject, it could obviously wait until the mission was over.

"The way's clear, let's go," he says, finally letting go of his hold on you, "before these idiots do any more damage than they already have."

And with a thump, he pulled a web and propelled himself into the air. A gasp escaped your lips, the sudden sensation of not being touched leaving you feeling grey. You took a deep breath, trying to refocus your thoughts on the mission and not on the irreplaceable sensation that Miguel's hands had left on your body.

You dashed off in your turn, following him to join the others.

Not far away you could hear Hobie shouting: "They're pissing on us without even making us think it's raining!" Hobie, charming as always.

Needless to say, it was a fairground. Miguel threw a web in the bride's face and found the other three on a roof. Furious, he pointed his finger towards the corner of a building that was on fire, from the bottom of which civilians kept coming out, coughing, some even injured.

"Who did this?" he asked, his throat rumbling in frustration.

"You did," Hobie answered point-blank.

"Bravo," he growled sarcastically, "it's good to admit your mistakes."

"It's paradoxical communication," he informed you, avoiding a projectile that you couldn't identify, no doubt another munition of dubious composition from the bride's weapon, who seemed to be hurtling towards you with intensity.

" I Leave it to you for two minutes and you destroy everything," Miguel murmured as he began to run towards the enemy.

" Submerged by their numbers of two we couldn't do anything," pleaded Pavitr.

"Gobsmacked, maybe she's rebelling against a terribly phallocratic world," Hobie says as he dodges a huge snowball as big as himself launched from the cannon.

"Darling? Maybe it's time for dessert, what do you think?"

Shit, here comes the husband too. He was equipped with a jet-pack just like the groom, but his weapon was much less sophisticated than his wife's, a simple submachine gun, which didn't make it harmless, quite the contrary.

"Great idea! It's time for the icing on the cake," and with these words she seemed to throw portions of sweet and colourful cream towards your group.

"Come on, dance! Dance!" ordered the husband.

"No! I don't wanna dance, I'm from the town in footloose," you blurted out, trying to pull a simple web towards the cannon of the bride's gun.

You didn't succeed, but threw a second one anyway, taking the risk of standing still for a few moments to improve your aim. The web shot out and hit the barrel of the weapon. Yes! but the celebrations were short-lived, as a rush of bullets came crashing towards you, and even in your haste to escape, you were hit in the thigh.

A strangled little grunt vibrated against your teeth and lips, you didn't know exactly what it had struck in your leg, but the pain was sudden and stinging. Still, you followed the others a little, with difficulty. Every simple movement was a painful tug.

The group eventually stopped in an empty courtyard, to deliberate, talk strategy and how to organise themselves. The landing on the ground was a little abrupt, and you staggered back to your feet towards the group.

"Hey, you all right?" Hobie asked you.

"Never been better," you said, giving a thumbs up, your nose wrinkling at the next step.

"Are you sure you're okay? You're walking like a Disney witch," said Patvir, raising an eyebrow.

"Bollocks, your thigh!" pointed Hobie as he came towards you.

You looked down, the bullet had of course pierced the fabric of your suit, stretching the elastic material over your bloody thigh from the hole the bullet had punched in your thigh.

"Calm down," Gwen said in the distance, chatting to Miguel, "let me take care of this, Miguel."

"Like you've taken care of everything else so far, Gwen?" he said, his hands resting on his hips.

"Miguel?" called Pavitr.

"What do you want?" he asked as he turned his head suddenly towards where you guys were.

"Can't you answer 'yes' like everyone else?" gasped Pavitr.

But Miguel was already coming towards you, he must have seen the impact in your thigh.

"Nice icing on the cake, eh?" you said, laughing slightly at the situation. After all, ridicule poisons fear.

But the shots were already ringing out and they were coming towards you.

" Okay," breathed Miguel, "Hobie, Pavitr, Gwen, try to immobilise them. The husband is easy to neutralise, just hit his jet-pack and take away his weapon. For the bride, try to take her towards the river, if you make her fall into the water she will start to sink with all her layers of clothes and the weight of her dress. Pull her by her veil if you have to, but go ahead. The first one to do even a little unintentional damage again will end up with his back broken like a glow stick, got it?"

"I don't take orders," Hobie refused.

"Hobie, you take care of the bridegroom with Gwen," Miguel continued as if he wasn't listening to him any more, moving closer to you. He tossed him his multidimensional cell device, as if he was worth reaching for.

"Why does he only come and ask me things once a day, as if I were a vitamin?" Hobie huffs before launching himself into the air.

"Oh, you know, that's what we love about him, his boundless empathy," remarked Gwen before shooting a web and leaving in her turn.

"Why do I always get the less interesting ones," said Pavitr before leaving as well.

Miguel turned to you, taking off his mask. His brown hair was dishevelled and he didn't even put his hand through it before ordering:

"Sit.

You'd have liked to contradict him, to say that you could definitely wait until you got back to HQ and received treatment there rather than slowing down the mission when you'd literally been called in as backup. And here you were, the backup turned liability in the situation, so contradicting him wasn't really in your plans.

You backed away, leaning against the wall and letting yourself slide with difficulty against the bricks as you tried to put as little weight as possible on your damaged leg. With a muffled whimper, you reached the ground, stretching your bad leg further as you bent the other. You took off your mask in turn, no longer able to hide your expressions of pain. The sensation you'd had at first had been sharp, but now it felt like your thigh was on fire and the wound was licking at your skin like flames.

Miguel came forward and knelt beside you. His gaze was riveted on your thigh, and when his gloved hand came to rest beside the wound, you stiffened your back and couldn't help breathing in through clenched teeth. His brown eyes looked up into yours, watching your expressions through the wild strands of his hair. But it was also simply a look for permission to continue his gestures.

"If it hurts too much, use your mask," he said, his eyes returning to the wound.

The mask? In what way would the mask be- ah, so... You watched your mask, hesitating for a moment. What Miguel meant by that suggestion was biting your mask. Since you were probably going to grit your teeth, you might as well not hurt yourself too much and tear them up by biting into something. You wavered at the thought, preferring not to damage any more of your costume. You'd already dented it with your punctured thigh, but ripping your mask on top of that? No, preferably not.

His thumb felt your skin, and he pressed down on a spot that threw you so hard that your hand immediately grabbed his wrist. You were breathless, almost nauseous from the pain, and you opened your frowning eyes again to meet Miguel's gaze, which had stopped all movement of his hand.

You looked up at him, your eyes and nose stinging with the tears that threatened to spill from the pain. He breathed, his eyes falling on your hand, then straightened towards yours:

"If you don't let me touch it, I'll pin your hands down with my webs, is that clear?"

Biting the inside of your cheek, you let out a shaky breath and removed your hand, which seemed ridiculously small compared to his.

"Well, the bullet's really not deep, so it should be fine."

Honestly, you didn't know whether it was better for you to know what was going to happen, and you were somehow grateful that he wasn't detailing his operation to you, even though he was doing it mainly out of lack of time.

His two hands came to grip your thigh to hold it steady, he gave you one last look, then lowered his head close to your thigh, and you saw a flash of white gleam from his long, sharp fangs before they sank into your skin. A strangled cry drowned in your throat as you felt them ooze something wet, liquid seeping into your skin and blood.

Miguel's bites weren't just poisonous, they could also be incredibly helpful in situations like these, where they acted as both a mild painkiller and a kind of antidote that accelerated the healing process. And although the painkiller aspect wasn't performing well enough for your liking, you were still quite happy not to feel like you were in complete agony.

The sensation of his lips on your flesh, however, previously drowned out by the sensations of all your aching nerves, became much clearer. Their softness grazing your skin with more intimacy than he was aware of.

He hadn't bitten down on the wound, to prevent the bullet from moving any further, and you took a deep breath when he moved away, pulling his fangs out of your skin. His tongue cleaned them, and he glanced at you as he did so, just to make sure you were all right.

Please tell me I haven't become a big walking tomato, you thought. Now apparently the most important phase would begin: extracting the bullet. You bit down hard on your bottom lip, still feeling pain, then nodded to allow him to continue.

He bent down again, coming dangerously close to the wound, to your raw flesh where warm blood was dripping. The bullet wasn't far from the surface, luckily the suit had played a large part in cushioning it.

He breathed in lightly, then put his lips to the wound. A current of electricity ran through your body as all sorts of sensations mixed together in one place. The burn on your thigh had just met the slightly sticky wetness of Miguel's saliva and the warmth of his mouth and lips as he began to draw.

You realised what Miguel was doing, he was sucking the bullet out of your flesh. His tongue flicked lightly around the impact, and his fangs, still a little elongated, lightly traced your skin.

Your breath was erratic, and you tried to stabilise it, but the sensations seemed so extreme that the task was complicated. The thing about spider-senses is that your senses are heightened, so the slightest movement of Miguel's lips, tongue or fangs sent shivers through your body. He drew back to spit out the excess saliva and blood that had mingled before coming back and sucking harder. You could feel the bullet coming out little by little, still biting your lip fiercely until you felt a metallic taste, and were insistently reconsidering the choice of biting into your mask. So you switched to the side of your index finger, biting it as your frown of pain intensified.

Then Miguel pressed his lips a little harder, and your body had to grab hold of something. Then, inadvertently and with many mental 'oh no's attacking your being as soon as the gesture was made, you grabbed Miguel's hair.

His eyes immediately looked up at yours, wide, questioning the gesture, and the sight made you feel as if your heart had fallen into the warmth of your stomach. His brown eyes had a flash of red and peered through his long lashes, their colour blending perfectly with his blood-smeared cheeks.

You were so desperate for a foothold that your body hadn't given a second thought to what it should be gripping. He just froze, for a few seconds that seemed as long as minutes. You calmed your breathing, taking advantage of the respite from his movements to relax a little. Worried, you looked up at him again, dreading his reaction.

But nothing, no 'what the hell are you doing', no 'stop that immediately', no 'that's inappropriate', no reprimand, nothing. Your fingers in his hair relaxed, they were much softer than you'd imagined, but your hand didn't leave its place. You felt both his hands tighten around your thigh, making you swallow hard. He just gave you one last look before flicking his tongue around the wound and continuing his suction.

Your fingers reflexively gripped his hair again and Miguel let out a low rumble from his throat that vibrated up your thigh and into the bullet. The sensation was such that you suddenly turned your head to the side, closing your eyes tightly until you saw stars. The tears that had welled up started falling, determined.

Miguel's hot breath washed over your bare, rosy skin, turning visibly purple with the repeated suctions Miguel left in his path. His normal teeth were biting into your skin around the bullet to create the pressure that would eject it.

You locked your fingers in his hair again, and felt his hands tighten their grip on your thigh as a low hmpf vibrated against your skin again. Then he drew in harder, and pressed his teeth in deeper, and you felt your finger beading with blood as your teeth pierced your skin.

And then, at last, you felt the bullet come out. A deep sigh poured from your lungs as you eased your hand from his hair to wipe away the tears that had rolled down your cheeks. He stepped back, his eyes looking into yours, his cheeks and nose all covered in blood, and between his reddened teeth was the crushed bullet.

You looked at him like this, your cheeks heating up violently. He spat the bullet out to the side, then looked back at your thigh. He breathed heavily, clenching his jaw as he let go of your thigh, bringing one of his hands up to wipe his cheek with the back of it.

"Put some webs on it, that should be enough to last us until we get to HQ."

His eyes scanned yours, tired, reddened, a tear still running down them. He wiped it away with the back of his index finger, letting it fall onto the fabric of his suit. The gesture was gentle, almost like a caress as his finger gently traced your cheek.

"You did great, muñeca", he said, his voice soft, softer than you'd ever heard it.

The nickname gave you a warm, soft feeling in your lower stomach. He straightened up, his mask in hand, the other stretched out towards you, ready to be seized.

No comment on the pulled hair? You were afraid he'd mention it, or were you afraid he wouldn't mention it at all.

"Can you stand up?" he asked.

You looked at your thigh for a moment, then did as he instructed and pulled a few webs over the still open wound. Then, looking up, you grabbed Miguel's hand to help you up. You breathed through your teeth, the pain was still there, but now that the bullet had been dislodged and Miguel's pain-killing venom was coursing through your veins, the ache was lessened.

You were swaying slightly and Miguel's reflex was to place his hand on your waist to steady you. He gave a retentive tt-tt.

"Try to stick to the webs, do as little walking or running as possible," he said before putting his mask back on, which you in turn did. "Ready?"

You bobbed your head, putting your weight on your good leg, "ready.

With a nod, you both took off.

Soon you found Pavitr who had managed to catch the husband who, on closer inspection, had one of his eyes as white as a half-cooked egg. Perhaps this explained his random aiming. In any case, he was huffing and puffing like a rhinoceros.

"It's about time," Pavitr yawned, "your leg?"

You gave him a thumbs up.

" Where are Gwen and Hobie? " Miguel asked.

"Further down the river like you said."

"Well, you can go back to HQ, we'll take care of the rest- can you go on?" he said, turning to you.

"Yep, the only thing that could stop me would be myself."

"Was that the philosophical moment?" asked Pavitr. "That deserves a few lyrical songs, doesn't it?"

"It's pathetic," admitted Miguel as he left.

You followed him, Pavitr entering a portal to return to 928.

"Are you trying to destroy our pseudo-friendship?

"Pseudo-friendship?" he chuckles, "you mean how I removed that bullet with my teeth, and you-"

"Ah, the amnesia's getting to me!" you cut in, continuing along the road faster than him until you reach the river where, hanging from a lamppost on the quayside, the bride was dripping wet and stripped of her weapon. She seemed simply stunned, and Gwen and Hobie were standing in front of her, still tense from their fight.

You approached the two lads, smiling at Gwen who had finally succeeded in her training.

"Good job!" you said, raising your fist to her height, which she banged in a friendly manner, doing the same for Hobie.

"Hobie?" called Miguel in the distance.

"Don't move," said the latter, "it's like with bears, if you don't do anything they'll leave."

"This is the right way," affirmed Gwen.

"Where's the weapon?" asked Miguel, who had finally reached your level.

"It fell into the water," he replied simply.

"What?" asked Miguel.

"Relax, I'm just messing with you. It's behind you," he said, pointing with his chin at the wet weapon on the ground.

"So, how did it go?"

"I wouldn't go into details," Hobie sighed.

"What are you trying to accomplish here?" Asked Miguel.

"I don't want to listen to you; malicious criticism hurts my self-esteem and praise leaves me sceptical."

Miguel sighed, pinching the bridge of his nose, murmuring "Voy a matarlos."

"I hope one day you'll understand what I've just said," he whispered, climbing up the lamppost to unhook the bride and place her in another multi-dimensional cell.

"Did you hear anything?" you asked ironically.

"Oh no, I didn't hear anything, did you?" questioned Gwen to Hobie.

"I've got an ear infection."

You smiled at this conversation, watching Miguel fiddle with his watch.

"How's your leg, by the way?" asked Hobie.

"I've still got the bullet, I'm going to be ringing airport buzzers for the rest of my life."

"Huh?" exclaimed Gwen.

"Just kidding, everything's fine."

"Why do you have to be like that? In situations like this, 'I'm fine' is the standard response," she huffed.

"I'm on a strict diet of misplaced enthusiasm and gut-wrenching regret." You affirmed.

"Huh huh, diets are bad," Hobie remarked. "It's just another way for capitalism to prove that their system is superior to you."

"Well, come on, let's go home," Miguel called.

His eyes fell on you for a moment, and in the space of that glance the vision of his crimson eyes, his fangs glistening with your blood smeared across his cheeks came back to your mind. You entered the portal, and soon enough, as you got into the lift, the horizon formed as far as the eye could see, with towers sunk like daggers into the belly of the sky, and so high that, from sleep, you could plunge into the clouds.

And now you couldn't think of anything else but Miguel.

part two >> late night training

#madschiavelique ⟢ ݁ ˖‧˚₊ ☁︎#miguel o'hara #miguel o’hara x reader #miguel ohara #miguel x reader #spiderman 2099 spiderverse #astv miguel #miguel astv #astv #astv x reader #spiderman atsv #miguel x you #miguel x y/n #miguel spiderman

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threewaysdivided · 2 years ago

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New Desktop Dash, No Bueno

Okay so, new dash layout on desktop.

As seems to be a common reaction: not a fan.

Let's talk about some of the issues:

1. Really visually cluttered

The new sidebar crowds out the dashboard content and the bright blue popup notifications (now at the side AND top) and create-post bar pull your eyes in different directions. There is no space for the eye to rest on anymore - it's all noise. The end result is that everything flattens - there's no focal point anymore.

It's also pretty overwhelming - even for someone like me - so I can't imagine it would be very user-friendly to someone who was photosensitive or struggled with visual overload (especially when paired with the high-contrast 'true blue' default site palette and animated icons for the changes-on-tumblr/staff-picks/trending buttons).

2. The activity pop-up now covers dashboard content

This is really bad from a usability standpoint. In the old layout the activity pop-up used to drop down over the recommended blogs sidebar. Now it actively gets in the way of looking at core content. The dash is why we are here, burying it like this is baffling.

The search bar now drops down over the recommended blogs banner instead, but where the old design had non-critical space on each side of the dashboard to visually allow both features to pop in, this new layout is way worse for efficiency. And for what? Having a rarely-used former drop-down menu now permanently active? The old banner with quick-links for the key use-features (notes, messages, askbox) made much more design sense.

It also means that the activity pop-up gets now completely covered by the blog pop-up that opens when you click the notification, so double demerit there. 0/10.

3. It's harder to navigate to the activity page, and the new page-stretch means you can't see new notes without scrolling down

That first bit is kind of a nitpick but cramming the 'See everything' link down at the bottom of a browser window isn't a great navigation choice. (Again, the visual signifiers and eye-direction in this new design are incredibly poor.)

That the main activity page now requires you to scroll to even see the top note due to the new display ratio is really egregious. It makes another key site feature just slightly less convenient and accessible in a very irritating way. Bad choice.

4. The new ratio pushes the Radar and Main Sponsored slot completely off-screen

This one is directed the tumblr staff: that's also a bad choice, guys. That's your main ad-slot for people loading into Tumblr so hiding it is going to hurt both your ad-impressions and your ability to promote the ad-free option. The new layout ratio also means that the in-dash ads are going to be a lot more invasively screen-filling - and let's be real most users will either add-block or leave before purchasing ad-free. I have no idea what the new layout is trying to achieve but if ad optimisation is the goal then this ain't it, chief.

To be honest I cannot comprehend the rationale for this change. I guess it's visually a bit more like Twitter... but that site is currently being demolished from the inside by poor management decisions so maybe it's not the best aesthetic to be aping.

Well then, what do?

Okay so, new dash bad. And so, in true Tumblr spirit: we complain. However, to get results we must deploy the art of kvetching productively.

If you want the old dash back (or at least, a better new-dash design that corrects some of these big weaknesses) what you should do is head over to https://www.tumblr.com/support and lodge a feedback ticket pointing out the problems. The more users who do that, the more likely you are to see an effective response.

Remember, tagging @staff and @support in posts won't fix this. There's no guarantee they'll see it among the notes barrage.

Also: please don't be rude or abusive when you lodge tickets. Whoever is manning those blogs and inboxes probably isn't the person who forced through this change. Save an intern, be polite.

Go forth in disgruntlement to keep this hellhole a hellhome.

#tumblr #tumblr problems #new dashboard #yes it's bad #but there is a way #I've already lodged tickets about it

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antoniosvivaldi · 2 years ago

Photo

Rotoscoping Tutorial by @antoniosvivaldi

Hi everyone! I’m excited to announce my long-delayed Rotoscoping Tutorial - requested by a number of people over the past calendar year.

In this tutorial, I will show you how to create the cutout gifs like this (and seen in most of my gifsets under this tag) with Rotoscoping on After Effects. I’ll also provide additional examples and a number of things that I do to optimise my giffing / Rotoscoping workflow (e.g. useful shortcuts & other things to be aware of).

This is the structure of the tutorial:

Why Rotoscoping? Photoshop video timeline’s limitations

Photoshop workflow pt 1: Preparing your gif

After Effects workflow: Interface, shortcuts, and Rotoscoping tools

Photoshop workflow pt 2: Assembling your gif; with multiple examples

Bonus content: Rotoscoping tips* & workarounds to common issues

For quick reference, here are example gifsets (and where Rotoscoping is used in the posts) that I will mention in the tutorial:

Example 1: Cutout gif effect | panels 2 + 4

Example 2: Changing a gif’s background colour | all panels

Example 3: Cutout gif effect in a shape | all panels

Example 4: Putting it all together | panels 1, 3, & 5

What you need & need to know:

Software: Photoshop & After Effects (After Effects 2021 or later for Rotobrush 2.0)*

Hardware: 16GB RAM required to run later versions of AE*

Difficulty: Advanced; Knowledge in making gifs, applying layer masks, and using video timeline interface assumed

Key concepts: Rotoscoping (AE) / Video Timeline (AE+ PS) / Layer Masks & Groups (PS)

Supplementary files: tutorial resources

*I’m currently running the latest version of PS & AE on an M2 Mac, but I’ve also used older versions (CC 2015 & 2020) on Intel-based Macs. I’ll outline some known compatibility & performance issues, and workarounds later in this tutorial that could help streamline your giffing workflow.

Tutorial under the cut. Like / Reblog this post if you find this tutorial helpful. Linking this post / the example gifsets in your post caption, will be greatly appreciated if you read this to create effects seen in Examples 3 + 4.

1) Why Rotoscoping?

My Rotoscoping journey is motivated by the shortcomings on Photoshop - namely the limited options to manipulate the Layer Mask keyframes in the video timeline interface, as well my need to gif more efficiently.

Suppose I want to cutout this subject or recolour the background of a gif on Photoshop: I personally classify the gifs that I prepare on PS into 3 types based on the motion of the subject

These are the common Photoshop-only approaches when attempting to mask the subject in the gif.

Case 1: minimal motion in the subject → a simple layer mask will do the trick

Case 2: some linear panning of the subject in the gif → using the Layer Mask Position keyframes in the video timeline interface will do the trick

Case 3: subject moves around a lot (e.g. zoom motion) → Unfortunately this is where a Photoshop-only workflow will require frame by frame masking. Layer Mask Position keyframes only apply positional translation (but not transformation / rotation) on the layer mask

Enter Rotoscoping on After Effects: Instead of resigning to frame by frame procedure on Photoshop, I opted to make my life easier by learning to Rotoscope on After Effects. This essentially provides me an opportunity to cutout / recolour a wider range of gifs with relative ease.

2) Photoshop pt. 1: Preparing your gif

Prepare your gif the usual way - whether you screencap or import frames from video.

Then your Photoshop should look like this:

Now, I shall walkthrough & explain my personal giffing workflow (as of 2023) after loading the gif frames. To speed up the process, import my gif prep action file to Photoshop.

Going to Window > Action, you’ll see a set of actions under the “gif prep” folder.

"set frame delay for timeline” (highlighted in yellow) will set all of your entire gif’s frame delay to 0.03s

“convert to timeline“ (highlighted in red) will take you to the Video Timeline interface

To play an action, press on the Play button (highlighted in green)

i. Set the frame delay of the entire gif to 0.03s. (play “set frame delay for timeline” from my gif prep action pack)

I work with everything in 0.03s frame delay (or equivalently 30fps) at first. It’s always possible to change the frame delay of the final gif to 0.05s before uploading onto Tumblr.

ii) Convert this gif to a Smart Video Layer (play “convert to timeline” from my action pack)

Note: I personally don’t resize the gif just yet. That’s because Rotoscoping in full video resolution will render higher quality details around the edges as well as more flexibilities later on in the editing process.

Performance optimisation: If your computer has 8GB of RAM or less, you might find it helpful to crop / resize your gif to Tumblr dimensions now for a less sluggish performance in After Effects later on.

(I have giffed on a desktop with 8GB of RAM and it’s quite slow at rendering individual frames of a 1080p short clip on AE)

iii) Add colouring adjustments on the gif. This will save you A LOT of time when you Rotoscope gifs that are originally very dark / poorly lit (e.g. the uncoloured Taylor Swift gif shown just above).

If you usually colour your gifs at the very end of your giffing process (i.e. after sharpening), this will be a bit of a change.Nevertheless I still highly recommend adding some base colourings now to at least increase the contrast between the subject and the background.

iv) To minimise lagging on After Effects, simplify this gif file as follows:

Flatten / Unsmart this gif file back to frame animation mode: play “flatten” (highlighted in red) from my gif prep action pack

Set the frame delay to 0.03s: play “set frame delay for timeline” (highlighted in green)

Convert the simplified gif file back to the video timeline interface: play “convert to timeline” (highlighted in yellow)

After “unsmarting” and converting back to the video timeline, your interface should look like this

And voila! This gif PSD is now ready to be imported to After Effects for Rotoscoping work!

3) After Effects: Interface and useful shortcuts

Open After Effects and Import (Cmmd / Ctrl + I) your gif PSD that you’ve just prepared.

After importing your gif PSD to After Effects, the interface should look like this.

In the screenshot below, there are two compositions: the imported gif (highlighted in green) & another composition file made from selecting the imported gif (highlighted in red)

For the rest of the workflow, we will edit from the clone composition (the one highlighted in red), so select this one.

Before we take our plunge into the Rotoscoping, here are a few useful shortcuts to remember. I’ll explain the Roto Brush tool in the next section.

Preview the previous: fn + up arrow

Preview the next frame: fn + down arrow

Add to Roto Brush selection: holding Shift while you’re using the Roto Brush Tool

Subtract from Roto Brush selection: holding Alt while you’re using the Roto Brush Tool

Change Roto Brush size: while holding Cmmd / Ctrl, click + drag your mouse left / right

4) After Effects: The Rotoscoping Process

To access the Rotoscoping tools, click on the Roto Brush icon (highlighted in red in the screenshot below)

Then you’ll get the following dropdown options with two Rotoscoping Tools

Roto Brush Tool: This is where you add / subtract your Rotoscoping selection in your composition

Refine Edge Tool: Paint around the edge of your selection for more refined edges. Very helpful for Rotoscoping fuzzy edges / hairs

To make some Rotoscoping selection, first grab the Roto Brush Tool and click on the subject you want to cut out from your composition.

When you’re Rotoscoping you’ll see this in the Effect Controls panel.

There are two versions of Roto Brush:

Version 2.0: The Rotoscoping selection is powered by AI for higher accuracy when you propagate the frames.

Version 1.0 (Classic): This is the legacy Roto Brush Tool that uses a lesser algorithm. Recommended only if Roto Brush 2.0 is unstable on your machine due to RAM issues.

And two quality settings for Roto Brush 2.0:

Standard

Best

Note: I am currently unable to use Roto Brush 2.0 with Best quality model on my machine to compare the differences myself, so I’ll link this page that explains the two quality settings.

Note: if you’re using an older version of After Effects you’ll see this instead. This corresponds to Roto Brush 1.0 / Classic in the newer versions of AE.

When you’ve made a selection using the Roto Brush Tool, you’ll see the pink lines around the subject. This is the region that you’ve selected to Rotoscope!

To bring out some details around the edges, grab the Refine Edge Tool and paint around the edges

Then the interface will look like this

To view the Rotoscoping selection that you’ve made more intuitively, you could click on the following buttons.

Personally I like the viewing my selection using Toggle Alpha (the second box from the left) & Toggle Alpha Boundary (the 3rd box from the left)

Toggle Alpha

Toggle Alpha Boundary

Note: If you aren’t happy with the initial Roto Brush selection, you can always add (press Shift while using the Roto Brush Tool) / subtract (press Alt / Option using the Roto Brush Tool) your selection.

After you’re happy with your Rotoscoping selection in the first frame of your composition, press fn + down to view the next frame.

Repeat pressing fn + down and fix the selection along the way (e.g. I subtracted a small area from my Rotoscoping selection with the Roto Brush tool to make the edge look cleaner).

After fixing the selection along the way, go back to the composition file (select the clone composition again) and you will see that a cutout gif is made!

To export this, go to File > Export > Add to Render Queue. You’ll be redirected to the Render Queue panel at the bottom of After Effects.

Highlighted in red: click to change export setings

Highlighted in green: click to change save destination

Highlighted in yellow: click to render video

To preserve the transparency of your cutout gif, you need to change your export settings in the Output Module.

Under the Video Output section, change your Channels to RGB + Alpha. Press OK. Then Render the video.

5) Photoshop pt. 2: Assembling your final gif

The essence is to drag the cutout gif (aka the video file that you’ve just rendered on AE) into a new PSD composition file. This will be where you’ll do the rest of your giffing. Your workflow will contain the follow steps:

Make a new blank PSD composition file in Tumblr dimensions

Enable the Video Timeline

Follow the instructions detailed in the individual examples i.e. drag the cutout gif into the PSD & adjust the timeline start / end points

Exporting the final gif. If you’ve worked in 0.03s frame delay all the way up to here, just play the action that I’ve provided in the tutorial in the following order to set the frame delay to 0.05s.

EXAMPLE 1: finalising your cutout gif | sample gifset

After enabling the Video Timeline in your PSD composition file you’ll see something like this

Go to your folder, drag the cutout gif you’ve made on After Effects, resize / reposition, then press Enter.

And also make sure to adjust the Video Timeline’s start / end values.

Add some finishing touches. Because I did the Rotoscoping at full HD resolution, I’ll also need to sharpen my gif in this step.

After you’re happy, you can export this into a gif file and do what you usually do to change the frame delay to 0.05s.

Notes on my “Unsmarting” approach:

To prevent accidentally writing over a PSD composition file that I’ve spent time editing, I personally render this into a short video (File > Export > Render Video) and use the following export settings (to prevent quality loss)

Then I open the rendered clip and play the actions in my gif prep action pack as follows:

flatten: this “Unsmarts” the clip / video

set frame rate: this sets all frames to have 0.05s frame delay

This is the final interface that I get before I pull up the Save For Web window.

EXAMPLE 2: changing your gif’s background colour (for Case 3 gifs) | sample gifset

From your folder, drag BOTH the cutout gif (rendered on AE) and the original gif to your blank composition.

Important: you need to make sure that both layers are properly lined up in the composition file (i.e. selecting both layers when repositioning / resizing)

On Photoshop, press Enter twice and place the cutout gif on top of the original gif from the Layers panel. Then you should get something like this

Select both layers and resize / reposition them in your PSD composition until you’re satisfied with the placements.

The basic idea here is to add some adjustment layers / other things in between the cutout gif and the original gif. To do this, select the original gif layer in the Layers panel.

Then you can start adding.a bunch layers e.g. textures, onto the composition.

And then here’s the exported gif!

6) Fancier Rotoscoping examples

Note: knowledge in using layer masks / groups and making shape / text layers assumed

In the next two examples, I’ll show you how to combine the two previous examples with shape / text layers.

EXAMPLE 3: Placing your cutout gif into a shape / text layer | sample gifset

Add a text / shape layer to your blank PSD composition

We want to prepare a masked group so in the Layers panel:

Make selection from layer: Cmmd / Ctrl + Click (highlighted in red)

Make a new group: click on the folder icon (in yellow)

Create layer mask: click on the icon (in green)

After duplicating the masked group you’ll get something like this in the Layers panel

Drag your cutout gif into the PSD composition

Place the cutout gif into the masked group on top

Select the mask of the top group and paint (in white) over the region you want to reveal for the cutout gif

Add some finishing touches & export the gif!

EXAMPLE 4: Putting it all together | sample gifset

You follow the same approach as in Example 3 to prepare the masked groups, but you need to drag two gif layers in (and resize them using the approach outlined in Example 2)

Place the gif layers as follows

While selecting the mask of the group on top, paint (in white) over the region that you want to reveal in the cutout gif

Now select the original gif (placed within the other group) and add some adjustment layers

After adding some finishing touches & exporting the gif, I get this!

Note: you can do even more overlay effects in the background portion of example 4. There will just be more masked groups + adjustment layers

7) Bonus: Some useful Rotoscoping / giffing lifehacks

GIFFING LIFEHACKS:

— Use best quality footage that you could find & Rotoscope in full video resolution, for better details around the edges

— Poorly lit scenes & low contrast edges are harder to Rotoscope (e.g. Toy Story set / TS evermore set).

If you’re new to AE, I would recommend choosing videos with well-lit gifs with simpler backgrounds and high contrast edges (e.g. Maisie Peters Cate’s Brother set)

— Use Rotobrush 2.0 if you’re using After Effects 2021 or later. It’s more difficult to Rotoscope / change background colour for gifs with a lot of movements with the classic Rotobrush tool. If the scene is tricky, you might want to switch to the “Best” quality model.

HARDWARE-RELATED PERFORMANCE OPTIMISATION:

— The recent versions of Photoshop require at least 8GB of RAM. If you have less RAM, it will still work provided you have enough scratch disk space. For better performance, it’s best to close other applications when you’re using Photoshop.

— The recent versions of After Effects require at least 16GB of RAM. If your machine has less RAM than this, there are some workarounds to prevent your machine from hanging:

Essential: close other applications that you’re running on your computer

Resize your gif down to Tumblr dimensions & sharpen it before importing to After Effects.

Install an older version of AE

8) Bonus: Some known software + hardware issues, and workarounds

KNOWN ISSUES ON PHOTOSHOP:

I currently have minimal issues in my giffing workflow, but I’ll nevertheless outline a few common known Photoshop issues for anyone who needs some workarounds.

— Video Timeline interface missing: this affects Apple Silicon Macs (i.e. M1 / M1 Pro / M1 Max / M1 Ultra / M2 / M2 Pro / M2 Max)

Update to newer version of Photoshop (updated 2022 or 2023)

Open Photoshop with Rosetta

— Scratch disk full error: This is a common issue with machines that lack RAM & have nearly used up internal storage. Editing video layers in the timeline interface uses a lot of memory hence will require a lot of scratch disk space.

Make sure that you have enough free storage space while using Photoshop. Alternatively you can use an external hard drive as a scratch disk.

KNOWN ISSUES ON AFTER EFFECTS:

These are a few issues that I have personally ran into over the course of giffing on multiple devices & multiple versions of After Effects.

Note: Inputs from M1 / M2 Mac users with regards to experiences on using the After Effects Rotoscoping tools are welcome!

— Rotobrush 2.0 set to “Best” quality model causes AE to crash: this affects anyone who’s using MacOS Ventura

I’m currently experiencing this issue on my M2 Mac. The workaround right now is to change the Roto Brush 2.0 quality setting to Standard.

This is due to some software compatibility issues on Adobe’s side specifically with MacOS Ventura. Fingers crossed that they will properly fix this bug in the future updates!

— Cannot re-open project files with Rotoscoping: this affects anyone using the initial release of After Effects 2020 (I had installed this on an Intel-based machine and it sucked)

The only option here is to update to a later version of After Effects.

8) More useful Rotoscoping resources

Rotoscoping + Keyframes Tutorial by @jenna--ortega

Rotoscoping + Masking Tutorial by @usergif

Rotoscoping For Beginners in After Effects | Motion Graphics Tutorial

I hope you enjoy reading this! If you have any questions / need any help related to this tutorial, feel free to send me an ask!

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mclalan · 5 months ago

Text

Corp Zomphis, 2020s Design Speculation

I want to talk about Corp Memphis again— that corporate style of gangly, dead-eyed characters trapped in a neoliberal purgatory, posed between pot plants and spreadsheets.

I don't need to go too far into describing it. Heaven knows there are already so many takes on it that you're probably sick of hearing about it. However, I think a succinct description of it can be found at the end of that Wired magazine article from a few years back:

Wired: Corporate Memphis: The Tech Industry’s Favourite New Art Style

"But, despite all this, it may not be worth lamenting the immense reach of Corporate Memphis or the design possibilities we’ve been deprived of because of it. The style is, after all, simply a reflection of big tech, and how it has constructed a world with users on one side and executives on the other.

A more interesting and visually rich digital space would mean more than coming up with a new illustration style—it would require a change in how the tech economy is run. Until then, Corporate Memphis is likely to stick around, bendy arms and all."

This touches on why Corporate Memphis looks the way it does: it's a reflection of the material reality it's made in and the economic conditions it serves.

To work in a design job today often involves being a "multi-practitioner"— corp speak for a jack of all trades. You might have multiple platforms to manage, need to create a mix of media (motion graphics, branding, illustrations, etc.), and produce multiple pieces of content, all for some pointless product consumed by placated consumers.

And that’s all in a day's work, to be repeated the next. It's gruelling, unforgiving, mind-numbing work—especially if you take pride in what you do. Life doesn't become easier, but it does become bearable if the medium you're working in isn't fighting against you. A style that can work across platforms, can be easy enough for anyone in the department to use, but versatile enough to allow effort when there's time and money. It's homogeneous to the point where the messy, qualitative complications of art direction don't come into play. You can download a vector stock or make it in-house with relative ease and speed, and it looks good enough. The consumer, despite being fatigued by it all, seems to find it good enough. And that's what marks the style really: it's "good enough." It's a style linked to speed and practicality in the face of intense demand and pressure, low industry wages, accessible skills for entry levels, and high corporate barriers as everything's locked within Adobe's infrastructure.

But its strength as this homogeneous vector glob style, with its lack of any real individual identity, is also its biggest weakness. Although I'm sure some designers might enjoy working in this style, it's not really a style designed for creative individual expression. It's called "corporate" for a reason. If you want something different, you might be tempted to try freelancing...

Outside the corporate design department, you might think you're finally free to create in your own style, no longer having to work in that dreaded Corporate Memphis one anymore. But it’s hard enough to work in your own individual style under the best of circumstances. That's because the whole economy is based on the same structures of endless content production for algorithmically optimised consumption that allowed Corp Memphis to thrive, so you're still facing familiar obstacles—creating vast amounts of content, quickly, for wide and insatiable consumer audiences. So, in a way, we have this algorithm-enforced market of content, favouring those who have optimised their style to be better seen by it. It's no wonder Corporate Memphis has endured past its welcome.

However, despite all that, illustrators and artists still plod on. They end up making stuff, somehow navigating these systems— either playing them like a fiddle, outright rejecting them, or going accelerationist about it, like with something such as Corecore. Self-expression can take many forms, and that potential untapped capital value is tantalisingly mouthwatering to corporate capitalists.

Corp Memphis is optimised to a fault. It's too polished, too automated, and fits too well with the well-oiled design apparatus. Thus, it's developed a semiotics to reflect this—it's cheap and it's perceived as cheap. That's why an art director (typically) won’t just stick some Corp Memphis imagine on an album cover or use it to illustrate a particular lifestyle magazine. It wouldn't suit it, it's signalling the wrong stuff. Culture, art, ideas, aesthetics are reflected in work created by practitioners with an artistic vision, or that taps into what's going on in the present. And this is reflected in their art style, something Corp Memphis can't easily do, if at all.

That's why there's still a kind of fringe freelance industry with a speciality in design identity, otherwise known in the industry as "creatives", albeit small and closely gatekept by the likes of legacy institutions such as Goldsmiths and corporate industry leaders like The HudsonBec Group. If a corporation needs design to be spiced up with some kind of creative identity, it'll turn to these agencies or freelancers from this background rather than use Corp Memphis.

But the sad thing is how a corporation doesn't have total control over the process and thus can't control the value and pricing since they have to deal with hiring these pesky freelancers. But how does a corporation even know who to hire? With moodboards, of course! It’s easier to hire someone in-house with "good taste," who can simply curate hot practitioners to hire, like a dragon collecting .png gems. Although a corporation will try to get the best deal it can, these pesky freelancers can potentially negotiate a price for themselves, especially if they’re some big shot who holds a lot of cultural capital.

But another benefit of a moodboard is that it can be converted into a design guide. Simply share the sorts of designers and illustrators that a corporation dreams of hiring but with a cheaper designer, and ask if they can copy the desired style for less. Failing that, they can just outright steal the style anyway. If the creator is small enough, who cares?

But the value and cultural capital that corporations must seek outside their infrastructure, the very thing Corp Memphis cannot do, comes at the price of what Corp Memphis can do. Freelancers are annoying to corporations. They’re inconsistent, outside their remit, and expensive—since any level of lost capital is an expense. And worse of all, they don’t own them. Work made in-house in a corporation is completely theirs to be used forever, however they see fit. A freelance gig is limited to the contract, and typically you have to keep paying for different uses, or pay a lot if it’s expected to be used for something big.

How dare these skilled workers... sorry, freelancers, leverage themselves. If only we, the corporation, could control and treat the work of freelanced art direction like we do Corporate Memphis. Well, maybe we can—with AI.

AI is a whole can of worms of its own. But I will outline how AI shares a lot with Corp Memphis in terms of mechanics, but it's not "good enough" like Corp Memphis is in terms of its aesthetics.

Let's put it like this, if Corp Memphis is above a stock image, which is above clip art, which is above a farting Elsa asset-flip mobile game, then AI-generated images are below that, sharing the same disdainful semiotics of a YouTube thumbnail. AI renders are synonymous with trash, with viewers combing over images seeking out any sniff of AI to decry it. This is, of course, unfortunate for corporations, because AI is wonderfully cheap and efficient to produce. The problem with even "the best" AI is that it still reeks of AI, because it's trained on relatively limited data sets that are the wrong semiotics that corporations typically use and that their consumers are typically familiar with. It's not consistent with typical standards and trends. But even the AI art styles synonymous with AI are really that of unfortunate ArtStation artists whose work has been stolen, scraped, and trained into these models. But none of it is directed, follows trends, or should I say, reflects trends favoured by brands.

Design industry standard work is also bolstered by their industry standing. Their "credibility" sets them apart from, as Mark Zuckerberg puts it, the worthless creators and publishers who ‘overestimate their value’. Sure Zuckerberg might say design is worthless, but let's not forget that Facebook Alegria, the design language developed for Facebook by the mega studio Buck Design in 2017, pretty much started Corp Memphis! I don't know how much that would have cost Zuck, but given how huge Buck is, I don't know, close to $1 million if I had to speculate. So what Zuck is actually saying is you are worthless, without your titles and industry standing, and are ripe for the scrapping.

I still think it would appear crass to the wider public if someone as tactless as Zuck were to steal wholesale from something like It’s Nice That's list of featured artists, due to the "prestigious" tutelage and culture capital of such trendy practitioners. Good luck if you're on your own though.

There's also the issue of copyright. I've no idea how litigious David Rudnick is, maybe he wouldn't even mind, but perhaps it would be legally safer to just hire a copycat of him rather than train an AI on his work. There's no shortage of copycats of him after all, and they'd probably do a better job than AI anyway.

No, a corporation if it wants to avoid all this mess will instead use AI this way:

Step One: Moodboardism

Directed by their little Pinterest moodboards and Instagram saves, a corporation will find the next latest and strongest trend that they want to utilise, be it Y2K or whatever's current on the human ant colony-as-algorithm site, Carri Institute's aesthetics.

Step Two: The Sellout

Hire an on trend freelancer with a large sack of money marked with a dollar sign to do a year's worth of graphic content in a particular on trend style. This is all then fed into their in-house AI database model.

Step Three: Rise and Grind

It's then handed over to the in-house sweatshop graphic designers as the latest toolset that they have to use. They're now tasked with grinding out prompts in this trendy style with the consistency, efficiency, and speed once only achievable with Corp Memphis.

So congratulations, now we have AI that isn't generic Facebook shrimp Jesus trash; it'll be its own unique trash. And sure, perhaps some AI artefacts might come through, but that's what the in-house graphic designers are for— to Photoshop those fingers. The corp no longer needs to put up with some meddlesome expensive freelance art director, as the AI model is consistent enough that someone in-house can direct it, just like Corporate Memphis. And even then, if it still comes across as AI-ish, the hope is that for the general public, it's "good enough", just like Corp... You get the idea.

And this is possible because a freelancers' perceived autonomous strength as corporate mercenaries is also their biggest weakness. They think they can dance with the devil and win, making essentially veneers for capitalists, never once thinking the corporations will one day come to extract capital from them too. Corporate Memphis is never going to die; it's going to mutate into a corporate zombie... Corp Zomphis?

Why bother hiring individual skilled freelancers to do a job in a specific style when you have a year's worth of art, seeded by one of them, to prompt out your own "unique" designs in their style. It's more efficient and cheaper to approach design as a egragore hungry for its next feed, rather than pay for a single illustration. But you'll just have to trust me when I say that I'm not making this up; annual hires to train their own ai is genuinely what big corporation are doing.

But what about the industry, are they just gonna let it happen? I don't know. But I think freelancers don't typically see themselves as a working class, but instead as individualistic, competitive even, little businesses. This is why I think corps will be able to steamroll over freelance designers and illustrators with AI driven Corp Zomphis, because there's no solidarity amongst designers and illustrators, unlike US animators with their union and perception of themsleves as workers. If one freelancer rejects that devil deal to make the annual quantity of prompt feed for a corp, then the next hire will. I remember even hearing the AoI stressing how it wasn't a union, as if union was a dirty word. Instead its existence is to help one interface with their corporate client overlord. Well, soon enough that interfacing will be about betraying your industry freelance brethren to a corporate egragore, basically turning everything into a potential Corporate Memphis reskin. If Corporate Memphis is the design logic of the economy of the 2010s, then I wouldn't be surprised to see people nostalgic for it in the future, if the speculative 2020s model I've described turns out to be true.

#mclalan #art #illustration #corporate memphis #design #essay writing

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ai-satin-chic · 3 months ago

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Another one from the AI-Satin-Chic mailbag.

"I love your videos!! How long does it take you to make them? What is your process for making them?"

Well, the answer is quite a long time - and it depends on whether I include animations. My recent videos usually include animations, which add a LOT of time to the process. Here's my current process:

1- Come up with a "theme" for the video. Could just be skirts, dresses, maids, petticoats or whatever.

1- Generate the images x30 (this is the hardest part!)

2- Edit the images x30

3- Upscale the images x30 (paid service)

4- Re-edit the images to remove upscaling errors x30

6- Animate images (if animated video) - generally animated videos have fewer images, around 5-15, depending on how long the animation takes to make (paid service)

7- Use Suno to make music which suits the theme of the content (paid service)

8- Pull all the images/videos into a video editor and edit them so they "feel" right as they appear in the video.

9- Add video transitions, fading, end screens, audio mixing etc

10- Upload to YouTube, and optimise to try to get more eyes looking at it

And all this while sometimes forgetting I even started it in the first place. At the time of writing, I've done 137 videos, each one with around 25-30 images, so that's around 3500 images on my channel now! Each video probably takes a couple of days work, depending on .. stuff.

In total, I use six different programs. Eek!

So there you go. Another mailbag question done :)

#long hair #satin suit #skirt suit #office #secretary #black satin

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houndsofbalthazar · 2 months ago

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Found a cool youtube channel with technical trivia about Animal Crossing, mostly the original one. Watched the video about Mr Resetti, the angry mole who yells at you if you reset the game without saving (he's not in New Horizons cause it has autosave) and it reminded me that I think he's actually a really neat piece of design. Animal Crossing is clearly not intended to be played in a reset-heavy way, you're supposed to play and what happens happens, it's a real time life sim game after all and save scumming goes against the vibes it's going for, and so it makes sense to forbid resetting. What I like about the earlier approach compared to just autosaving though is that despite getting very mad at you and in some games pretending to delete your entire save file just for resetting, Mr Resetti never actually does anything beyond waste your time, you can still reset to your heart's content as long as you're happy to sit through some long dialogue every time you do. It doesn't forbid you from playing the game in a way you might want to, but just makes it inconvenient while pretending to be much worse. Very cool bit of power left in the player's hands to keep playing how they want while discouraging them from optimising the heck out of it by save scumming every possible random encounter.

#my text

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h3rmess · 11 months ago

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gang... am I cooked?

I've started thinking of my academics in a blue lock sense and it's actually working

like if you think about it, if you currently have the desire to do well, you've already got the baseline egoist mentality.

to build that up, you need a long term goal and short term objectives to reach that goal.

so like for example, to get top grades, I'm chemistry, I need to study all the content and make sure I understand it.

then after that, you have to devise a way to get to those top grades. you need to think about what makes you able to do well on the tests, and it has to be something unique to you. that's what your weapon is.

referring to the whole "making soccer from zero" thing, by putting all of these components into practice on a mock test, if you do well it will solidify your hope in yourself which will push you to do better.

then using the puzzle piece analogy, you need to find your chemical reaction to produce good grades. you have to find what studying techniques enable you to get there and put them together to create a formula.

then by optimising those studying conditions, you can produce more top grades.

ofc it's important to have something that is continuously pushing you towards that goal, so I think it's important to find out what that is before you do anything.

they actually call me isagi btw

anyway, I was just thinking about this bc exam season is coming up, so I want to focus and do well.

be an academic egoist, everyone. it's good for you 😈😈

#blue lock #bllk #egoist #exam season #bllk isagi #blue lock isagi #isagi yoichi #academic egoist

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cheriiepies · 9 months ago

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Pairing: Charles Leclerc x fem!reader

Warnings: swearing, angst, enemies to lovers

Note: This is my first fiction, and I know it is not perfect. But I will try to improve. Btw, big thanks for @papaya-twinks as she helped me with this fiction a lot!! SO THANK YOU POOKIE(((ＵωＵ｀ *)(* ´ＵωＵ))).

Since the karting days the relationship between you and Charles was sour. It felt like any opportunity for bonding or getting to know each other was filled with long arguments over stupid things, fights, battles (and stubborness)

It was a race weekend and you were walking in the paddock towards your team ready to do some media work and content for the fans with your *favorite* teammate, Charles. Those challenges you did for the youtube or instagram is always filled with passive aggresivness or extreme competition.

As you were reaching the Ferrari garage you heared a familiar voice calling you over:

-"Y/n! Charles! Here you guys are. I need to speak to you two , alone". Charles glanced at you briefly:

-"What did you do now?"

-"Well hello to you too, Charles. I am fine how are you? And for the record the last time we were called in his office was when you fucked our race up!"

"Oh, get over it. Not my problem that you cannot control a wheel". You rolled your eyes at that trying very hard to not bite back

They entered the office seeing a very serious Fred looking at them.

"I hope you guys know that I won't tolerate any crashes that happened between you because you were too stubborn to listen to your race engineers!"-he said his voice rising at the end as this was certeanly not a rare inCHident(got that?). "We have the ability to get the podium as the car is perfectly suited for this circuit. P3 and P4 are not a bad starting position. We have to get the most out of this opportunity. Understood?". Both of them agreed, trying to talk less as it would cause more arguments.

"I won't let you ruin my race again y/n" charles said as they were leaving the office for an interview that would start in 20 minutes. "Can say the same about you. You can not tolerate me being ahead of you. It seems to be hurting your ego. The only reason you can secure podiums is because of the team orders. " He could only chuckle at that finding the idea amusing. "Well, the reason is I am the better driver in this team, so you do as the orders say." "Fuck you Charles! You act like you are all that, when in reality, all you do is blame the car or me when something fucks your race up, but it is you. Maybe you should get your head out of your ass and realise that you are not as good?" Ypu knew he was a good driver. But you still liked pushing his buttons. Charles could only glare at you not wanting to say things he will regret later. It was just a silent walk after that as they all sat in their beloved places during the interview.

Timeskip: the race

-“Right, Y/N, we’re starting in P4, let’s see if we can optimise this position,” your engineer spoke calmly. You replied with a simple and calm ‘yes’, knowing fully well of your own motive. Beat Charles. He’d already been a right ass about having qualified P3, one spot ahead of you, by less than a tenth, and what you wanted? To wipe his filthy little smirk away.

And so the formation lap begun, your eyes fixed on the rear wing of your teammate’s car, watching as he drove round the circuit. Five lights. Out. Instantly, you tried, and failed, to overtake him, feeling the threat of the number four car behind you. “Fuck,” you hissed, pressing harder to get away from him, your eyes trained on Charles. Sure, the team HAD warned you two on how these constant fiery battles could end up costing you the win or points at the minimum, but you were not one to back down. And neither was Charles, apparently. After 40 laps the cars ahead of you were starting to pit. It was an easy overtake to p3 and charles p2. But you wanted more. So you tried to overtake Charles even if your race engineer told you not to, as it is not safe with the tyres and they did not want to risk anything. As you were trying to overtake the wheels touched and it sent the both of you out of the track ulitametly crashing each other.

"What the fuck was that!" Charles was rigtfully angry. It was the perfect moment to secure P2 or even get a P1. You both got out of the car. You wanted to apoligize for ruining his race.

"Hey, I am sorry it was an accident, I miscalucilated and- "shut the fuck up! You always do this, why couldn't you just listen?. And now we are both out of the race. Do you realise how dangerous your driving is? Maybe they were all right about you. You do not deserve your seat! It is a miracle you could even get out of F3 alive!" He kept going on about how undeserving you are of the seat. It hurt you more than you cared to admit. Even if you disliked Charles(or so you thought), his validation and approval was still something you craved. You admired him since the beggining of your F1 rookie season. You looked up at him trying to hide your tears- " I said sorry, mistakes happen. I hope you forgive me . I have to go". Charles felt guilty at his harsh words suddenly realising that you did not deserve all that shit. He wanted to apologize but you were already gone. He was zoning out while the reporters asked about the crash, replaying it on the screens. All he could think of is how sad you looked when he was lashing out on you. He did not see you all day, not on the paddock not,after the race. You where nowhere to be seen.

It was already late, he could not sleep. The guilt was eating Charles up, his harsh words replaying in his mind. The way you looked so sad. It bothered him a lot, he did not actually wanted to hurt your feelings, he wasn't thinking right saying those things. With out thinking much his worry carried him towards your hotel room. Charles slowly knocked on the door, not hearing anything he slowly opened it.

" y/n? Are you here? I am so sorry about what I said. I wasn't thi-". Charles stopped talking as soon as he saw you laying on your bed with red teary eyes. Hair disheveled, laying on your bed trying to wipe your cheeks. "Hey, hey. Are you crying because of today? " he instictively came closer to you, wanting to comfort you. "I am so sorry, I did not want to ruin your race! You were right about me , maybe I am a bad driver. You have all the rights to hate me"- you rambled, trying not to cry again. "I was mad and said things that weren't true. You are a great driver y/n even if I tell you otherwise. I was an asshole and it was unfair of me to say hurtful words like that. Accidents happen. And for the record, I do not hate you. " Not realising Charles was holding y/n close, hugging her, not wanting her to cry anymore. Charles denied his protectivness over y/n, though his actions spoke otherwise. It made her feel butterflies in her stomach even if she tried to deny it.

"I forgive you too. You had every right to be mad at me. And I do not hate you either. Not at all. " You suddenly felt shy at the position you were in. But he still kept you close, gently looking at you. There was something else happening at the way you looked at each other so softly. He slowly leaned in, giving you the chance to back away if you did not want this. But you both wanted this. His lips were soft and gentle as he held your cheek and carrased your hair lovingly. As you pulled away, he gently whispered, "I can never hate you."

#f1 fanfic #charles leclerc #charles leclerc x reader #charles lechair #charles leclerc imagine #enemies to lovers #f1 x reader #f1 imagine #f1 fic #ferrari #charles leclerc x you #charles leclerc x y/n

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