#they're irreplaceable

[opshizt]

zoro and sanji according to the lastest op magazine:

[edelgards]

there are just so many ways to say "i love you"

[possamble]

realizing im kind of a weirdo about laios and marcille

[the-blossica-fan]

Greetings!

I am curious, what happens to a character when they "die" in the battlefield? Like we know they don't actually die in a literal sense since we can still access them in the suitcase after the battle. But what do you think happens? Like what is the process?

My thoughts on how it works is like basketball. When a player gets injured heavily and cannot play anymore (like dying on the battlefield), then there is a timeout or foul and they are replaced by a player on the bench (or the 4th team member in their Udimo form). The injured player is immediately rushed for medical attention and the rest of team continues on without them.

For example, I remember a time when my sister was playing and Avgust passed away suddenly and Windsong came out of the suitcase from her Udimo form to replace him (he was quickly avenged). I also wonder what happens when a kid is injured like that. Will they rush them to Laplace like they did with Erick on her character anecdote (when she started losing conciousness and bleeding)? What would that scenario be like in Avgust's case?

Hello my friend!!

I feel like not only does it depend on the enemy but also the circumstances. Like, if you get defeated by a simple enemy that launches common arcane skills, it's not as dangerous and can be treated with simple healing spells.

I'll get into details after.

As for how, yeah it might be as simple as that, for us and the enemy. If we're going with the "arcanists randomly appear to kick ass" we can assume that when one gets injured or unable to fight anymore (due to whatever circumstances), another selected arcanist walks out to take their place while the other is escorted inside for treatment.

Same with our enemy because, as a common saying here goes: "Lo que es bueno pal pavo es bueno pa la pava" (it means if a thing applies to a certain group or person, it's valid to apply it to another group or person)

So you have to wait for your enemy to be carried away and replaced by another enemy, it's only fair.

I believe there's a small fear over sending young arcanists outside due to their arcanum and resistance. If someone like August were to get hurt by an ultimate, they'd have to carry him to the foundation for his safety and health. The foundation can provide a more thorough examination for the injured arcanists and the more gravely damaged, especially children who are under Tooth Fairy's jurisdiction.

The damage also depends on if it was an ultimate or if it was a normal attack, and also the type of enemy. A boss defeating your ally with an ultimate can and will get them to an emergency room unless they're known for applying shield or high resistance skills which may minimize, but not eliminate, all damage.

Kakania, Ezra and Eternity who damage themselves during attacks may receive a different treatment due to constant injuries. Semmelweis doesn't count as her body is different from a normal arcanist's, she might need to drink blood even if she's reluctant or doesn't want to.

Kids are less sent outside to fight unless the enemy doesn't cause as much damage.

And I haven't read Erick's anecdote 😓

In a more specific Avgust case, it's definitely a formal friend or Windsong (Vila doesn't cast any attack incantation so I'm not counting her) who takes his place and also helps the team carry him. If Vila is in the team, she has a harder time staying put so she applies health incantations almost immediately so Avgust can rush to Tooth Fairy (or in a more serious case, Laplace) with less pain. If she's not, you bet your life she's carrying that kid through the halls like a mad woman.

[ouddlareme]

having a huge c!emerald duo brainrot in the year 2024 was not on my bingo card but here we are

[cakesmelons]

Also bonus doodle just for u Melon ;3

(Melons edit, not part of og submission: I ran out of room in tags, BUT ty ty ty ty I loved this sm 💕💕💕💘💘💘)

[heepthecheep]

Mother needs to realize that she doesn't come off as supportive, she comes off as psychotic

[quasi-normalcy]

.

[vilevampire]

I've never received so much psychic damage from reading something in a fic as I have today reading a paragraph referring to f1t as p4c's "best friend and most trusted companion" with no mention to m1ke at all

[frequency-7]

i lost my moitie lace gloves on world goth day at local bar 💀💀💀i went back last night for karaoke and asked if anyone turned it in & the bartender said they throw away stuff like that... im hoping its a finders keepers situation bc thrown in the trash is Much Worse

[solemntitty]

it's really funny to me that the only two light cones i have that are semi good for blade right now (something irreplacable, the moles welcome you) both have children laughing on them

[timegears-moved]

augh. the scene where hero comforts partner while overlooking the stockade. dies

[idubildino]

a.c.e's new mv was so cuuuuute I just want to shove it in everyone's faces fr

[dreamings-free]

This month Steve Jennings looks at Louis Tomlinson’s Faith in the Future world tour and spoke with Production Designer, Programmer, and Director Tom Taylor of Tanck.co about his design. Taylor, along with Tanck.co partner Francis Clegg, added a video element to support the larger venues on this run.

By: Steve Jennings (Photos and Text) Wide Focus - August 11, 2023

English singer-songwriter and former One Direction band member Louis Tomlinson is back out on the road in support of his second album, Faith in the Future. For his second world tour, he’s playing to an ever-growing audience—the crowd I witnessed could not get enough of him as evident from the adoring fans singing along to every word he sang. We spoke to Production Designer, Programmer, and Director Tom Taylor of TANCK about the tour.

Designer Tom Taylor started working on the current tour as the new album’s promo materials and aesthetics came to light. Taylor says it’s a more rugged and asymmetrical look than they’ve gone for before, meant to mirror a sort of dive bar aesthetic rather than a beautiful arena production. “This reflects the music off the latest album, which has a more grungy feel to it. There are touches in there such as the light boxes (loosely resembling the fluorescent lights of a nightclub toilet), and our custom camera housing (a hollowed out old VHS camcorder with a Marshall 4K camera inside) that bring it back to a more intimate venue feel than the true scale of the places we’re playing across the world.”

Taylor notes the show itself has definitely progressed and he would say feels more like a ‘show’ than a ‘gig‘ now; it has a start, middle, and end, with themes and segues to connect them throughout. “The video content is more to set a mood for the songs. We’re trying to stay away from anything too literal and obvious. This extends to the lighting programming as well where we largely refrain from hitting everything on the beat, fully ‘perfect’ timecoded hits throughout the rig. Hopefully the end result is that in those moments where we do go crazy with programming and rhythm, it’s much more interesting and stands out in the set.”

Since 2020, Taylor has worked with Francis Clegg on production design. They had worked together for about five years prior to that and have a complimentary skill set. “We’ve accelerated quite rapidly, taking on a design assistant in Jamie Lawrence and soon to have another member of the team joining,” Taylor says. “Whilst one of us is the company face to each artist or client, we work together 50/50 on every project behind the scenes. James Washer [Lighting Programmer] is often the first name on the team sheet when we pick up a show like this one… he just gets it; is a great programmer and time saving resource who knows how to interpret when I say something like ‘can the lights be a little more aggressive.’ Francis (Clegg) is also a fantastic programmer, so I was able to work alongside James in the rehearsals to finesse the previz programming.”

Although he’s on a MA Lighting grandMA3 surface, Taylor runs the show on MA2 software. The reason for that is because this tour goes everywhere in the world, and he knows he can get an MA2 anywhere without having to lug around small form consoles himself. Taylor much prefers to take a USB stick through an airport. “We are running a lot of things through the desk—lighting, video, camera switching, and automation. The MA makes this easier to deal with and the fixture cloning system is excellent, so I know I’m going to get a good replica of the show no matter what fixtures I get thrown wherever we go.”

The venue sizes this time around sort of called for a video element to be added, Taylor says. “The focus of the show is, of course, Louis, so plenty of close-up camera work to amplify his emotion. These are treated with overlays and masks created by [content creators] Two Suns and ourselves, with 3D animation work coming from Boxcat Studio. The whole system is run on a Resolume server. Camera switching is done from the MA console via Open Control, which sends OSC messages to the ATEM switcher, which ultimately sends it to the capture cards. This way we eliminate a touring video director (sorry!) and save a bunch of truck space on outboard equipment. The system works extremely well.”

Colour Sound Experiment out of London is the tour lighting, video, and rigging company. “We use them for a large portion of our shows. It’s very useful dealing with just one company who ‘do it all’ but also don’t cut any corners or scrimp to get the job done. The equipment is well maintained with a good selection of inventory to choose from.” Taylor says it probably took them about three iterations to get to the point they’re at now, keeping ideas from the previous versions until they got somewhere they were all happy with. “It was a bit of a process, but a great payoff. I should probably thank Louis and his Manager, Matt Vines, for their patience in putting it all together. There are a lot of (literally) moving parts to the stage with winches, light boxes, light bulbs, and our shuttering set piece at the back. Ultimately the show is dynamic and exciting, but all the elements sit nicely together as well.” Taylor was a bit unsure on using the GLP X4 Bars across the back because of the brightness difference to GLP’s FR10, for example, but they are exactly the right brightness for this gig without being overpowering, he says. “My absolute favorite moment of the show, where we have some crazy iridescent hyper color animation, is driven by the Ayrton Huracans… amazing lights, just don’t try to pick one up by yourself, they’re beasts!”

Tomlinson was really involved in the design of this one, and also much more open to trying new things and delivering a narrative through the show, adds Taylor. “Matt Vines should have a shout out for his contribution to the ‘ideas factory’ and being a great sounding board as we developed the show. PM Craig Sherwood has been incredible as always, never asking ‘why’ we want to make it look like a derelict bathroom, just making it happen. Finally, the tour’s secret weapon, technical maestro Sam Kenyon, who is quite literally irreplaceable, has been an excellent resource for actually delivering the show in the real world day after day.”

Production Team

Tour Manager: Tom Allen Production Manager: Craig Sherwood Production Design, Programmer & Director: Tom Taylor & Francis Clegg, TANCK Lighting Programmer: James Washer Lighting Crew Chief: James Box Lighting Techs: Rick Carr, Amy Barnett Stage Manager: Torin Arnold Technical Manager: Sam Kenyon Video Crew Chief: Dave Mallandain Video Programmer: Jack Fone Video Techs: Tim Curwen, Braden Pettigrew Camera Operators: Mark Lawrence, Braden Pettigrew, Tim Curwen Rigger: Mark Lawrence

Vendors

Lighting/Video/Rigging: Colour Sound Experiment/Acc. Rep. Haydn Cruishank LED Trim: LED Creative Custom Light Housings: OX Event House Set Construction: Hangman UK Video Content: Two Suns Creative, Boxcat Studio, TANCK SFX: BPM SFX

Gear

Lighting 2 MA Lighting grandMA3 full-size 19 Ayrton Eurus Profile 6 Ayrton Huracan LT Profile 5 Claypaky Mini-B 12 Robe Spiider 72 GLP X4 Bar 20 16 GLP JDC Line 1000 10 GLP JDC1 Strobe 12 CHAUVET STRIKE Array 4 2 Chroma-Q Color Force II 12 16 Elumen8 COB PAR Endura 10 LEDJ Spectra Q15 3 Robe BMFL RoboSpot

Video 2 Resolume Server 23 Custom LED Trim 6 Video Screens, 2.5m x 2.5m 7 Marshall 503 Camera 3 Panasonic UE70 PTZ Camera 2 Blackmagic Design URSA G2 Camera

► audio version of the article available at the source

[crazykuroneko]

They don't make lyrics, songs, and groups like this anymore

I miss my depressed, dystopian, pro-democracy, rebellious children 🥲

[heatwa-ves]

thinking about the similarities between knights and peaky...