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diyunho · 5 years ago

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The Joker x Reader - “Queen Of The Damned”

In the whole eternity, The Queen of the Underworld only loved once: he was mortal and died shortly after she gave him a child. So when The Joker says he’s a Prince, he’s not actually lying or being a presumptuous lunatic: the green haired man is in fact royalty and sole heir to The Realm Below.

“Stop fidgeting!!!” the nurse admonishes. “This is a new experimental drug and it will help you, OK?” she tries to reason with the patient confined inside a straitjacket, heavy chains bounding him to the metal table.

“Let me go!” he hisses and tries to bite her as she checks his neck for pulse.

“I can’t let you go, Mister Joker. We’re trying to make you better, alright?” the caregiver dodges his teeth before J can sink them in her flesh.

“If you don’t untie me, my Mother will come!!! She doesn’t like it if I’m in danger!”

“Shut the hell up, you insane bastard!” the attending physician can’t hold in his bitterness while mixing the serum.

“Doctor Reeves!” the woman raises her voice. “That’s not the way we talk! I know you are new at Arkham Asylum, but I would really appreciate it if you treat our cases with respect!”

“I’m sorry,” the physician apologizes for his unprofessional remark. “He gets on my nerves!”

“Yes well… Please keep your personal opinions to yourself because they’re not doing any good! The patient is very agitated; would you like me to take over?” she offers and gets cut off.

“I don’t need your expertise, I’m a doctor for God’s sake!”

“I wasn’t implying otherwise,” the nurse sighs at his obvious crankiness; why does she have to be stuck during the night shift with Reeves?! Arkham’s South Wing is already harboring the worst criminals and a psychiatrist that took the job for the thrills can’t possibly render assistance to the troubled convicts incarcerated here.

“I’m done,” he taps the syringe and approaches The Joker when the lights suddenly flicker. “Another power outage?! The storm is not that bad!” the guy rants and doesn’t realize the prisoner is not struggling to escape anymore.

“My Mother’s coming!” the most demented smile flourishes on The Joker’s lips. “I warned you!” he maniacally starts laughing with delight. “You should have listened!”

A low rumble shakes the immense building and the convoluted hallways fill up with mist: the Queen of The Realm Below steps in the world of the living again, surrounded by her loyal army of twisted warriors.

“Protect The Prince!” the invisible wraiths shriek, crawling on the walls in order to destroy the cameras. Some fly through brick and metal with the sole purpose of fulfilling their ruler’s command: no greater honor than aid her son trapped in the human kingdom.

He often gets in trouble and somehow miraculously vanishes or avoids hazardous situations; this is his first time at Arkham and the authorities will believe tonight’s events are an inside job or simply an elaborate breakout plotted by The Joker’s team.

Ironically enough The King of Gotham is not even crazy: his mind works on a totally different level due to the unearthly heritage. There is no cure for a person that’s not sick, no medicine or therapy allegedly mending something that’s not fractured.

“Why isn’t the generator kicking in?” Reeves stares at the ceiling and the nurse carefully listens, pointing out a disturbing detail:

“Do you hear that?”

“Hear what?” the doctor crinkles his nose. “It’s silent.”

“Exactly,” she mutters. “Why is it so quiet?”

“I have no idea,” he prepares to poke The Joker’s arm when the halogen bulbs instantly go out. “Ana, can you…” the psychiatrist mumbles as the lights turn back on. “Finally!” he turns towards the woman and gasps at the frightening apparition standing next to him. Your sword whooshes in the stillness and the corpse falls to the ground, abruptly followed by the caregiver’s: both didn’t have the opportunity to process what they saw by pure coincidence. It was gone in a second along with their existence.

The Queen towers over the medical ward, slowly taking off her helmet; her hair intensely burns, eternally fueled by the fires of The Underworld.

“You came!” The Joker face brightens up with pure happiness noticing the creatures’ claws release him from his constraints: they grumble, coo and chirp seeing The Prince is safe and sound; he pets a few kneeling at his feet while rushing in your arms. “Mother!” J sniffles and you hold him tight until his body relaxes a little bit.

“Are you hurt?” you whisper and your son pouts, burying his cheeks in the cold silver of your plated armor.

“No,” the muffled word prompts a kiss on his forehead; The Joker lets go, unwilling to watch his mother depart: he’s aware she can’t linger for too long, yet the desire to stay close to her never fades. “When are you going to take me with you?” the piercing blue eyes inherited from his father glare into yours.

“Soon,” the elusive reply makes him frown.

“You promised and I’m always left behind!”

How can you explain why he’s still here?... J wouldn’t comprehend what coming with you to The Realm Below means: he would have to get rid of his mortal shell and you just don’t have the strength to witness him die.

Despite the horrifying moniker, The Queen of The Damned is neither good nor evil; her actions are invariably guided by circumstances.

She takes care of lost, damaged spirits and although powerful and feared, Y/N is also the recipient of her legions’ constant devotion, for no other Monarch of The Underworld ever enjoyed being cherished by its subject as much as you are.

The abomination born from her love with a human didn’t diminish the horde’s allegiance: it actually made them adore The Queen more because affection is desperately craved in The Realm Below and they can’t wait to have a Prince willing to share his Mother’s duties!

But The Joker’s arrival keeps on getting postponed…

“You know what I’ll do?” J mischievously snickers. “I’m gonna call my crew and tell them to pick me up. The mystery of how I’m able to walk out of this place without their intervention will drive them nuts! Ha! Ha! Ha! Ha!” his sinister chuckle resonates in the room; he feels such gratification thinking about it one could presume he’s in a cheerful disposition. “Did you clear the path for me?” The Prince inquires and the entities snarl, excited he’s paying attention to their mighty deeds. “Perfect!” your son praises. “I’ll signal when to open the gates, ok?”

They growl at his approval and you have to interrupt the joyful mood:

“I have to go…”

“Is dad waiting for you?” J asks, already guessing the answer.

“Yes,” you nod and reassure: “Don’t worry, I’ll return when you need me!”

Before the sentence ends The Queen disappears, abandoning her descendant inside the Arkham Asylum. The Joker sulks, upset he can’t follow you and gets distracted by the commotion created on the other side of Block H: apparently some guards weren’t annihilated as expected.

“You said you cleared the path!” he scolds and picks up the phone, dialing Frost’s number. “No matter, I’ll get reinforcements and we’ll make this a party on our own, hm?” the silver grin widens at the concept of fighting his way out himself.

In the meantime, J’s mother materializes by the Endless Wall that separates The Realm Below from The Realm Above: its transparent, glass like composition is meant to keep you apart from the man you love. Why?

The response is easy: The King reigning over The Realm Above always craved your fondness and felt betrayed when you gave your attention to a mere human; deciding to give Kai a child was the epitome of mockery for the jealous emperor. He never accepted your choices had nothing to do with him. Thus he took the matters in his own hands and ensured Kai’s demise, making certain you won’t be able to save him: the mortal you loved was killed in a car crash and went to The Realm Above, which was the plan all along. Since The Joker’s father was at peace when he passed and not a lost, broken soul, he didn’t wind up in your kingdom; The Emperor sealed the borders as soon as Kai appeared on his domain, making sure you won’t touch or hear each other again.

You tried to break the spell without success: only the one that casted such magic could reverse it and The King has no intention to do so. He likes torturing The Queen of The Damned and her beloved, that’s why he lingers in the shadows to glutton at their agony every time they meet.

Today is no exception and it sure brings The Emperor great comfort to view the aftermath of his revolting actions: it probably hurts because you’re unable to do more than gaze at the man you love. Such a fit punishment for a stuck-up Queen rejecting his proposal. You sure got what you deserved! All the powers you possess are useless against his impenetrable curse unleashed out of pure resentment.

Hmm… what’s going on?... You suddenly seem flustered and The King is trying to estimate on the motive; Kai keeps on calling your name, yet you can’t discern the sounds anyway. You swiftly fade in a hurry, neglecting to wave goodbye for a valid pretext: the sharp ache in your chest alerted that something awful happened to your son.

**************

The Joker is lying on the floor, almost unconscious from the blood loss. The red stain under him is growing bigger and bigger, reaching the collapsed security officers that stood between J and his freedom. He was overly hyped and decided to create mayhem: being reckless provoked the dark side of his personality and he didn’t wait for his gang nor allowed the wraiths to intervene.

The Clown Prince of Crime definitely counts on his Mother’s aid, therefore he doesn’t have to worry about consequences to his endeavors. He trusts you won’t fail to show up and get him out of messy situations like this one.

“M-mother…”, The Joker wheezes as you hover over him. “Mother… h-help me…”, he begs and your hesitation puzzles your heir; his father distracted you and in exchange J got severely injured.

“… …. …. I won’t… I can’t have your father, but I’ll take you…” The Queen confesses, adamant to overcome her delay in fulfilling his wish for years. Maybe she won’t be determined like she is now if another chance will arise in the future.

“Really?...” the hope in his tone makes you sadder. “Mother…” he winces in pain, trying to touch you. “Please h-help me…It…it hurts…”

You grab his fingers and squeeze them in yours, pecking his tattooed knuckles.

“I know…I’m sorry…”

“W-why won’t you…” and he pauses, taking a last labored breath, “…help m-me?!...”

His eyelids are closing, the individual labeled as one of the worse criminals lastly fleeing the prison of his mortal half. The Joker is dead and The Prince of The Realm Below emerges from his remains, stunned to wake up next to you.

“Mother?...” he blinks and you cup his face, relieved you had the courage to do what you deferred in the past.

“It’s ok,” you smile. “You’ll get used to the sensation, give it a few moments,” you pass your hand to his burning hair, amazed at the terrifying beauty he was blessed with thanks to his ancestry.

“Boss!!!”

“Mister Joker!!”

“Mister J, where are you?” the questions echo in the deserted Block H: his henchmen finally infiltrated the area, spooked at the unnerving feeling that something is shady. When they arrived, the Asylum’s gates were open; nobody around on the street, no guards, no medical personnel, nobody they could spot anywhere on their way to pick up The Joker as instructed.

“Over here!” Frost shouts and rushes to The Joker’s corpse, swiftly taking his pulse. “Shit!” he mumbles when he detects no heartbeat.

“What the fuck?!” Panda is the second to stumble on the scene, baffled to notice his employer covered in blood wearing just a pair of sweatpants.

“We need to get out this instant!” Frost commands as the others join the small group. “Help me carry him!”

“J?..” a woman’s voice emerges. “J?” the visibly pregnant Ava runs on the empty corridor. “Oh my God!” she panics when she sees them trying to lift him up. “J?” she gently caresses his face, panicked when there’s no movement. “Is he dead?” she presses on his wounds and starts crying since the guys are quiet. “Aren’t you going to do anything??!!” she screams, desperate to acknowledge not too much can be done.

“… Mother…” The Prince articulates and you already predict his request: “… Can I stay?”

Who else understands him better to begin with? He loves the mortal and you can relate to his anguish. Of course he wants to go with you also, yet there are things that are holding him back in the human world.

“I suppose I’m condemned to ages of loneliness…” you utter and give him a violent nudge before you change your mind.

The Prince falls back into his body; The Joker gasping for air makes Frost and Panda almost drop him on the marble floor.

“J!” Ava exclaims in disbelief. “Baby??!!” she brings her ear to his lips because he’s saying something.

“Mother… Mother…” J faintly repeats and the woman misinterprets. “Yes, I’m going to be a mom and you’re going to be a dad. You already know this, hm?” she caresses his face. “Be careful!” Ava reprimands as they wrap Richard’s jacket around The Joker and Panda drags a stretcher next to them.

“Jesus boss, we thought we lost you!” Jonny adds and barely deciphers his reply:

“You’re not that lucky…”

The Joker keeps staring at The Queen and the army hidden to the rest of them: she’s leaving and although weakened, he wants to apologize for generating more sorrow when she doesn’t deserve it.

“Forgive me…” J whispers and your last words only he can discern give him unexpected bliss:

“There’s nothing to forgive.”

**************

You come near the transparent wall, seeking to find consolation even if it’s impossible: Kay is on the other side, the palm of his right hand against the invisible barrier. You cover it with yours, wishing you could tell him so much but what’s the point?... He can’t hear you.

“I couldn’t bring him with me,” The Queen whispers nevertheless. “He wanted to stay… and I couldn’t force him…”

Something is trickling down your face and you touch it, confused.

What is this?! Tears don’t exist in The Underworld; a few drip on the barrier and it starts sizzling to your legion’s dismay. They sniff the bubbly fumes, curiously scratching at the expanding chain reaction: the wall is melting.

You and Kay watch the gap becoming larger and larger until there’s enough space to fit. Is this real or an illusion?!

I guess you’ll have to find out so you take a few shaky steps towards him, not being able to suppress your astonishment when he yanks you in his arms.

The Emperor is lurking in the shadows, furious his unbreakable magic is dissipating with each passing moment. Your warriors are granted free passage again and they spill inside The Kingdom Above, howling while awaiting orders.

As she hugs the man she loves, The Mother of lost spirits sneers through her clenched teeth:

“Attack!”

Also read: MASTERLIST

You can also follow me on Ao3 and Wattpad under the same blog name: DiYunho.

#the joker x reader #the joker fanfiction #the joker imagine #the joker jared leto #the joker #the joker suicide squad #joker #joker fanfiction #joker jared leto #joker suicide squad #mister j #Mistah J #dc #dcu #joker imagine

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olmopress · 5 years ago

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Episode III: The Return of Manovich

week 11: Vincent Miller, “Key Elements of Digital Media” / Lev Manovich, “The Language of New Media”, Principles of New Media: 2. Modularity, 4. Variability, 5. Transcoding

Today I am very Happy. Even if yesterday night AS Roma lost to some unpronounceable and unspellable German team. You know why? No, it’s not because I am going out why someone I like. And neither because I decided I want to try and go to a rage room once. None of these romantics things.

It’s because today, Hideo Kojima’s long-awaited and frankly strange-looking new game Death Stranding is out!

This is me being happy with the copy of the game I just bought from this pedantic guy at GameStop who really wanted to sell me their useless (and of course expensive) fidelity card. I do not fidelize. I do not permanently associate with the revolting logics of media capitalism. Btw yes that in the background is Patti Smith’s Horses signed by herself. I am so cool, I know. What can you do.

ANYWAYS

Why is this relevant? Well, for a number of reasons. First of all because a videogame is a digital object, a digital medium. So it’s important to us. Secondly, because the themes of this game are SOOOOOOO damn interesting and appropriate for what we are doing in this class.

BUT MOST IMPORTANTLY

Because I decided to have yet another theme-based post. So Ladies, Gentlment, and all the other 7456 genders out there in the wide wild world, let me introduce you to this week’s issue of my blog, which will be entirely

VIDEOGAME-THEMED

Yes, I will. Sorry not sorry.

OK so as it is now customary I will skip Miller because I don’t like riassunti and synthesis and also I want to continue my honeymoon with Manovich.

Here’s me with my boy Lev.

Today we deal with the last three of Manovich’s Principles of New Media. Today I also want to be reader-friendly so I tell all of you from the start that I am going to explain briefly the principle and then pick an example, of course from some videogame. OK fellas? Ready to go.

Principle No. 2: Modularity

Well, modularity is quite easy. Manovich uses it to explain how digital objects are assembled through independent parts, which working on their own constitute the totality of the aforementioned object. A good example from videogames is the phenomenon of pop-up textures: that thing that happens when you’re playing a game in 3D graphics which uses real-time rendering, but optimization hasn’t been done well enough (or you’re just pushing the graphics beyond your hardware capabilities) and so you get some textures to be rendered with a delay. And this sucks because, well, it’s not very realistic and it makes you realize you’re just playing a videogame.

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:( this is extreme tho. Sometimes it’s just OK.

[Btw pop-up textures are essentially what Manovich is referring to at page 39 when he writes about “distancing” and “level of detail”]

Manovich refers to this also as the “fractal structure” of digital media, which very cool and very LSD-like. So, yeah, cool.

BUT EVEN COOLER THAN THIS

is how this made me think of Aristotle. Your friendly neighborhood Western-culture-generator philosopher loved to talk about how the whole of something is more than the sole value of its components. Which, in some ways, doesn’t really seem to apply completely to digital media.

SOMETHING TO REFLECT UPON

Oh. And I was also thinking that maybe, MAYBE

MAYBE

all this modularity in our daily lives is also affecting the way our minds work. Like we now struggle to create coherent, consistent (“hardwired” Manovich would say) arguments or chains of reasoning, but instead rely completely on modular frames of understanding. Like we now tend to see things as separate and independent from each other, and we have trouble in looking at the bigger picture.

“OF COURSE YOU MUST BE WRONG, WE’RE AS CAPABLE AS EVER IN UNDERSTANDING ISSUES IN THEIR TOTALITY. BUT NO KID CLIMATE CHANGE IS NOT REAL BECAUSE ADMITTING IT WOULD MEAN RECONSIDER THE PRIVILEGES I GREW UP AS EXPRESSIONS OF A POST-INDUSTRIAL COLONIAL SYSTEM OF EXPLOITATION YESTERDAY SNOWED IN BERGAMO SO NO TROUBLE”

But let us not be distracted by such irrelevant issues.

Principle No. 4: Variability

Now this is obvious but still so cool. However, the question of variability is so multifaceted and complex that is difficult to pin it down to a single definition. I’ll try my best, though. I would say that

the concept of variability refers to all the ways in which digital objects can be modified, altered, or updated at the source of their distribution.

That is, without having to physically change anything. The only thing that variability needs is some form of the refresh button. It is a sort of physically invisible mutation, a “liquid” transformation, as Manovich says. And of course this has to do with Numerical Representation, Modularity, and Automation.

Before getting into the real interesting stuff about variability, Manovich makes seven examples. A couple of them will help grasp the concept better. So yeah, example three reads like this:

“Information about the user can be used by a computer program to customize automatically the media composition as well as to create elements themselves” (37)

In that unfortunately incomplete masterpiece that Metal Gear Solid V: The Phantom Pain is, you get to play as badass Venom Snake aka (sort of...) Big Boss, a super amazing and incredibly skilled soldier who has to infiltrate military compounds and all sorts of other infiltrable things between Afghanistan and Zaire around the mid-80s. In this game, you can decide what kind of equipment to bring with you, and approach the mission the way you like best. You can bring big-ass noisy weapons and just have a crazy battles, you can use assault rifles of sniper guns with silencers and be very quiet, and you can also use guns with tranquilizers so that you don’t kill anybody. You just put them to sleep.

Now, the cool thing about it is that the more you progress in the game, the more enemy soldiers will adjust to your playing stile. For instance, I remember using only tranquilizers with pistols and sniper rifles. So I would get lots of headshots, because when you headshot someone, he instantly falls asleep. After a few missions, most of my enemies adapted and started wearing helmets! So it was much harder for me to get those headshots.

See? This is an example of automation and variability.

There is also of course example number six. The one about periodical updates. Again, for anybody who ever played a videogame online, this is usual business.

I remember I once was thirteen. Yeah I know that’s hard to imagine, but for a moment just please bear with me. When I was thirteen I was very much into multiplayer FPSs. At that time particular, me and my friends would spend entire days on Call of Duty: Black Ops. Now, the online multiplayer was constantly updated and amended, so that if someone discovered that a certain build for a weapon made that weapon totally over-powered and impossible to play against, the guys at Activision would correct the flaw and balanced the game again. But variability in the game also occurred when DLCs were released: new maps, new weapons, new elements would ‘enter’ the world of the online game and of course alter it. It was cool, really. Cause the game evolved throughout the season. But the you had to buy the new one and spend other money and start back again and… really, can we just say fuck capitalism? That game could have lasted decades. Damn.

ANYWAY

By far the most interesting thing to me came at page 40, when Manovich discusses variability in terms of interactivity and hypermedia. In particular, he distinguishes between two ‘versions’ of interactivity.

Open interactivity: an interactive object “in which both the elements and the structure of the whole object are either modified or generated on the fly in response to the user’s interaction with a program.” (40)

Closed interactivity: an interactive object “that uses fixed elements arranged in a fixed braching structure” (40) and therefore on which users have only ‘liberty of order’. That is, they can only choose in which order to interact with the elements.

Now, try to follow me for a second. I think this distinction opens up one possibility of categorizing videogames. But we need to add one more category. We have

Linear games (Super Mario, the first Metal Gear Solid, Resident Evil 4…) which display a ‘limited’, ‘scripted’ interactivity. That is: you have to follow the path that has been chosen for you by the developers. You cannot decide in which order to do things. You go ahead with the game – interact with it, sure, but you basically witness the story unfold in front of your eyes passively.

Open world games (GTA, Spiderman, Pokémon games…), which essentially function on a principle of closed interactivity. You’re free to roam around and do whatever you want, to choose your own ‘order of interaction’ with the elements on the map, but you cannot act on the storyline, which is still linear and scripted for you. The story doesn’t change, no matter what you do inside or outside of the main missions.

pure RPGs (Fallout 4, Final Fantasy, Skyrim, Mass Effect…) which instead function on a principle of open interactivity. Your choices inform the way in which the game unfolds in terms of story, world, and sometimes even gameplay. The interaction is open because it allows to be formed in response to what the player does.

I should totally write a narratology of videogames.

I’ve already written a lot and I want to get to the last principle, but

I NEED

to point out something that comes around the end of page 41. Ready? So Manovich writes:

“The principle of variability exemplifies how, historically, changes in media technologies are correlated with social change. If the logic of old media corresponded to the logic of industrial mass society, the logic of new media fits the logic of the postindustrial society, which values individuality over conformity. […] In this way new media technology acts as the most perfect realization of the utopia of an ideal society composed of unique individuals. New media objects assure users that their choices—and therefore, their underlying thoughts and desires—are unique, rather than preprogrammed and shared with others.” (41-2)

Now, I am not sure precisely where Manovich stands on this argument, but this definitely rang a bell for me.

HEY LEV, EVER HEARD OF A LAD CALLED PASOLINI?

Because yeah, digital media gave us this fantastic possibility of escaping omologation because anybody can see, read, do whatever they want without any authority providing them with univocal content.

But are we really sure this is the triumph of individuality? Couldn’t this be just a new, and much more subtle and devilish form of conformity?

My bro and spiritual-granddaddy PPP believed so. And you, he was writing in the early seventies – not long before being brutally killed by neo fascists with the complacency of the State a Roman kid in Ostia – and virtually all of his predictions are becoming a terrible reality. Because Pier Paolo believed the (back then) new consumer society (which let’s face it gave birth to digital media the way we know it today) was only a new, horrible, de-humanizing form of fascism.

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This is for anybody who understands a little italian and loves tragic heroes talking about the horrors of late capitalism on winter beaches.

BUT WE HAVE TO COME TO AN END, DON’T WE?

Principle No. 5: Transcoding

I’ll be very brief, this is easy. Manovich defines transcoding starting from the difference between the “cultural layer” (pretty much the visual, the interface) and the “computer layer” (basically code) of digital media. Using the example of videogames again, the cultural layer of a videogame is all that you see happening on the screen, while the computer layer is the code ‘behind’ it that makes it all happen in that way.

Fine, cool. Transcoding, Manovich says, happens everytime these two layers—these two languages, really—start to mix and mesh with each other.

The best example that I can come up with right now—and I am sorry if I can’t think of anything better but you know I have a graceful lady waiting for me, his date—has to do again with open world videogames.

SO HERE’S THE THING, I THINK

Open world videogames emerged and became the next big thing of gaming when the internet was already a big thing. And there’s a reason for that. It’s because the structure of an open world mimics, in many ways, that of the WWW.

THINK ABOUT IT

An open world is somewhere were you can roam around (I want to say navigate so badly!) pretty much everywhere you want. Most of the times you can jump from one places to another, sometimes using a nice menu/database of possible locations (reminds you of anything? Hyperlinking? Search engines, anybody?). You can’t really create much, but you can see everything. Well, that to me sounds like WWW.

COULD IT BE LOVE? TRANSCODING?

I think it is, baby.

We’re sadly at the end of our ride

But don’t be afraid!

THERE’S STILL ROOM FOR MUSIC AND VISUAL ARTS

Today we celebrate videogames, so what’s better than a collection of some classics in videogame music history? Enjoy.

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As for visuals, I want to come full circle. Hideo Kojima’s game have always been blessed with amazing character design and illustrations by his bro Yoji Shinkawa. Death Stranding is no exception. Except that there is an exception, because these times the characters are actors! Great actors! Like beautiful Lea Seydoux who I hope one day to marry. Or at least to hookup with, come on. Anyways, that’s beyond my point. I just wanted to introduce this beautiful promotional picture for Death Stranding.

It really is beautiful.

до свидания!

Image Sources: Parade, Pure Nintendo, Tech in Asia, GIPHY, Know Your Meme

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mi6012stevenhaggie · 6 years ago

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Critical Analysis

As with every project, I struggled for a good number of weeks on deciding exactly what to do. As it was stated, that your final project really defines the route you want to take into the animation industry. This really had me worried as I still don't really know exactly what I would like to do.

I decided to go with what I knew, and what I had always been involved in, making a music video. It took me a while to pick a track to use as I had no recent material, having put my music on hold while I am at Uni.

I picked a track that I thought had lots of strong visual ideas, I had always imagined a groundhog day scenario for the song, where a man sits in a chair all day not really doing much. I used this as a basis to form my idea. The lyrical content links to many different subjects, such as social media addiction, social exclusion, depression, anxiety, agoraphobia, repetitive lifestyle, routine, trapped in the system, simulation, virtual reality and many more, which can be picked out in the lyrics. So I researched these areas, to build my idea on solid foundations, and form some strong visual representations.

I was keen to build on the compositing module and do some kind of compositing for this project, but the more I planned it out, the more I thought it would work entirely in 3D, but with added composite footage of me performing the song, to the actual animation instead, so the opposite of what I had been doing really.

Once I had my idea down, I began to plan it out, using all the techniques learnt from previous modules. I broke down the character design and modelling module again, and repeated all the stages of that process to make sure I was doing all that needed to be done. Bible, Colour Sheet, Movement Sheets, Negative space etc. I created two characters, one is a male, wearing large sunglasses, dressed in shorts and t shirt. The other is like the manifestation of all of his fears and worries (demons) which only becomes visible as he visibly becomes worn down by the repetition of his everyday life. I wanted to create the kind of Bill Murray groundhog day effect to it, but I also loved the scene in Westworld, where the man discovers he has been made into one of the hosts. As we see each day repeating for him, living out the same scenarios with the same person, until he glitches and things go downhill pretty quickly. I liked the idea and wanted to bring a little of that into my piece too. As the climax of my video results in the characters environment glitching and a door appears, but the door is just painted on the wall, the character kicks down the wall and reveals he is in fact in a large white space surrounded by other 'sets' where he has been living. He turns to look back into his home, taking off his glasses, we find out that he was just an avatar in a virtual reality scenario for a real human, who is left standing, holding a VR headset in a large white open space surrounded by nothingness.

I created the the T-pose images and modelled the characters using Maya. I was a little rusty with doing a lot of these things so had to watch a few tutorial videos again to recap how to do certain things. I only had to UV map one of the characters for texturing as I intended the shadow like man to be completely black, casting no shadows and reflecting no light, so just a dead blackness, only with 2 eyes reflecting the light. I also think I may render him out separately so that I can composite him n the shots with some transparency possibly, still unsure on that part. I enjoyed texturing my character using UV snapshot in Photoshop, and trying to create a nice looking texture and bump map for him, only a really subtle amount. Feedback from a few people have stated he looks a bit like a Muppet, and I think that works really well for this.

I created rigs for the characters using Advanced Skeleton again, following the procedures taught to us last year, checking back on last years blog for reminders. I really enjoyed this process, trial and error of getting the joints in the correct places for the movement you desire. Then came the weight painting, I had a lot of problems on my character to begin with, which was really frustrating, I still don't feel I know exactly what I'm doing regarding that area, but I think I managed to do it well enough so that it all works ok. I still need to go and tweak a few areas like the fingers. But the biggest problem was the sides of the beard being affected by the arms. I managed to get through that part in the end though, so that was a huge relief.

I had 4 sets to design, and used techniques learned from the Game Design to help me plan those out too, sketching and testing out the shapes and sizes of the spaces, and also create the large empty kind of feeling I wanted to go for. The design is also similar to my games design, following quite a creepy and sinister looking environment, dark, dirty and mouldy looking walls and assets. I went by my designs to create the first room, the main set in which most of the action takes place, the sitting room. I intend to make a lot of textures for the walls using the UV snapshot again, and adding peeling wallpaper, mouldy wet patches, etc. Hopefully producing something that looks a little unsettling. I will repeat this process for each room. I am modelling as much as I can, but I may also use a few free download models from websites, which I will give credit for in my notes when I write it all up.

I hadn't really created an animatic before so this was my first go with that, I drafted out a rough storyboard using biro, and a lot of people commented on how they liked the look of that style. I did too, but its not something I wanted to carry onto the final look of my film really. I edited the storyboard along to the music, to try and structure out the plot of the video, trying to get timing right and to see if it worked. I think it works really well, I was concerned that it all may be happening too quickly and would have liked to linger on some shots a little longer, but having made many music videos I have found that generally they tend to be really quick cuts between shots, flashing things up just to help the narrative advance. So I am still confident that will be fine.

It will probably mainly consist of scenes with little to minimal movement, until the end sequence, as it is very quick flashes of the repeating scenes each day until that point. Hugo commented that my storyboard had a lot of mid shots and not much diversity in the camera angles. I think I just like to plan out a basic look of the shots, because when I get hold of a camera in 3D space, I know I will be able to find much better angles to represent each shot, so I imagine it will stray slightly from the ones in the animatic, but to something a little more pleasing or disturbing to the eye. Using Dutch angles and slow zooms and pans, I think I will be able to create something quite cinematic. I would also like to try out focus shifts in some scenes, which is something I have never tried in Maya, but will be doing a lot of research on to find out how it works.

I have done most of the work so far at home on my home PC, just to save bus fares really. But when it comes to animating I plan to use the Uni computers, so I have been a little concerned about transferring my files to the Uni computers as previously I have had problems with all my textures etc. when opening them up. As I have been setting things up in Renderman 22.3 and Gary mentioned there had been issues with it, and that the Uni computers didn't have that version on yet. So I was worried that I may have to reapply all of the textures to everything again. But I will cross that bridge when I come to it, and for now I will just finish the models and maybe finish the texturing off first thing when we come back, after checking out what the situation is with Renderman.

I have really enjoyed this module and found myself really throwing myself into it and just cracking on, the thought of having a really nice animated music video for one of my own songs, is something I am really excited about. Creating everything from the music to the video, using techniques that I have learned over the last year. I hope to have something very professional and cinematic looking, that carries the message from the song, and bridges that gap between audio and visual for the listener. It will also be great to have something that I could add to my show reel, as an impressive piece of animation work.

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