#pilot development

[askstrangeweird]

Progress update on the Glitch Hunter HQ set modeling: At a point where I feel like once I get the curved windows in, I can call at least the front facade of the building done and can move into modeling the rest of the building and floor plan.

[lorenzonuti]

Malware detected.

[wombywoo]

#OC Vincent~

[smovs]

barret breakthrough: the trick is to paint his scalp under the buzz cut as if it were bare skin, then paint his stubble over top. the highlights & roundness of his head's gotta show through the buzzed hair 🌠

[chopshajen]

10-11.

The Twenty One Pilots posting continues with some Torchbearer/Clancy based on a screenshot from the Navigating MV that gave me feels ough augh augh [taking tick damage]

[thelaurenshippen]

fellow writers, a question for you. what are we doing when our imagination starts outpacing our skill a lot. I know that taste is always running ahead of ability, but I feel like I spent 2022/2023 making massive improvements in my writing and for the past few months it feels like I'm a kid with crayons trying to paint the sistine chapel. I've been reading craft books and doing exercises and all that I just feel stuck!

[unsteadylilactree]

the progression from "there's a morning snack and a midday snack" and "20 bucks for pizza" buck looking after his friend's kid to "bobby's famous lasagne: 6 types of cheese cooked to perfection" buck cooking for his family to "that's makes me your sous chef" teaching his kid how to cook is making me go so feral.

[nemotakeit]

no one touch me

Leave The City was "One day I'll leave this place, but right now, I can't. In the meanwhile I'll fight to stay alive and not lose hope about making the final escape. We're in this together."

Paladin Strait is "I'm risking death to return to the very place they battered my soul in to dismantle the whole system and thus make the final escape. We're in this together."

[nats-uvi]

Angst time :D👍

You can read my rambling about her in the tags

[fallow-grove]

PILOT WANDERS!!!!!

[id: an arrangement of 9 screenshots of Wander from the Wander Over Yonder pilot. The images depict him grinning, lying flat on his back clutching his chest with a panicked smile, folding his arms around his head and smiling contentedly, making a silly face, speaking as depicted in the pilot animatic, listening, wearing a blonde wig and holding a trophy, frightened, and smiling while receiving a noogie from Sylvia, respectively. end id.]

[jp-nichts]

Are you supposed to have a favorite Random Encounter?

So Reactors & Romance has an Emotional Encounter table for GMs to roll on to spice up the action and provide some opportunities for players to make Romance Rolls, if they aren't already. When writing these random encounters the "Single Seater" was my favorite! It plays on a favorite romance trope of mine and in playtesting so many players kept naturally doing it on their own accord. I was totally here for it and loved to see it happen every time! But recently I think the "Parent/Guardian Calls" has taken the spot for my favorite.

Recently, I had a PC who's ex was the big bad. His parents called up asking "When are you going to visit next? You know you're father's boyfriend really wants to meet you? Are you going to bring one of your partners with you this time? Maybe that lovely guy Wade (the big bad) His mech was so fancy! What was he up to these day?" Meanwhile the PC is trying to fight off Wade's lackeys. Desperately trying to stop Wade's colossal walking mech carrier.

The best part was at the end of them game. Instead of finishing off his ex, he ties up Wade, throws him over his solder, and brings him over to visit his parents still bound up 🤣

Don't get me wrong, I totally love all of my emotional children equally, but seeing this one play out is absolutely hilarious! Not to mention, it's great to see players reference back to this encounter. They'll bond with another PC or NPC and end up bringing them home to their parents at the end of the game. It creates a nice little epilogue for their character 💜

[artsandstoriesandstuff]

ONCE A MONTH WENDELL PITCH BIBLE AND ART BOOK!!!

Well, most of it anyway. I might add a few more sections.

You can scroll down to read it but it may be easier to see if you click on the image. There IS a section at the bottom so you may end up scrolling regardless lol.

(From my research with TV show content labels, OAMW would be rated either TV-PG-V-D or TV-14-V. I'm still stuck with that.)

((Also, mild blood warning throughout!!))

If you read this entire thing, first of all: THANK YOU!!!

I've had the idea to make pitch bibles for a while but this is the first one I've gone through with.

If my writing seems slightly different here, it's because I was working on my voice, and how I would ACTUALLY present the pitch.

Most importantly, though, please let me know what you think!!! It doesn't have to be much. Any feedback will help me in the future (and saying something lets me know you read through it)! Should I do more of these in the future?:D

(also this is the biggest collection of references of these two... so if anyone would be willing to draw them- *dies* (/j. also /nf on the art thing lol))

@yago-undertale since you wanted to be tagged!! :)

[the-solar-system52]

I've had an epiphany.

[thethiefandtheairbender]

I think the biggest difference for me between projects (like to be clear I think NATLA is not good as an adaptation or a show, and I think the PJO tv show works as an adaptation and a show) is something that feels so basic, but shocked me when it clicked, which is that

NATLA has no actual visual storytelling going on

Which sounds ridiculous, but let me explain what I mean. "Visual storytelling" is how you communicate aspects of character or relationship through visual framing, parallels, that kind of thing, usually to indicate progression or a character's viewpoint. Many people have noticed that NATLA's cinematography leaves much to be desired, there are some shots that are good particularly in episode 6 (the Zuko transition shots between past and present, and one of the ending shots between him and Aang) but that's by and large the exception.

What I mean when I say "visual storytelling" is that NATLA doesn't have visual motifs. It doesn't really have parallels happening that much in the text or in the visuals. And this is something that ATLA did really, really well, all the time, particularly with Zuko's scar. Just take this framing of Zuko and Aang, in particular, from The Storm and The Blue Spirit.

They even have consistent colour tones of Aang having a warmer, lighter yellow (Air Nomad) and Zuko having a darker, deeper red (Fire Nation).

And this is something I think Percy Jackson does pretty well. They have consistent motifs / descriptions if it were, particularly when it comes to Percy and Annabeth's relationship and her character.

Percy: [Choosing Annabeth] And if the mission required someone to push me down a flight of stairs for it to succeed, you want someone who won't hesitate when they do it.

Percy: [literally pushes her down the stairs but to save her life]

Ares: You're new to the family, young one, so let me fill you in on how we work. [...] Olympians fight. We betray. We backstab. We will push anyone down a flight of stairs to get ahead. Annabeth: This isn't the Arch, Seaweed Brain. You're not pushing me into the stairwell aagain. Percy: Yes I am! [...] It's why you're here. When I was choosing my team, I told Chiron I needed someone who wouldn't hesitate to sacrifice me if the quest required it. He agreed. That was you. [...] You're better at this than me. You just are.

Annabeth: [Refusing to get back in Athena's good graces] It isn't how it should be! It isn't. Eat or be eaten [referencing the Kronos story Ares said earlier]. Power and glory and nothing else matters. Ares is that way. Zeus is that way. My mother is that way. He isn't that way. He's better than that. Maybe I was that way once. But I don't wanna be that way anymore. I won't be like all of you. I just won't.

But we also see this visually.

And to be clear I think it's well done, I'm not saying this kind of thing is a Masterpiece™ but what I am saying is that if you do these things, it's a great way to convey information to your audience visually and a sense of progress both in individual characterization and relationship development. And it just makes sense to lean on things visually if you're a visual medium, because prose can't do framing like this to the same degree.

And NATLA just... never does it. There's almost no real parallels, there's very little framing happening, and the even more intense overload of exposition does not help matters in this way either. The original series had a lot of parallels steadily built up (i.e. Aang's presence in the SWT and Sokka's plotline in Jet -- hell, even some of the lines he gets at Roku's Fire Sage temple -- were to show how Sokka was moving away from a more xenophobic worldview even if it was still a work in progress). There were also more overt ones, such as Sokka dressing himself for battle versus Zuko having guards/servants do it for him, but both ultimately tether the two together into having to put on a performance of confidence, manhood, and war more so than being the children they actually are.

And NATLA just has... no real visual parallels. The closest we get is the parallels between Sokka-Yue, Tui and La, and Kataang in the finale, but that's about it.

There's not a lot of scenes where a character is presented the chance to make a similar choice only to then make a different one. Even Aang wanting to go to the NWT to make a difference is muted because he never actually ran away in the first place; when you rip away character flaws or mistakes, you also gut their room for growth. When you strip away visual storytelling, it means that what you see on screen is a 1:1 of exactly what you're getting, and that is just a lot more Boring to watch as well as gutting your chances to show more character exposition. And it's just - it's just not good

[purple-st4rz-556]

wsg chat 😼😼😼 new art that I've spedrun this month

[thelaurenshippen]

*through gritted teeth as I write the worst first draft of any script I've ever written* it has to exist bad before it can be made good it has to exist bad before it can be made good it has to exist bad before it can be made good it has to exist bad before