#so that the illusion would be more realistic. I know this trend is a bit outdated but I tried to add to it- make it look like more like a r

[makeuphall]

[gascon-en-exil]

I Liked Fates Before It Was Cool!: Revelation Part 2

Prologue

Opening Chapters

Revelation Part 1

Chapters 13-19, in which everyone’s going to Valla even though half of them suck.

Chapter 13

Hey look, Hoshidan scum!

Ok, meme comedy done. This is in my opinion the first really strong chapter of Revelation, with satisfying gameplay, escalation of the threat posed by Valla, and some good character development. It’s an utter tragedy that it takes place against the literal backdrop of Cyrkensia’s ruined opera house, but I can (mostly) live with the destruction of my favorite setting in Fates when it’s so effective at getting results. Azura still gets to sing here after a fashion, and although there’s no cutscene to go with it the results of this particular show do a good job of subtly foreshadowing that Azura and Mikoto use similar pacifying magic from the same source.

After Kaden and Keaton are done lampshading why the party always runs into shapeshifters in Cyrkensia, it’s time for Corrin to step between Xander and Ryoma as they left them back in Chapter 6 - at each other’s throats in a conflict ultimately engineered by Anankos. It’s a good demonstration of what the war between the two nations would look like without Corrin’s intervention, and the crown princes’ characters logically follow from their behavior as antagonists in the other routes. Xander is resolved that Corrin is a traitor and merits only death, whereas Ryoma is more hesitant to accept Corrin’s choice and, unlike in Conquest, willing to listen to their stated motivations when he’s not on the verge of death. Ryoma’s mellower outlook may be attributed, oddly enough, to the strong intimation that he’s got something going on with Scarlet, something I completely forgot about until I replayed this chapter. I don’t blame myself for doing so; in an Avatar free-for-all dating game romances between the other playable characters are naturally going to get short shrift in the story, and it doesn’t help that Birthright doesn’t suggest this relationship at all even though it’s the one route where both characters to survive to the end. And...yeah, there’s that part, but that’s for a bit later. It’s interesting to imagine how the different circumstances of Revelation could have encouraged Ryoma and Scarlet to grow closer in Revelation than they do in Birthright, though realistically it probably just boils down to Corrin not being there for most of their time together.

In any case, Ryoma shares what he knows about the Rainbow Sage - odd how the fourth person to visit the Sage is still Xander on this route when in the others it’s unsurprisingly the opposing older brother - and Corrin and co. are off to follow the path of Conquest 10 and 11. At least there’s no sequence-breaking teleport books this time.

Chapter 14

This time I’m not focusing on the cutaway to Garon and co., because his obvious gloating has reached such alarmingly stupid levels that I have nothing more to say about it. The payoff, such as it is, to that plot thread is still a few chapters away anyway...as is the appearance of Iago and Hans, who have yet to do much of anything on this route and yet get to appear as bosses at a plot-critical moment. Boo.

Let’s talk about unit balancing instead. Elise shows up with her she’s-legal-we-swear panty shot, and one look at the stats of her and her retainers showcases another glaring problem with the gameplay of Revelation. From this point onward, there’s really no point in training any of the numerous unpromoted units the game throws at you, because there’s no time to raise them up to par unless you do a lot of grinding. This is one instance where Revelation’s similarities to FE10 are more superficial than they first appear, because 

1) when compared to just one route of Fates Radiant Dawn is a much longer game, and in fact at 43 chapters still holds the record for the longest individual story campaign in the series. Revelation’s pacing and design suffers terribly from the requirement that it cover the same number of chapters as the other routes.

2) Radiant Dawn also has a massive roster (second largest in the series behind New Mystery) with several units who come behind the level curve, but they’re spread across the course of the game rather than lumped into a span of a few chapters. Examples vary from earlygame recruits just a bit behind (Meg) to underwhelming midgame units (Kyza and Lyre) to a bonus run Est type in lategame (Pelleas). 

3) and most notably, units in FE10 are divided into separate armies with different resource pools until lategame. While the balancing between those is infamously unequal, this setup almost requires that you train more units than you’ll ultimately be sending into endgame, giving even the lesser ones a small chance to shine.

I imagine that the design philosophy behind Revelation is that the player would be expected to spend a lot of time grinding on this route to get its numerous unique supports and raise a much larger army. It seems intended for a slower pace, particularly as this also helps with building up the castle base when you’ve got duplicates of most buildings to upgrade. I still don’t care for it though, because I don’t feel like taking that extra time to raise an oversized army and because some of the recruitments continue to be unexplained in story. Why would two border guards join in the invasion of a foreign port? Revelation doesn’t know or care, but it’ll make you run your new underleveled healer to both sides of this large map to recruit them regardless. At least Elise is mounted....

Chapter 15

Seriously, look at this. These two join in the same chapter, what the hell. This isn’t even mentioning that these are also some pretty random recruitments. Shura is awfully nonchalant on hearing that Corrin got his revenge for him, and Nyx has no more reason to be here than she did in Conquest 9. With her it really feels like the writers had a great (if highly fetishistic) concept for a character and came up with a plausible backstory only to find that there was no way to fit her into the plot, so...here she is. On a related note, Nyx is the only first generation character other than Gunter to outright not appear in one route, and at least there’s an explanation for Gunter’s absence in Birthright. Her presence really is just that random.

Before doing the write-up for this chapter I read back over what I’d written for the Sevenfold Sanctuary in the other routes. The gameplay of the Revelation iteration offers nothing really to speak of, lacking either Conquest’s class and skill-themed rooms or Birthright’s power jump. The Rainbow Sage uses an alternate old man sprite initially to make it less obvious that he’s repeating the same trick he pulled in Birthright, but his exposition at the end is worth the trolling for finally confirming that he is indeed a dragon and giving us the obligatory Fire Emblem name drop. Fates’s cosmology reveals itself to borrow mostly from Jugdral of all places, though I’ve never yet seen anyone try to piece together the scattered hints of worldbuilding to link the twelve dragons of the two settings. I’m certainly not going to attempt it, because even with divine weapons and draconic-blooded families in the mix there’s remarkably little to conclude definitively that the First Dragons of Fates are/were the dragons that appeared to Jugdral’s Crusaders. My pet theory aligns it a bit more with Tellius because of certain other observations about Fates’s setting and because something is going to have to connect the dragon laguz to the rest of the series’s lore eventually.

Chapter 16 + 17

I’ve been pretty down on Revelation thus far, and at first I was fully prepared to rip into these two chapters in similar fashion...and then I finished playing through them and changed my mind. If I had to pick one moment from FE14 to represent in miniature the beautiful mess that is this game, with all its inventive concepts and missed potential, its stirring emotional moments and lazy copouts, I would choose these chapters. In spite of everything they nail the very best of what Fates offers on an emotional level, and as a midgame climax they land almost as well as the Branch of Fate lands as an establishing moment.

And yet there’s so much wrong with them! Hans and Iago have never been flatter or more inconsequential antagonists; note that before this point in Revelation they’ve done nothing aside from knock Gunter off a bridge and use an illusion to piss off the Wind Tribe. The Ryoma/Scarlet angle is abruptly dialed back to the friend zone, presumably to make it okay for the Avatar to bone them, while Hinoka abruptly joins in the action after having been forgotten about for eleven(!) chapters bar one throwaway mention in Chapter 13. Xander and Leo’s apparent betrayal of Nohr has little bite to it even from Iago as Garon might as well not exist by this point, and their retainers fail so hard as backup I almost always just send them to a corner to wait out the battle. Speaking of which, the trend of underleveled units reaches its zenith, here where maybe four of the eleven units obtained in these chapters can reasonably be used without grinding after this point. It’s even worse than the torrent of garbage units the Archanea games throw at you, because at least those sometimes come with nice stuff in their inventories (hence the “Free Silvers” tier jokingly used on some of the DS tier lists back when those were popular). And to cap it all off the ticking timer that’s been running from Chapter 7 up until this moment, of the skies over Hoshido and Nohr switching as the moment that the portal to Valla will close, makes no sense either (meteoro)logically or narratively except to add unneeded urgency and entice a few of the characters to the Canyon. For that matter, since Revelation appears to take place in the same time frame as the other two routes it’s baffling that this bizarre bit of worldbuilding goes unmentioned in them. Wouldn’t it be kind of a big deal for Nohr to get a normal sky every few decades, and for Hoshido to get a bad one?

But somehow despite all that when the Nohrian brothers show up in Chapter 17 and the music switches to “A Dark Fall” (quick aside, but one thing I love about Fates as a whole is its soundtrack) I fully got what the developers were going for, and to see all the royals finally interacting with each other - something sorely missing from Chapter 6, if you recall - and calling a truce to face whatever awaits them in Valla together just sealed that feeling. The Hoshidan and Nohrian contrast to these two chapters followed by a scene of Corrin’s families united for the first time really sells the main draw of Revelation, even if for some of them the buildup to that moment was rushed (Takumi, Camilla) or just not there at all (Hinoka). Yeah, it comes with the distinct aroma of Avatar-centered plotting like everything else on this route - as Ryoma actually points out in Chapter 16, funnily enough - but even though some of the particulars are undercooked and most of the circumstances are downright silly I can completely get on board with this group of people in this moment banding together to, uh, jump off a bridge before an interdimensional portal closes because the sky is changing color and...ugh, never mind.

Chapter 18

I will say this for Valla: I really enjoy its visual style, a sort of supernaturally-ruined pastoral idyll that resembles nothing like the world above. It also helps that it’s not tied directly to any real-world cultures like Hoshido and Nohr are, and its nods to Middle Eastern, Indian, and exclusively in localization (I think?) Greek cultures come across in the series’s more typically understated fashion. Of course that otherworldly quality lends itself to more frustrating map mechanics, so it’s not entirely a positive. This one isn’t so bad provided you’re fielding a bunch of royals to activate all the Dragon Veins - and really, it’s not as though the player needs another excuse to use them to the exclusion of almost everyone else.

But of course the big moment of this chapter is Scarlet’s death. The bit with the flower is a painfully obvious hint to recall when it comes time for the reveal of her killer, but nevertheless the sequence does well despite that and some awkward staging with battle models. What doesn’t work quite as well is the reintroduction of the Ryoma/Scarlet angle just to add more punch to her death...completely ignoring the possibility that Corrin might be married to either of them (and Scarlet just undergone what had to have been one of the most hyper-accelerated pregnancies in all of fiction, if you want to be really sadistic). Because of their earlier buildup this may be the most egregious example of Fates needing to ignore its own support mechanics for the sake of the main plot. In any case, if Corrin didn’t shack up with one of them the scene after the chapter is pretty solid. I consider it comparable to Lilith’s death scenes on the other routes, since she also dies taking a hit for Corrin, but as the circumstances are less random and Scarlet actually gets most of her characterization outside DLC it’s much more effective overall.

Chapter 19

Enter the strange child with the oversized forehead. At least it’s not immediately obvious that’s he’s evil, I guess?

It’s interesting to note that the Valla chapters are structured almost as a route unto themselves, having to establish a new set of characters previously unseen in Revelation and not seen at all in the other routes. Although in terms of gameplay they function more like an extended endgame in the vein of Radiant Dawn’s Tower of Guidance, bizarre architecture and all. I’ll be talking more about Anthony and Arete and the others later on, but I wanted to note the setup for when I talk about it in the next post. 

The intro to this chapter also delves into a bit more of Fates’s cosmology, specifically its deified dragons. Xander asks what only Iago thought to question in Conquest, namely why Garon would worship Anankos and not the Dusk Dragon, only to get the obvious but still technically necessary reveal of Garon’s true nature. I do like that the First Dragons are vague enough in their presentation that I could believe either that the Dawn and Dusk Dragons are just different interpretations of Anankos or that they’re all separate entities. As I recall however this is somewhat muted by the knowledge that the emotional payoff re: Garon is going to be rather muted when it finally happens, so this really is just more vague worldbuilding. 

Oh, right, the chapter. It’s Conquest 15 with a bigger party and entirely too many items drops on the optional path. Why the developers think the player needed so many items thrown at them in a game with no durability and a route with no shortage of funds I’ll never know.

Next time: Revelation Chapter 20 - Endgame

[scripttorture]

Hi! I have a character who tortured in the past (as part of the police) and stopped for multiple reasons including getting fired (because he couldn’t do his job) that took away the opportunities to torture. MC will mention him losing his job but would this be due to deskilling or poor mental health? When does deskilling really start? Is it ok to mention that the mental health problems (anxiety and depression, alcohol addiction in attempts to self-medicate, and memory problems) showing up [1/2]

[2/2] over time since the addiction takes time to become apparent and is a response to anxiety and depression? Or are torturers simply more likely to engage in behavior that has risk of addiction (and what about gambling?) I was considering setting this story in 1930s America but don’t want to imply police torturers only exist in the past. The torturer does have support in a spouse. He’s going to ask MC with help finding a job but he’ll get fired and MC will look bad for suggesting him.

I don’t see a problem with having a historical setting for your story.Saying that torturers, of any stripe, existed in the past isn’t the same thingas saying they don’t exist now.

 I do have a little bit of information on the techniques American policeused at this time but it’s specific to Chicago and I don’t know if it maps tothe whole country. I’ll leave it out for now and focus on the rest of the ask.:)

 It’s difficult to pin down an exact starting point for deskillingbecause it’s not always well defined by researchers: it’s an observationaltrend rather than a single measurable variable.

 For writing purposes I think the best way to think about it is gettingout of practice. A police officer who is torturing isn’t engaged in any sort ofpolice work beyond a really shallow surface level.

 Imagine…some kind of puzzle game you enjoy. Practice makes you quickeras you start to recognise different patterns and approaches. If you stopplaying for a couple of months you might find it difficult to start again, you’reout of practice and not at the same level you were before.

 You could argue based on that that deskilling starts immediately, but Iwouldn’t expect to see a sharp decline immediately. The decline is also goingto be less apparent if he’s partnered with people who are actually doing policework and picking up his slack.

 That said- a former police officer told me that wherever possible he’dpartner ‘lazy’ policemen together because he said someone who didn’t work hardon the job would decrease the effectiveness of someone who did. And torturerstend to actively try and recruit people in their own units. Which essentiallymeans that while his partner may not have been engaged in torture they mightwell have been turning a blind eye to it.

 It also worth stressing that in a policing context deskilling doesn’t necessarily mean a drop inarrests. It means a drop in arrests ofpeople who are likely to be guilty. Quite a few police torturers wereapplauded for their high arrest rates before their crimes came to light. Theywere essentially picking up random people (usually from marginalised groups)and pressuring them into confessing. This can create an illusion of efficiencyand success.

 Commander Jon Burge of the Chicago police force is a good example of thatsort of behaviour.

 I get the impression that’s not what you’re going for with thisparticular character and the decline you’ve outlined seems reasonable andrealistic. However if his crimes have gone unnoticed for a long time it’spossible one of his superiors is behaving in this way.

 In terms of what he’s actually fired for,I think rather than approaching it as a question of deskilling versus mentalhealth problems it would be better to think about how those two factorsinteract.

 I honestly don’t know anything about hiring/firing practices inhistorical settings. That said, using a combination of factors would probablywork very well here because it would show the readers just how incompetent thetorturer has become. It will make his dismissal seem incredibly reasonable.

 I’d suggest bringing in deskilling by highlighting obvious things hemissed in cases. If you want to bring in other police characters having anon-torturer finding the obvious evidence the torturer missed (and hencesolving the case) could be a good way to up the emotional tension.

 Depression often impacts someone’s presentation and the amount of carethey put into their appearance, which could be classed as negative byemployers. It can also impact a character’s ability to sleep and eat normallywhich in turn would lower their performance at work because they’re usuallytired and hungry. He could easily come across as obnoxious and irritable.

 Coupled with memory problems I think he could easily struggle to get towork on time, especially during shift work. Not turning up on a night shiftwhere something serious occurs could easily get him into a lot of trouble. Hemight also have trouble remembering where he’s supposed to go if things getswitched around or change quickly (common occurrences in policing). So he mightturn up on the side of town he was working on last week when he’s supposed tobe investigating something else that day.

 This could make him come across as unreliable, uncaring or both.

 Anxiety, and anxiety attacks, could reinforce that impression in hissuperiors. To the people around him it would probably seem as though he’s proneto over reacting to situations and escalating them. Because if he’s in themiddle of what’s…essentially the ‘normal’ physiological response to extremethreat then he’s likely to respond as if he’s in a life and death situationeven when he isn’t.

 As an example: say your character and his partner (let’s call them Alex)are outside talking to a local tough (let’s call him Bob). Bob is posturing alittle and being verbally uncooperative, perhaps even a little insulting. Thisisn’t necessarily a threat and Bob hasn’t necessarily committed any crimes. Butthe torturer character is feeling extremely anxious at that particular moment.He starts posturing himself, perhaps says something inflammatory. Bob getsupset and the torturer becomes convinced he’s about to be attacked.

 A situation that could have been remained a simple chat suddenly becomesviolent. There was never really any danger, but your character is in aprofession that can be genuinely dangerous and he’s primed to see dangereverywhere.

 From Alex’s point of view the torturer has just made both the situationand perhaps the particular task they’re supposed to be doing, more dangerous.From Alex’s point of view the torturer has just dropped both of them in a lotmore trouble for no reason whatsoever.

 This sort of behaviour can make the character look unpredictable andperhaps prone to violence. That old ‘loose cannon’ stereotype isn’t soappealing when you have to deal with it every day and aren’t sure whether thenext unprovoked outburst could be aimed at you.

 I think it’s perfectly reasonable to treat addiction problems as anattempt to self medicate for depression and anxiety. I also think it’sreasonable to show his mental health problems getting worse over time.

 The current research can’t tell us much about how quickly symptomsdevelop in torturers. That’s because the research is done after these people have been torturing for a considerable length oftime. We can say, with reasonable confidence, that they’re usually mentallyhealthy before they start torturing. But I don’t think we can really judge howfast symptoms develop at this time.

 Writing it as a steady decline seems like a reasonable approach to mebecause we’re talking about repeated exposure to traumatising events (iewitnessing torture).

 I think that leaves the question of what drives addiction problems intorturers. I honestly don’t know. I’m also not sure whether any research hasbeen performed to find out. Anecdotally I know that it’s pretty common fortorturers who acknowledge they have an addiction problem to describe it as selfmedicating. Based on that I think it’s reasonable to write it as self medicatingin at least some cases.

 I hope that helps. :)

[acsversace-news]

One of the biggest joys of watching a Ryan Murphy series—at least, the ones based on real life—is seeing exactly how it physically transforms stars into the characters they play. On The People vs. O.J. Simpson, impeccably dowdy wigs morphed Sarah Paulson into Marcia Clark. On Feud, perfectly defined brows and a careful swipe of eyeliner turned Jessica Lange into a dead ringer for Joan Crawford. And on The Assassination of Gianni Versace, Penelope Cruz has pulled off one of the most drastic transformations yet, taking on the role of her friend Donatella Versace.

How much hair and make-up did that take—and what, exactly, is going on with her plump upper lip? We spoke with the show’s costume designers and hair and make-up team to find out.

THE CLOTHES

The costume team for Versace consistently worked at breakneck speed due to production constraints, yet their work perfectly captures the Versace era—both the world of high fashion and the grungier elements of the 90s, through the parallel story of Versace murderer Andrew Cunanan (Darren Criss). This was no small feat, considering the team had no help from the Versace family.

When it came to capturing Donatella’s iconic look, costume designers Lou Eyrichand Allison Leach started with the basics—specifically, that tiny waist.

“I feel that a big part of the silhouette for Donatella was the corset, to get that really structured waist,” Eyrich said. “That tiny-waist look was a big part of it, and then the bodycon… And Penelope has a rocking figure as well, so as far as getting that same silhouette, that was easy. And then once Ana and Massimo added the wig and the makeup, Penelope would just magically transform.”

One of the signature Versace looks the two were most excited—and nervous—to recreate was that notorious bondage dress, which Donatella famously wore to the Met Gala in 1996. Leach said recreating that memorable look was both “very exciting and harrowing.”

“It is such an iconic dress, and it it was scripted that it definitely needed to be that dress to tell the story of her coming into her of her own stardom,” Leach continued, describing a scene the series depicts in episode 7. “Just from a construction standpoint and materials, it was such beautiful leather dress that had to fit perfectly—and all these different angles that the neck and the you know skirt had to swath just, just right.” That dress, Leach said, was one of the most challenging items on the show’s list—but also the most rewarding.

One of the most fascinating aspects of Donatella on Versace is how her appearance changes after her brother’s death. Each department made its own contribution to that effort. For costumes, it meant keeping things somber. Though Leach and her team kept the character’s clothes fitted–and of course designer—they also avoided low-cut necklines, and kept Cruz a little more covered up in scenes set after the murder. “I would think that she would feel, you know, maybe safer in those layers,” Leach explained. “And, you know, there’s always elements of jewelry and stuff, but sometimes we downplayed it a little bit to make it more appropriate for the tone of the scene.”

THE FACE

Perhaps the biggest challenge in turning Cruz into Donatella was morphing her face—an effort spearheaded by Cruz’s make-up artist, Ana Lozano.

Lozano said thatshe and Cruz did a lot of their make-up tests back in Spain, before they even got on the plane to film. Together, they sifted through photos of Donatella’s looks, calibrating smokey eyes and contouring to get just the right balance. And if you’ve been wondering what, exactly, is making Cruz’s upper lip so plump on the series, the answer is more obvious than you’d think: it’s an instrument literally called “Plumper.”

“It’s a kind of dental prosthetic to make her lips bigger,” Lozano said. The effect also gives Cruz a slightly different-looking face. “Penelope has enough lips in reality,” Lozano clarified, but in real life, they are a different shape than those of the woman she plays. Lozano also used contouring to finish the look and further define Cruz’s lips—as well as to lightly massage the rest of her features into a more Donatella-like illusion.

Lozano tried using prosthetics for Cruz’s eyebrows, but in the end, it was simpler and more natural-looking to simply bleach them and give them a thinner shape. Then came the eyes—those smoky, smoky eyes. As Lozano notes, smokey eyes have changed over time; in the 90s, they had a rounder look, rather than the more cat-like approach that’s become popular now.

Like the costume team, Lozano worked to make sure Cruz’s “Donatella” physically changed after her brother’s death. She made her skin a little paler, and made her eye make-up just slightly less perfect—“just to make the impression that she was crying and she was not sleeping.” (Lozano adds that she particularly likes Cruz in slightly destroyed make-up, as it “gives more importance to the look.”) For the scenes set after Gianni’s death, Lozano also contoured Cruz a little more aggressively, making her features just a little sunken.

Cruz, Lozano said, was constantly practicing, working to get her portrayal just right; sometimes, Lozano even recorded the actress so she could review her facial expressions, or the way she gestured. “At the end,” Lozano said, “it’s like you press a button; it’s like, Wow. She is Donatella.”

THAT HAIR

Like Lozano, Cruz’s hair stylist Massimo Gattabrussi started working with Cruz in Madrid before making the final wigs for the series. When Cruz called Gattabrussi about the project, the stylist recalls he “remained silent for a few seconds.” Once his excitement for the challenge took over, he said, “I understood that it would be brilliant.” He used a photo book Donatella produced in 2016—Versace—to become more acquainted with the icon’s past.

Gattabrussi and Cruz tested color, hair quality, and style with about nine prototypes to ensure they got the right balance of characteristics. The stylist has long collaborated with the historical Italian studio Rocchetti-Rome, which allows him to participate in the construction and finalization of the wigs—which, he said, “is very important for me because of my close knowledge of Penelope and its physical and gestural characteristics.” In the end, they narrowed down their choice to three pieces, all of which made it on the series—two with bangs, one golden and the other platinum, and the third without bangs, with longer hair to give the illusion of extensions. As Gattabrussi put it, he’s “always looking in a line between real and fiction.”

How did Gattabrussi help the show’s Donatella express her grief after losing her brother? That’s what the third, bangs-less wig was for. 1997, he said, “was a sad year to represent.” In addition to tailoring the wig to fit the time’s fashion trends—longer, heavier hair without bangs—Gattabrussi said he “paid attention to detail like having increased the regrowth of dark hair to the root.” That, he said, helped the wig offer a more realistic image, and slightly lowered “the flash of platinum” that’s always been associated with Donatella’s powerful and iconic image.

[lilthreadsclothes]

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[nellpire]

[171222] Nell official 2017 photobook interview (translation)

Q: Where did your plans for this photobook start? Jaekyung: We planned to make something where we could insert more pictures than we can on SNS. We don't know how many of these we can make, but we want to release at least one a year. Jongwan: I always end up buying a pamphlet whenever I go to see a musical. The moment you can hold it in your hand and read with your own eyes, the musical seeps into your memories. Books, which are worth keeping as items of memories, are different from seeing photos on a screen in that you can physically touch it with your own hands. Also, since our Christmas concert is an annual event, if we continue performing and playing concerts for the next 10 years, then the people who purchase these books will be able to cherish 10 years' worth of memories stacked together one by one. Junghoon: And I think it'll be good for us too, seeing and remembering what kind of marks we left behind during 2017. Jaewon: A big goal of ours was to make time to share not just among us, but with our fans who love and grow together with us.

Q: What is the reason why you're making it out of only 1 year's memories instead of your whole 18 year history? Wouldn't it be better to reveal our full story while you're at it? Also, if you were to make individual pieces of merchandise, with what concept and feeling would you structure it? Junghoon: I think it would be nice if Jaekyung collected all his selfies together and wrote a little something. Jaekyung: Choice and concentration is important for this project. We don't even remember 18 years ago, so. (laughter) Honestly, I have something I've collected material for. If I were to make something, then a selfie book... Hahaha! I do want to pick out the best ones from pictures the members have taken and my own selfies and make something out of it. Because there's enough of them for it. Jaewon: Then I'd like to travel for 1 year and put together a photo album. That's just 1 year's worth of rest. (laughter) Jongwan: Then your place will be taken already when you come back. (all laugh)  Jaewon: 'Gone with the merch'. Nell: Is it an 'extinction' album? Hahaha! (t/n: pun on merch/extinction) Junghoon: I don't have a talent for it so I don't really know, but I'd like to write about my process of growing up starting from when I was a kid, and mix it with episodes from my life. If I have pictures from it then I'll add them, and if I don't there just won't be any. I think opening that book again after some time has passed will make me really happy. Like an autobiography. Maybe no one would like it but me. (laughter) Jongwan: I know it's probably impossible, but my own personal wish is to have a corner where I introduce (recording/music) equipment from my own collection as an expert. I'm currently dreaming of being a next generation youtuber with the concept of unboxing and explaining the usages of the different devices. (laughter) But the problem is that all I see is the really expensive equipment. Since I can't buy dozens of those... My feeling and mood when I buy things for my own satisfaction, I want to become a good guideline for people who want to buy those devices. Nell: Won’t you seem like a shopping center employee? Jongwan: I will. Like "I'll teach you how to buy these things the cheapest". It's possible even if you don't order online or go to a second hand store~ (laughter) There are lots of foreign magazines about instruments and equipment, and I love reading those.

Q: I read in an interview that when you met as elementary-middle school students, formed Nell and performed in clubs in Hongdae, you resolved to always perform your own songs. Your independence is remarkable. When the trend of indie music swept through Hongdae, Nell's music was part of the non-mainstream indie. What do you think is the driving force behind your determination to make music like that all the way until now without ever faltering? Jaekyung: I think it's that Jongwan's songs are so good. It's a given for us that a band makes its own music. Jongwan: Even when we first started out, we never played cover songs. Nell is honestly on the stubborn side, not just when it comes to music but in general. It's in our personalities not to do things we don't want to do, and so we stuck by our wish to make music with individuality and played original material only. It has helped us a lot that we stuck by that determination from the beginning. Jaewon: We had all liked and been inspired by the same kind of music from a young age. I guess we just matched.

Q: I'm curious about what music you listened to in your elementary-middle school days that gave you such a deep determination and set the course of your lives. What's the song of your life? Jaekyung: Michael Jackson, New Kids on the Block. When I was even younger I liked Enya, and when I entered middle school I ran into metal hell. Obituary, Sepultura, Cannibal Corpse, etc. (laughter) Jongwan: Isn't the gap between that and Enya way too big? (laughter) Jaekyung: My favorite was the music video for Guns N' Roses' November Rain from their Use Your Illusion album. Jongwan: I think I liked all music. The first cassette tape I ever bought when I was a kid was by a Swedish group called Roxette. That was in my first year of elementary school. Around middle school times I started listening to metal and my favorites were Metallica, Megadeth, Pantera, then as I moved to Switzerland I saw Oasis talk about their new album Wonderwall on TV, and so I started liking britpop, as well. Before that I only really liked metal and didn't have any interest in Oasis at all. I think Oasis' music became the base for Nell's. I grew up listening to bands my friends liked, like Radiohead and The Smashing Pumpkins. Jaewon: Britain and Seattle. Mine is split between those two. Junghoon: When I was young I started with The Beatles and listened to a bit of this and that. The first band I became infatuated with was Metallica. I listened to heavier music for 1-2 years, then in my 3rd year of middle school I heard Radiohead's album OK Computer and got steered towards britpop. I might not have been in this band if that hadn't happened. (laughter) I also listened to a lot of Japanese music, including j-rock. I was also super into visual rock for a while. Jaewon: Jaekyung introduced me to most of the music I listened to. So maybe that's why in the beginning I listened to a lot of heavy songs, and later I naturally encountered alternative and British music. I followed the flow of our generation. (laughter) Jongwan: Because britpop gained a lot of influence in the 90s.

Q; What is it like living as a rock band in Korea? Jaewon: First of all, living as a rock band in any capacity is great. It's both creative and tiring. Jongwan: I think it depends on the person. If you can't do things you don't want to do and can only live doing things you like, then I think being in a band is great. But regardless of location, if you're not willing to give up anything for it, then it will be very hard. Jaewon: I'm very happy that I've been able to work and get paid for the things I wanted to do the most. Jongwan: Being in a band would be difficult abroad, too. It's just a bit harder in Korea. Having no role models for bands to look up to makes it difficult to keep hope alive. Jaekyung: Of course there'll be lots and lots of American bands who give up, too. But at the same time there are also many people who are able to make a living off their music locally. Because they can stay hopeful and work hard.

Q:: Have you ever watched the JTBC program Begin Again? If you were to appear on a busking program, where and how would you like to perform? Jaewon: I'd like to play where they recorded Lord of the Rings! (the other members complain there wouldn't be any people there) I know, that's why! Jaekyung: I want to go to New Zealand too. It's so beautiful even just in photos. But realistically speaking, I’d choose Japan. Busking culture is alive and well there. People's understanding of and interest in busking is high, too. Jongwan: Can't we just stay in Korea? If we go to Japan, it should be to play. Jaekyung: Ah, Jongwan really hates going abroad for work. Hahaha! Jongwan: I love riding planes if it's for travel, but I don't want to go through that much trouble just for busking. Jaekyung: It looks beautiful and romantic on TV, but they must have worked so hard to make that happen.

Q: If you were to record a reality program, what would the concept be? Jaekyung: Won't the camera man give up in the middle? Because our pattern is always the same. We spend all day in the studio. They'll say 'we'll just use ctrl C + ctrl V'. Jongwan: We couldn't do one. Jaekyung: First of all I think alcohol would appear too much. It would take up half of our daily life. There'd be complaints that viewers can't see anything for all the bottles of alcohol. Celebrities who appear on shows like that know how to manage the airtime well, but we'd have nothing to record. But if we had to do it, I think Junghoon would do well. Junghoon: <Screening Humanity> With style. 'Ddarararara~ ddara~'

Q: I think Nell's dreamlike sound and lyrics that move your senses are your most unique characteristics, and I read an interview in which you said you draw most of your inspiration from 'sounds'. What's the most memorable sound you heard recently? And what is, in your opinion, the most beautiful sound humans can produce? Nell: The most beautiful sound humans can produce -- the sound of love. Jaekyung: The sound of laughter? Because it's the most natural. Singing? Isn't that the human's most beautiful method of expression? Singing started out as a means to convey emotions. I think that's why we made instruments, as well. Jongwan: Just sounds? Without anything visual? In that case it isn't laughter, it's too noisy. Not my taste. I think it's the sound of breathing. Junghoon: The sound of breathing.

Q: How did your music change in the 18 years that passed between the first song you ever made and your most recent one? Do you remember your first song? How much has your style changed? Or are you still the same? Jongwan: Which song would we call our first? Jaekyung: It's 'Dingdiriding'. I remember that Jongwan made it in his first year of high school. We drank sometimes even though we were high school students. Jongwan was playing his guitar next to me and said that he couldn't think of a title but was eager to play it live at some point. In the end we went back and forth until the moment we decided on the title, which we got from the 'dingdiriding' rhythm of the song. Our most recent song is 'Today'. Jongwan: Since we've kept going at it constantly we can't feel any change in our sensitivity, but sound-wise our instruments have become much more varied. We used to only play songs that a basic band formation of two guitars, bass and drums could pull off. Now we use synths and programming as well, so we use a lot more different musical ingredients these days. We can't express the sensitivity that flows within in words, but it hasn't changed a lot since back then.

Q: You've said you aim for this dream-like sound and surreal world. Through that sound that moves across the borders of reality and surrealism, you hold your annual christmas concert 'Nell's Room'. Do you have something special planned for the 2017 concert? Jongwan: We're still in the planning phase, but since the stage is what you see the clearest when inside the concert hall, we wanted to create a surrealistic looking stage, so that's the first, main concept of the stage design. We also wanted the visual art videos to have an abstract feeling rather than showing something concrete. Devices that fit well with the stage design can double the impact of the performance visually. Because our music is always the same. We're preparing to manifest our music through the stage, to make people feel things they don't in their everyday life.

Q: What do you prioritize when you decide on your setlist? Jongwan: The flow. We have a lot of songs to pick from, so the first step is to decide on the performance concept, and then we pick the songs to fit that flow. First of all, there needs to be a kind of storytelling. We're very firm in our determination not to play concerts where, sure, the songs are good, but you walk out afterwards not interested in or inspired by what you just witnessed. We think there needs to be a clear introduction, development, turn and conclusion, and that we must change the audience’s emotions in some way.

Q: In a way, going on stage when drunk has a quite cool feel to it. It seems the fans like it even more, so what do you think, do you have any plans on doing a drunken live? Jaewon: Ah... is that cool? (laughter) Jaekyung: We've honestly only ever done that once. Going up on stage drunk... (laughter) Jongwan: I've gone up on stage drunk many times, though. Jaekyung: Ah, that's because you're not sober yet from the day before. You know we're not the style to drink when we're working. Jongwan: Should I say I feel less embarrassed when I'm drunk? (laughter) It's the same both when writing lyrics and when singing, because you censor yourself slightly when you're sober. My sincerity comes out when I've had enough alcohol that it makes me feel good, but the problem is the regrets that crash into me like a herd of buffalos when I sober up again. I think the middle ground is ideal. Seeing it as we're professionals, I have to enjoy myself but so do the people who watch and listen to me. Jaekyung: Don't you think there's a stereotype that you can't be professional if you've had a few drinks? Whether you've been drinking or not, the important thing is that you do well. Jongwan: Uhm... Honestly, a few beers help a lot. Jaewon: I used to drink really well, but I don't think I can these days. Junghoon: Back in the day you drank before our club performance and showed up a complete mess, though? (all laugh)

Q: Please recommend your favorite drink and the most appropriate Nell song to listen to as you drink it. Jaekyung: Beer for me / 'The Day Before'. I remember drinking and crying to 'Afterglow' at one point. It's not a recommendation, I'm telling you not to listen to this song when you're drunk. Jongwan: Whiskey on the rocks or blended with water / If you're drinking with friends, then 'Grey Zone'. Simz from Pia really loves that song. 'The Day Before', and when you want to curse the world, 'What Do You Think'. Junghoon: I don't enjoy many different types of alcohol like the others, so soju. / Rather than when you're drunk, you should listen to 'Go' in your car. Especially if you accelerate like "wooong~!" while you're waiting for the light to go green, the song will express your will to speed off. (laughter) Jaewon: Soju for me, too. / 'The Day Before'.

Q: What do you think is the most important thing when writing music? (Inspiration, source, atmosphere, surroundings etc) Jongwan: It's not a superstitions or anything, but I have to sleep at least 8 hours the night before a recording or performance. For singing, you'll need time to rest your voice as well, but 8 hours of sleep is the optimal sleep time for me. Sleeping more than that slows my energy down. I have more superstitions about performances than I do about recording. Junghoon: I think it's important to eat properly. Your sugar levels go down. The writing process won't go well if you're hungry. Jaekyung: Should I call it 'indirect light'? You need mood lighting for your recording to go well. Jaewon: Rather than a superstition, the drum tuning changes if it rains and makes things complicated. Ah, it's a humidity problem.

Q: Looking at your photos, you seem to go on trips together often. Which was the most memorable or enjoyable trip you've taken together? And do you have any grand plans for travel in 2018? Jaewon, Jaekyung: We went on our first trip abroad to Phuket, Thailand in our early thirties. It was just the four of us, and we stayed until we felt refreshed. Jongwan: We say 'let's go' every year, but we couldn't go this year either. Will we be able to go next year? It's odd but if the four of us go together, we can relax even more. I have memories of talking seriously about subjects neither light nor heavy while we had some delicious seafood in local restaurants. Junghoon: We also went to Jeju island together in our mid twenties. We had no money but we still set off ambitiously and rented a car. We drank so much alcohol that there was an episode in the midst of everything where we lost Jaewon. It's a ridiculous story where luckily we ran into him the next day downtown in Jeju... Jongwan: Thank god we managed to call one another. We picked him up close to the airport. He looked so pathetic in the ruthless sunlight in that heated crossing that I just wanted to walk right past him. (laughter) I didn't even ask where he slept. Jaekyung: (laughter) I probably had nightmares in the back of our rental car, didn't I?

Q: How do you remember the fans who stuck by and protected Nell for the past 18 years? Do you know if you have fans who stayed with you from your indie days until now? Nell: We don't know if they've been there for 18 years, but there is someone who is always in the front row of our shows and have been for the past 15 years. And we want to believe there's someone out there who's been with us for the full 18 years, too.

Q: You've never done a fanmeeting like other singers and their fans. Jaekyung: I don't know what we would do at a fanmeeting. We don't know, that's why we haven't done it. Jongwan: Aren't you supposed to play games and stuff? Junghoon: If you're asking why we haven't done it -- we'd have to think about it, first and foremost, but even then I don't think we'll end up doing it. Jongwan: Wouldn't a mini-concert be okay? Just talking for two hours without music is way too much the four of us. Jaewon: We're very happy to meet fans at the fansigns. But we also have to try really hard. (laughter)

Q: What are your plans for your 20th anniversary? What will you do that year? Jongwan: The fans always tell us we are too indifferent to that number. I think we'll just perform our concerts like we always do, since reaching 20 is just adding a 1 to 19 anyway. I think it'll be exactly the same as always. It's good to stay unchanging. Should the four of us go on a commemorative trip together? (laughter)

Feel free to use, but please credit Nellpire.

[amylewisbodymind]

Prototype development

Since our last interaction with Ryan and testing the prototype, we realised that we needed to simplify the visual aesthetic of our intervention. The intention of creating more privacy was tested through many different materials but eventually we decided to narrow down and focus on experimenting with two materials: plastic (glass) and wood.

We reflected back on our primary reasons for the intervention which was to provide privacy by controlling the public gaze whilst accepting and embracing the Dutch window culture through:

— Functionality

— Light

— Illusion

—Distortion

—Display

It is also important that the home owner doesn’t have to compromise on less light coming through their window. Based on this, we realised we can create a diverse range of textures that help to distort and create illusions for the public by vacuum forming clear transparent plastic. We can incorporate the feeling of different textures like fabric into the plastic. We haven’t had a chance to play with colour but for now it seems like it is efficient to focus on experimenting with how far we can push the distortion this way fro our final prototype presentation. Our choice to use wood for the horizontal panels are based on the desire to integrate a more natural feeling to the window area whilst benefitting from the material qualities such as strength, light weight and durable to allow the user to safely place objects on them that they would be happy for the public to see. It gives the user a physical platform on which they are able to showcase objects that the public gaze can view freely but still allowing the resident to be in control.

Feeling a bit deflated at the expert Bernhard Lenger not having real critical feedback on our propsal. Although superficially it’s good to be told our project makes sense and it is clear what our intentions are, it seems a bit unrealistic that there is nothing to change to improve on it. I understand that time is limited and we can’t expect someone to come in and make drastic improvements to our concept but it worries me that perhaps our idea is too obvious and not challenging enough? This seems to be the only comment I receive from tutors so far at DAE and I find it difficult to accept when they don’t explain how I could challenge myself more. I don’t know if it’s because I am doing OK and they have to say something critical about my work but I am noticing a trend in the feedback. I am a realist and perhaps that is hindering me from more radical thoughts. Perhaps I need to think beyond of what I know I am capable of. Maybe I need to set more unachievable targets, the point being not to set myself up for failure but to allow an opportunity for failure? I have a problem with setting unachievable targets because I don’t like to disappoint myself but I think this is the time to try this. Next trimester, maybe I’ll purposely fail it, not by not doing the work but by not following the rules so much.

[strugglingstudentworld-blog]

EVALUATION

Research

When I started thinking of ideas of how to approach this task I kept in mind what interests I have as I will be designing a range of products based on the subject. I always had a personal interest in fashion so I thought that designing a range of products in that area would be fun for me. This made it easier for me to conduct research as my social media was flooding with fashion inspirations. I was able to look at methods of advertising that appealed to the public. I could also read the comments to see people’s reactions and how it could be better. Kendall Jenner is very popular on social media and her Instagram gains a high amount of recognition. As she is currently a model of Calvin Klein it gave me an idea that I could use the same branding, but use my own models and strategies to make it differ from the existing advertisements. I used the internet as the main source of research, especially ‘YouTube’ so I could read peoples feedback and appreciate the style that has stayed consistent in the company. Also, I had access to a range of magazine articles that had very mixed views. The new Calvin Klein adverts have been criticized saying that it’s too explicit and does not show women in a good light. I wanted to create a range of products with keeping the existing sexual theme of Calvin Klein but giving it an elegant twist.

I was biased when it came to my research as fashion is one of the richest industries and it is all a matter of perspective. Everyone will have different opinions, as each person has their own individual style. It is just finding what style is trending today and trying to aim for that. This would keep my work contemporary and show that I am up to date. The context narrowed down my research as I just focused on fashion. I also looked at the completion such as ‘Hugo Boss’ and ‘YSL’ to see how I can make my designs stand out from theirs. My main purpose of my research was looking at the Calvin Klein merchandising and how they have stayed popular throughout the years. This meant taking a deeper look into the start-up of the company and following it to today. I think that taking this approach saved me time and I could carry out my research quickly, but effectively.

From my research I learnt of ways to carry out a photoshoot. This was through style and poses. I looked at many images of Calvin Klein which gave me ideas of how to pose my own models. This gave me the confidence to try something different and keep that certain style that trademarks the company. Another aspect that I learnt is that women have issues with female figures that are too skinny as they are conveying a negative message to the public. This made it easier for me to pick a female model as it narrowed down my choices.

I realised that Calvin Klein appreciates the black and white theme, and it is my personal theme. This gave me an idea with making my images the same colour, as I wanted to keep the air of sophistication and elegance to it. I looked at the clothing range to see what look is trending, so I could tell my models what to wear on the day. I tried to keep the same layout in my products so it looks professional and well-researched. I kept the Calvin Klein logo so people would know the purpose of my work and they could see what message I am trying to reflect. If I could conduct my research again, I would do it in more depth as I was restricted due to time. I think that my sources were highly effective, but I could have created a questionnaire and asked people what appeals to them. This would have helped my social skills and made me more aware of what is trending today.

Images

I thought that my designs were suitable as I arranged a photoshoot that gave realistic images to the public. Also, it fitted the Calvin Klein style so it did not look out of place. I kept the same colour theme but added a hint of colour to add my own trademark. I could use my designs on different types of packaging and it still looked professional. At first my designs were not in proportion, but with the help of my teacher, he gave me the knowledge to create Photoshop layouts for posters and banners. Two of my images were too small to be seen as a poster, so I embedded it on a poster template on Photoshop and added details to show that it is a form of advertising. By doing this, people knew what the poster was about and could convince them to invest in Calvin Klein products. Initially I wanted to make one of my images colourful but once I looked at it with the rest of my finalised products it looked out of place. I then edited the image to make it the same colour which improved its consistency. As my colour theme was black and white, I wanted to add a contrasting colour to make it trendy and bold. Red was the best colour as it contrasted well with the black. I thought that this was a good effect, and differed my designs from the original Calvin Klein products. From my research I found that the best method of advertising is minimalist as the message is received quickly without confusing the audience. This influenced my design as I kept it simple, which just putting the logo repeatedly in the background. I think that this added to the structure as it created proportion and alignment to my work.

I created Boomerangs in order to create a video for Calvin Klein. I took this approach as I wanted the audience to feel like they could do it with the range of everyday technology. I found that adding a video enhanced the products and promoted the models. I found it challenging adjusting the time frames as they went too quick. Next time I will take a realistic video as I feel like the overall product would look better.

I found there is clear improvement shown in this project in comparison to my other work as it shows more graphic design elements. I usually take the contextual approach in my work, as I initially thought it was more authentic but I could create the same type of designs through Photoshop. I took time to arrange a photoshoot and I gained a new skill which I would like to keep practicing. My products show more preciseness and structure which is a must in today’s advertising industry.

A problem that I came across was arranging a time that I could get all my models together and the room. Without the images I could not start creating my products and I found that it was all a waiting game. The effect of this was that I could not take as much time designing as I wanted to. I did not have the knowledge of using the professional camera which took up more time. To save time I took the images from my phone but luckily the pictures still came out good. I was disappointed with the limited access of templates I could use. This was because I either had to pay for them or they would not download. The perfume packaging that I used was not the shape I initially had in mind and I didn’t think it reflected the image properly.

 If I could do anything differently I would utilise my time better. I would create my own packaging templates while waiting for the photoshoot to proceed. I did not expect the templates not to work so I put my focus on my contextual study book.  Also, I would have conducted more research to help me come up with different ideas.

Type and layout

I kept the same Calvin Klein typeface as I did not want to confuse the public. By doing this people know the purpose of my work can be easily identified. The writing is easy to read as the font and size is clear. The writing would be adjusted with colour and shape depending on where the writing is. I researched the Calvin Klein typography so I could find a design that has the most resemblance. II found that the ‘Century Gothic’ range looked most like the original. Once I knew the typography I had to use, it kept it consistent in all my designs. The writing is clear and simple which keeps to the minimalist theme of Calvin Klein.

As I want the message to be received quickly I found that the writing and the style achieved this. I kept the writing informative as I did not want to bore the readers. I used the colours of the writing to enhance the design. 

In my video I used the Calvin Klein logo in the background.  I found that this would remind the audience the purpose of the video. I used the original text of Calvin Klein as it is popular and would gain attention from the public. I made the size big as the models are already moving in a fast motion and I didn’t want the video to look busy. This would ruin the whole simplicity theme. As for my posters and perfume packaging I still used the logo as the background but to a much smaller frame. The colour was black which contrasted well with the white background. The logos added to the design and gave the illusion that it was professionally made. I ensured that everything was aligned properly as the design would look unorganised. For the lip picture I placed the CK initials in an untidy manner as I wanted it to have a collage effect. The overall effect looked striking and differs from my other images. Unlike my poster designs, I had to adjust the sizing and rotation individually to make sure that it went with the form of the lips. This took a bit more time but left an interesting effect.  I thought that putting the name of the designer would be too much so I left it out.

On my posters I had to make sure that everything was balanced. For example the lip poster’s writing is in the middle to fit the location of the lips. I added the Calvin Klein name but as a signature. This was achieved by using Adobe Caslon Pro as the typeface.  I changed the colour to red so it stands out and looks like it is pen based. By making the writing red, it matches with the border which pulls the whole design together.  In the poster which the two models I found that it did look right on its own so I changed the page to a poster layout and moved the Calvin Klein title to the bottom left of the page. This looks more professional and sets a form. From my research the layout looked similar to other Calvin Klein perfume ads. I added a little mission statement that would leave an impression to the audience. I used the same font but different colour writing. This is because the information was different, and I didn’t want it to blend in with the logo. When I finished with all my designs I made sure that there were no spelling errors.

If I could make any improvements for next time I would create my own Calvin Klein logo to show that I am more versatile which my design techniques. I could achieve this by having more time and doing some research in typefaces.

By using the rulers in Photoshop I made sure that everything was aligned properly. I would create balance through the text and images. If the model was in the middle I would place the writing in the same location. Also, I used elements of colour to highlight the importance of different aspects in my design.

Target Audience

My work is fit for purpose as it is clear what products are trying to achieve. I used people that you would see on a day to day basis as it gives the designs a more realistic theme. I wanted to avoid the ‘too skinny’ controversy so I selected models with realistic bodies. Depending on the image, I placed it on different frames. For example, the male model on his own was placed on a billboard and perfume packaging as his look is striking and would stand out. The design is simple so people could appreciate it quickly. For people that live a busy lifestyle, they would receive the message without really looking at the design. As for my lip and couple design they are more detailed and have a strong message. Posters are usually looked at for a longer time and leave an impression to the public. I think that the posters could be placed on social media to improve its popularity. The models are attractive so the designs will initially stand out to people. The colour schemes are bold and contrasting so it can be seen straight away. The red gives a striking look which could be seen from afar. The video on the other hand is a short clip which could be put on the website. It is simple, short and cuts to the point. The purpose of the video is to show that Calvin Klein is a fun company and gives the public good feels. It is more like a behind the scenes footage than an advert, so people would think that the backstage story of Calvin Klein is full of energy.

I made sure that the writing language is not explicit as it simple to read. I did not add big words which makes the product more effective in its purpose. People usually don’t read posters and advertising products. They usually just read reviews for that.  I ensured that the writing goes with the images so I could communicate with people. The picture of the couple is seen as sexual so I added a tagline in that nature. As for the Calvin Klein signature, it gives a personal feel and gives the illusion that Calvin Klein is talking to you.  This is a way makes the individual feel special.

The designs are not appropriate for people under the age of 16. This is because it is in a sexual nature. Also, it limits the audience through religion. In terms of gender it appeals to men and women as it advertising products that they would both be interested in.  Even though it has a sexual theme, it is not overwhelming and people still could appreciate the style. If people still find it too much, it still could be talked about which would get more attention which would help the company. The effect of my products make people feel they could potentially be in the same position as the models, and have the illusion if they buy the products, it could potentially happen.

Technique

I chose to take the photography strategy in this project as it looks realistic and has more of an impact. I wanted to practice on Photoshop and After Effects so I decided to take a step out of my comfort zone and try something new. By using these programs I have already learnt new skills which can help me in new projects. I think that my overall products came out well, but if I had time I would like to add more detail. I was not happy with my final video as I felt that I rushed it and it shows. I do not have the skills in making videos which I will need to practice. With the images from my photo-shoot I felt that the pictures came out well and they were easy to edit. For my attempt on Photoshop I am happy with the posters overall.

When it comes to my perfume packaging, I feel that the template is not well suited. I wanted a more elongated package which would suit the style. If I had the right template, I could have created better packaging. I think that I showed variety in my artistic skills because I tried using Photoshop and have got more comfortable with its features. I practiced on my photography and I feel that I want to develop that as a personal skill. I have used rules of composition to ensure that everything looks orderly and appropriate to the intention of the merchandising.  I think the video did not go well, as I did not have the time to create a advert. I had to work with what I had but it was all a matter of time. The photo-shoot was not a smooth process and took time to organise the room. This set me back and made me feel stressed. For next time, I would try to arrange it at an earlier date.

Conclusion

Overall, I am happy with my products as it is something different to my other designs. This has increased my confidence as I can see clear variety in my work. Even though, I feel like I could have done better, better designs will come with the more experience I have using the programs.  I have definitely improved on Photoshop and I know shortcuts to functions that I can use to pull off certain looks. I did not feel limited in this project in terms of skill set because seeing me develop in my artistic skills is an achievement in itself.  I felt that my job has had a negative effect in terms of meeting deadlines as it would take my focus away. I would be too tired to carry out my work to the best of my potential and I would usually be late to class.  This stopped me from using my time effectively.  

My safety concerns would be due to the room. This is because I was not sure how to use the camera and I did not have a teacher in the room to supervise me. I am going to practice on After Effects so I could create videos to a better standard. I will try and create videos in my future projects for practice. I think that my work is different from other students as I arranged a photo-shoot to give my work a personal feel.  As this project is not contextual it stands out from my other projects which shows variety to my work.

[happyweddingblogs]

What are The Things Not to Do When Planning a Wedding?

There will be many things that you are already aware of not doing when planning a wedding. However, there are certain things that most couples miss to avoid doing when they plan their wedding. The things that you should not do when you plan a wedding. In this post we are sharing with you all those things that you should avoid doing while planning a wedding.

Here is a list of 25 things that you should not do when planning a wedding…

Let’s get started…

1. Avoid not making a wedding budget

Believe it or not, preparing a wedding budget is as crucial as your wedding itself. No matter what, you need to make a wedding budget before you plan your wedding. Having a budget help you manage your wedding related expenses in your budget. Also, having a budget help you save money that you may otherwise spend on something which is not required.

2. Avoid choosing venue before the guests list

Only when you know how many people you are expecting at your wedding, or you have clear idea about the size of the wedding you are planning to host, it is good to book a wedding venue. Booking a venue before you have a guest list can be a real problem later.

3. Avoid inviting people who are not in touch for a longer time

Remember, each guest at your wedding will cost you money. What is the point inviting people who you are not in contact with or don’t talk any further. Your wedding should include people who you feel are important and will add to the celebration. Inviting people for the sake of invitation is not worth it. So, invite only those who you feel are important.

4. Avoid going on crash diet

Many couples, especially brides, go on a crash diet in order to lose weight faster. Know that it is not worth it! You have to be very careful about your diet. Going on a crash diet can cause immense weakness in the body. Also, it will impact your face as well, you may have a dull face, which will affect your bridal look finally. Have a proper regime, which includes healthy diet and exercise.

5. Avoid not hiring a separate cab for the bride

If you think that you will manage in somebody else’s car on the day of your wedding, then you are mistaken. There will be a lot of things to manage on the day of your wedding, perhaps the person you think will be able to make time for you may get stuck somewhere else and you may get late for your parlor appointment. It is not worth a choice. Better hire or arrange a separate cab for yourself for the day of your wedding. Also, have a chauffeur driven cab.

6. Avoid doing last minute DIY projects

There is no point that you are keeping yourself busy in DIY projects just a day before your wedding. Make sure you do it very well ahead of the D Day. As there will be many other things to do on the day of the wedding.

7. Avoid not assigning duties

You are a human just like everybody else, and you have a certain capacity to do things, and after that you also get exhausted. Wedding planning journey is going to be a bit stressful and sometimes chaotic. So, it is always good to assign duties to people who you think would be able to perform properly.

8. Avoid not reading the contracts before signing on the dotted lines

More often than not, it is observed that couples in hurry miss to read the contracts. They simply believe what their wedding vendor says and sign the contract, later they regret. You don’t need to follow the trend. Instead, read all the contracts thoroughly before signing it.

9. Avoid planning it all alone

Your wedding is a team work. You and your spouse-to-be are the most important part of the team. Therefore, it is crucial that you plan your wedding with your partner. Discuss everything in detail with your partner, this way your partner will feel good, and he/she would be able to give in his/her inputs as well.

10. Avoid planning bachelorette or bachelors’ party just a day before your wedding

Bachelors’ party or bachelorette party just a day before your wedding is not a great idea. Sometimes hangovers take time to go! Therefore, it is crucial that you have all the bachelor’s fun at least three to four days before your wedding. This way you will have enough time to prepare yourself for the final day.

Also Read:

Tips and Ideas for Groom Bachelor Party

Tips and Ideas for Bridal Bachelorette Party

11. Avoid getting trapped by the Pinterest/Instagram

Since we are in the era of technology, for anything the first thing we do is – scroll down the internet. Of course, you would also do the same thing before you actually start your wedding planning. You will come across endless photos of inspiring wedding details on Pinterest, Instagram, or some other social media handle. However, it’s not a bad idea to get inspiration online. Once you have got the idea what sort of wedding you want to host, then you don’t need to scroll down it any further. Stick to your decision religiously.

12. Avoid being unrealistic

There will be many inspirational ideas on Pinterest or Instagram that will entice you badly. But the point is you have to understand that whatever is shown in the picture is not easy for your vendors to create exactly the same. It needs a lot of money and effort for the same. You may be asking for too much in too little budget, which is not wise. Or perhaps you won’t have enough budget to have everything that you pinterested. So, it’s better to be realistic and plan your wedding accordingly that goes well with your story!

13. Avoid not sticking to your wedding budget

Another big mistake that most couples, especially brides do is – not sticking to their wedding budgets. It is not at all wise, I tell you! You have to stick to your wedding budget religiously no matter what. Buy only what you think is needed, don’t buy things out of excitement or spend money on things which are not required.

14. Avoid not preparing list

It is crucial that you prepare a list of items that you have to buy for your wedding. Not having a list may lead to unnecessary expenditures.

15. Avoid not imagining your wedding in the first place

Your wedding is a once in a lifetime event and you should always have a clear idea about how you want to host your wedding. It is the first thing that you should do before you start your wedding planning. Doing this will help you host a wonderful wedding that too in your budget.

16. Avoid scheduling your waxing or manicure pedicure for the wedding day

See these are the things that you should schedule at least four to five days before your wedding. Scheduling waxing, manicure pedicure session on the day of your wedding will disturb your entire wedding schedule, which is not wise.

17. Avoid sending invites when you’re drunk.

Your wedding invites should only be sent when you are not drunk. You may get enticed to invite everybody and anybody while you are sitting at the bar, but later you are going to regret your decision. As, you may find that you invited people who you don’t know so well or never planned to invite them.

18. Avoid stacking your pockets on the day of your wedding

It is especially for grooms, you have your mobile and other items that are of course, important for you, but you cannot stack them in your pocket on the day of your wedding. Trust that stacked pockets not only look bad, but also spoil your wedding pictures. So, it is advised that you give your mobile and other items to your friend or sibling.

19. Avoid forgoing marriage license laws.

Every country has different marriage laws. Whichever country you are living in make sure you research the marriage laws of the particular state well in advance. Delaying it or waiting for the last minute is not a great idea. Because you will need to apply for your marriage license. So, you will need to register for it beforehand.

20. Avoid finalizing your wedding outfit without trial

You may get enticed to see a wedding gown or a wedding tuxedo. But it is crucial that you try it before you actually buy it. It is crucial because, the gown that you liked may not fit you well or perhaps it does not look so good on you. So, it is essential that you buy your wedding attire only after wearing it.

21. Avoid buying a bigger size or smaller size wedding outfit

You may perhaps be excited to see a wedding gown which is either bigger or smaller than your size, don’t buy it! Avoid buying outfits which are not perfect to your size. Wearing a very tight gown at the wedding will lead to discomfort. While wearing a loose gown will create another type of problem. So buy a right fit wedding outfit. It will also impact your pictures at the wedding.

22. Avoid losing temperament

As said earlier, wedding planning journey is a stressful task, and sometimes it is very exhausting also. You might encounter situations during wedding planning when you will feel too overwhelmed, frustrated, or extremely exhausted. But you have to maintain your calm. And that can only be maintained when you know that some things are not in your hand. You need to know that you can’t please everybody, that perfection is an illusion, that whatever is not in your control should not disturb your peace of mind.

23. Avoid not spending quality time with your partner

You may be very busy with your work and wedding planning, but it is equally important that you make time for your partner as well. You two should make time for each other, spend some time with each other. More often than not, couples get so busy in the process that they start avoiding each other, which is not wise. After all, your wedding is about you two!

24. Avoid taking things too seriously

Some things may not work the way you wanted them to. It’s okay! Sometimes it happens, you don’t need to take everything so seriously. For instance, your florist may not be able to arrange for the same flower that your friend arranged at her wedding, it’s okay! You can go with something similar or maybe something that matches with your wedding theme perfectly.

25. Avoid delaying hiring wedding vendors

Last but not least, remember that the best wedding vendors are booked first. And if you will delay booking them, then you may end up hiring some mediocre or maybe less professional wedding vendor for your wedding. So, it is recommended that you book all your wedding vendors the moment you have your wedding date and the size of the wedding.

To conclude…

So, these are the things that you have to miss to have a mistake-free wedding planning and wedding. Avoiding these mistakes will definitely help you host a great wedding that you will cherish all your life.

Happy Wedding…

[angelicwritingoflesilva]

Thursday, Finalization

Hey there! I’m going to post the character finalization, a little bit about setting, and then the plot. :) Have fun reading!

Summer Jefferson & Aleicia Patel (1988)

Starting off with Aleicia Patel. Aleicia is a quiet, demure woman. She is the kind of person who wears mint-scented/leafy-smelling perfume. She never goes out without touching up her face or wearing her gloves. She rarely wears dresses, yet subtle jewelry is something that she never lacks. Her hair is always worn in some type of tight wrap, whether it been a braid or a bun.��

A germaphobe, she only removes her gloves to wash her hands or change her gloves. At all other times, her white gloves are firmly yanked over her hands.

She has a quiet, lilting voice. Soothing, it is the perfect voice for a receptionist, which she indeed is. She works at a therapist’s office, welcoming customers and informing their respective therapists when they arrive. There is one therapist, white with red hair, who seems suspicious of her life at home, but Aleicia has managed to evade further pressing from him.

She does indeed have an abusive boyfriend. Physically and psychologically abusive, he often blames her for the wrongs that befall either or both of them. Often, he takes out his anger on her in the form of slapping her face and punching her torso. She pretends that she is control of the situation, that she can break up with him whenever she wants, but the truth of the matter is that she’s kidding herself. She no longer has control over the situation, as much as she wants to. She never wears anything revealing, because, one, she doesn’t like to show off her body, two, she doesn’t want anyone to see a bruise.

Secondly, we have Summer Jefferson. Summer is, first and foremost, a dreamer. She has so many wishes and desires that she keeps a little book full of them. From visiting Venice to buying a new washing machine, she scribbles down every want that comes to her.

Summer’s dresses outnumber her t-shirts and pants 3-1. However, the dresses are not elaborate or fancy; they are homey, rather. Comfortable to wear and usually decorated with copious amounts of lace, Summer’s dresses are a little older than the fashion trends around her.

She comes from one of the few relatively well-off African American families. She was able to recieve her Bachelor’s in Library Sciences and is working to get her Master’s. She is full of ambition and cheer at all times.

She is also currently learning how to bake. Although her cakes and scones are in need of some work, she makes killer chocolate-chip cookies. She often brings them into work for her fellow librarians. 

Her coworkers are kind and sympathetic to her plight, as a black woman living in a relatively conservative area. Despite knowing this, they just treat her how they would treat anyone else. When a lender seems to be giving her flack for something, any one of them will come rushing to the rescue, if Summer doesn’t tell them off first.

Summer is attached to the world by a balloon string, and a fraying one at that. She often is lost in thought, dreaming about a better time, and a better place. Preferably a warm area with lots of sunrises.

Charming all of those around her wit her happy-go-lucky attitude, Summer appears carefree but also has razor-sharp instincts and notices more than most realize. For instance, besides the man who had been working beside her for years, Summer was the first to pick up on the fact that Aleicia was in an abusive relationship.

Marcus Zimmerman (2018)

Cold and calculating are only two of the words used to describe this man. Ruthless as a businessman, he has climbed his way to the top with his insane intuition and risky business plans. He now sits in a comfortable position in a company called Building Co. (often called BC by outsiders and workers alike). Despite its uncreative name, BC has found recent success of buying and selling apartments in the Cleveland area. A recent population boom has made their property there worth much more than before, quickly sky-rocketing their sales off the charts.

Marcus likes to play with women. He knows only lust, not love. For some, this is a life that they continue to live until the day they die, and when they do indeed fade away, they know nothing better than the short-bursts of passion that come from bedding a woman. However, when the ghosts of Aleicia and Summer contact him, he becomes acquainted with love and regrets that, when something so pure and fragile such as the love between Aleicia and Summer exists, he is having late night affairs with married women.

Before he changes, he was a cocky braggart. Believing that his position in BC was rock-solid, he never took precautions with his actions at work. He often flaunted his wealth by wearing new suits every day, each one fancier than the last, and wearing expensive watches to work.

He bought a large house tucked away on the outskirts of suburbia outside of Cleveland. It was run down and extremely cheap on the market. However, Marcus bought it so he could renovate it, further proving his obvious wealth to his “friends.”

Plot

This is definitely going to be a long story, so bear with me! I want to make his night/day times balanced, so there is a clear line between his story and Summer’s and Aleicia’s. I feel that neglecting either would lead to a less powerful story. :) Anyways, this is the plot.

The story starts out with Marcus and his buddies at work, rating their female colleagues on a scale of one to ten. Make sure to note that there are many more men actually doing work than the five (marcus and four unimportant friends) not doing so. 

Have a woman print something out, and head towards the printer that the friends are crowding around. When she gets close, Marcus reaches for the back of her skirt. Whirling around and turning bright red, she stabs a finger in his face and says that she doesn’t care how high up he is on the company’s ladder, if he did that again, she would report him. End section that day of work there.

Marcus goes to his house, where the bedroom, kitchen, and a bathroom have already been renovated. He recently moved out of his apartment, so there are a lot of boxes lying around.

He goes to bed, but hears a woman softly crying. Each sob is delicate, as if anything would break it. Confused, he gets out of bed to go downstairs and get a drink of water and to poke around. As he is getting the glass, the crying fades away, and he passes it off as pre-sleep audio illusion.

The next day, Marcus finds out the woman’s name who had threatened him yesterday. He spends a lot of time poking around before he can get someone to tell him. Most just give him disgusted looks before looking away. 

He goes to his boss and tells him that the woman has been lacking in her duties, that she rarely gives him the information that he needs to purchase buildings. His boss frowns and says that he’ll look into it. Marcus is triumphant. End of work day here.

The next night, Marcus hears the crying again. This time, he ignores it and goes straight to bed.

He dreams a strange, realistic dream of two women going to work. The weather is warm, almost balmy. Definitely summer. An African American woman is running to the stop, a side bag swinging by her hip and a lacey, pink dress forming to her figure. She nearly runs into an Asian woman. Who is standing, back-ridged, with folders neatly placed in her crossed arms. The African American gasps out a question, asking why she had never seen the asian woman before. The asian woman replies that her bike had recently broke and that she had to take the bus to her workplace from now on. The african american woman expresses sympathy, introducing herself as Summer. The asian woman says that she is Aleicia. Summer asks what bus she’s waiting for, and she says the 815. Summer is impressed that she’s there a whole 13 minutes early. Summer says that she’s waiting for the 800. Aleicia seems surprised and tells her that it pulled out about a minute ago. Semi-cursing, Summer thanks Aleicia and runs off, presumably in the direction of the next stop. Aleicia smiles after Summer’s retreating form.

The next day, Marcus quieter, weirded out by his dream. He half-heartedly participates in his friends’ conversation, but only mumurs mhhmms, and yeses to show that he is listening. When one friend asks him a question and he responds with ‘yeah, definitely,’ they ask why he is so spacey. Strangely protective of his dream, he shrugs off their concerns and goes back to his desk to do some work.

At night, Marcus dreams about the two women again. Some time has passed--it’s now a little chillier, and many clouds hide the sun from view. Summer is wearing a winter coat and Aleicia is wearing a turtle-neck sweater. They’re at dinner together, in a relatively laid-back restaurant. Summer and Aleicia talk about their jobs for a little bit, complaining but also rejoicing in the small joys. Through the conversation, the reader also learns that this is not the first time that they have gone out together. Suddenly, Summer turns serious and she fidgets uncomfortably in her chair. She comes out to Aleicia as being gay, and tells her that she really likes her. Aleicia, surprised and flattered, blushes fiercely as Summer continues, the first wall that has been breached in her emotional barrier for a long time. Summer rambles on, eventually stopping as Aleicia raises her hand to silence her. After a pause to gather up her courage, Aleicia says that she feels the same way. The dream ends with them looking into each other’s eyes in a totally different way from when they began.

Marcus goes through the motions at work, not even bothering with his friends. When he gets out, he drives to the library that Summer mentioned working at. He asks around about Summer, and one ancient librarian says that she knew Summer. He talks to her, and finds out about her dream book, her cookies, and her general kindness to her coworkers. He asks about Aleicia as well, but she says that she never knew much about her, except that she and Summer disappeared on the same day, over 40 years ago.

Shocked by this revelation, Marcus is slow to fall asleep the next night. When he does, he dreams of Aleicia and Summer standing at a dark balconly, presumbaly in Summer’s apartment. The air is biting and most of the leaves are gone from the trees. They talk about how rough their relationship is, with having to keep it mostly a secret in fear of being discovered as being gay. Summer keeps a hand on Aleicia’s arm as she confronts her about the hand-shaped bruise on her wrist. Aleicia stiffens, but when Summer reminds her that their relationship is built on honesty, she relaxes in a way akin to admitting defeat. She reveals that her boyfriend is ‘rough’ with her. Shocked by the things she hears, Summer can do nothing but shake her head and grasp tightly onto Aleicia’s arm. She also learns that her boyfriend, in a fit of rage, slashed her bike’s tires and knocked off the seat with a hammer, which is why Aleicia had to take the bus. The dream fades as Marcus wakes up. He is confused, terrified, but determined to get to the bottom of this mystery.

Continuing plot from here on 7/6/18 at 11:25!

Marcus calls in sick the next day, saying that he has the flu and would not be able to go into work. Over the course of the week, he gathers newspaper articles on everyone he meets in his dream, looks them up on the internet, and talks to the people who knew them in their time. There are none of Aleicia’s family left in the area, but Summer’s mother (~80 at the time) is still alive. He goes to talk to her.

Mrs. Jefferson is tearful, talking about the lost pea in her children’s pod. She had a son, who, after going to therapy for several years, was able to get over his sister’s disappearance. Marcus asked if Summer had any Asian friends, but her mother says that there was only one asian librarian, and they weren’t that close.

Frustrated that he knows so much about Summer, but next to nothing about Aleicia, he stays up for most of the night, trying to track down the therapy office that Aleicia used to work at. He found out that the building was torn down and replaced by a Wendy’s. However, he does find a living retiree who used to work there--the irish child therapist who suspected Aleicia’s abusive relationship. He talks about her fondly, saying that she herself could’ve made an amazing therapist if she had decided to pursue the career path.

He returns home late at night, around 11 or so. Aleicia and Summer were dancing at a night club together, cups of fizzy bear splashing their drinks everywhere as they skip-danced. They didn’t say anything, just laughed uncontrollably and smiled at each other brightly. Tipsy, but not anywhere close to drunk.

Smiling, Marcus draws closer to watch them. For a second, Aleicia sets her drink down by her feet, motioning at Summer to do the same. They join in a pseudo-waltz, picking up the speed of the dance to match the beat of the rock ‘n’ roll music. While they were busy whirling around, a man slipped by and discreetly slipped something in their drinks. Heart sinking, Marcus began to shout Summer’s and Aleicia’s names. Of course, he has no effect on the dream, so they continue dancing until their waltz is finished. They end the dance with a small kiss, a simple brush of their lips. All the while, Marcus is panicking, screaming at them to not drink what’s in their cups.

But, they pick up their plastic cups and knock back the rest of the contents. Instantly, they appear to become more drunk. The same man who had slipped the drugs into their drinks pretends to notice them wilting, and rushes over. He explains to a suspicious, burly looking guard that the Asian woman is his girlfriend. Aleicia is still lucid enough to answer the question, but not aware enough to know not to. The man throws the two unconscious women in the back of his car and, when he gets to the wheel, an angry muscle ticks in his jaw. As he pulls away, the dream leaves Marcus’s consciousness. 

Unable to comprehend what he had witnessed, Marcus could do nothing the next day but wonder. So, that was it. They were drugged and kidnapped. Somehow, Aleicia’s boyfriend must’ve found out about their relationship and decided to take care of ‘problem’ himself. For some reason, Marcus believes that the ghosts will no longer show him anything. He spends the day, shellshocked, trying to figure out a plan to exaplain what he had learned.

When he falls asleep that night, he is shocked to find himself in another memory/dream. He follows Aleicia’s boyfriend to his house, a large, strangely-familiar looking house. He slings Summer over his shoulder and drags Aleicia along the ground.

When they enter through the front door, it hits Marcus--this is his house. He was living in the same house that Aleicia’s boyfriend had been.

He watches as he drags the two unconscious women underneath a loose floorboard in the basement. He is too shocked to scream, just feels hollow as he watches Summer and Aleicia are dragged to their deaths. He knows that he can do nothing as Aleicia’s boyfriend ties them up and waits for them to wake up.

About twenty minutes pass before Aleicia twitches, her eyes opening. She exclaims the boyfriend’s name, Andrew, in fear and horror. He reveals that he had known she was doing something when she returned late every night, and that he had been following her for a long time before he had done this. He seems strangely sane, his voice cool and collected. He explains that he is going to make sure she regret everything she’s done. Suddenly tearful, Aleicia slurridly begs for Summer’s life, but her pleas fall on deaf ears.

Something that had never happened before during this dream--several days passed in a blur. He was aware for each of them, but remembers little but screams, knives, and blood. He believes that his brain blocked out the majority of the torture that Andrew inflicted on the two women.

Summer was the first to go, as Andrew was much rougher with her. Aleicia did not last much longer, perhaps a day or so. Even if Andrew hadn’t killed her, the wound in her soul was too great--as soon as Summer breathed her last, she was as good as dead.

After a week, Summer and Aleicia lay next to each other, their eyes glazed over with death. Marcus, covered in their blood, had slung them into a corner. They were missing all of their fingernails, patches of their hair were missing, and both had fresh cuts slicing up their bodies. Despite all the pain, their hands almost appear to be resting lightly on each other, their heads resting on top of the other.

Andrew spits at the bodies of the two women, suddenly appearing less sane than before. He calls them fags before turning to leave. Marcus sadly notes how quickly Andrew cut of connections to his girlfriend. He goes out of the basement, chuckling while humming to himself, pressing the floorboard back into place. The room is cast into darkness.

Waking up in a cold sweat at three in the morning, Marcus leaps out of bed, bolting down the stairs to the basement. He flicked on the lights, and pounded down the steps. When he reached the bottom, his heart sank when he noticed a floorboard slightly pulled up. Ripping it out of the floor, he is stunned to find two skeletons. Their clothing hangs on them like rags, barely even covering themselves up.

Marcus throws up outside of the room, onto the basement’s false floor next to hin. He calls 911, explaining that he had found a secret room in his basement while he was cleaning up, and that two bodies were located inside. He didn’t pretend to not know who they belonged to--eventually the research would tell them that he had been looking into Summer and Aleicia before he found their bodies.

Temporarily, he was held and questioned. When they asked why he had suddenly looked into Summer and Aleicia’s past days before he had found their dead bodies, he said that he had heard that the two women were missing and he was curious about their lives. Of course, many were extremely suspicious of Marcus, and theories ranged from him being a master detective to the killer who traveled from the past. Although his perculiar involvement in the case, no one could solidly connect him to the women. He suggested looking at the house’s previous owners to see if any of them had shared a connection. The previous inhabitant, an 80 year-old woman had never visited the house, but quickly, Andrew’s name was discovered. It was found out that he had been previously arrested for armed robbery, and that he was sent to a mental hospital instead of jail. While there, he hung himself with his belt from the ceiling.

The bodies were returned to the respective families. Summer’s mother was insanely grateful for Marcus, whispering that she didn’t know how he found the bodies, but was so grateful he did. He asked if she wanted to know the story, the real story, promising her that even he didn’t understand the specifics of it. A cold shiver ran down his spine as he made the offer, and he swore he could feel two ghostly hands interlace their fingers with each of his own. So, Marcus sat down on one of her couches, and began with, “I wasn’t always the best man...”

Ending this here! This is taking a lot longer than I thought it would take to write, so I will finish this tomorrow, seeing as I have to get up at 5 o’clock, and I don’t want to be a TOTAL zombie. c: So, see you tomorrow! Thanks for reading!

Phone died while I was on the road (on a car trip), so I didn’t have teh chance to finish this until I got to a hotel. Finished editing this at 7:21 PM!

- L.E. Silva