#visual effects producer

[tenspontaneite]

Sigs make interesting bodies for themselves sometimes 🙏

[borathae]

this doesn’t make sense yet but listen. the clone!yoongi story? the way detective!yoongi fucks is so lana del rey coded

[peapod20001]

I actually do have very complex thoughts about many different things, it’s just a bit challenging to connect the inner voice to the outer voice sometimes </3

[zialinart]

hot take but people who shit on the avatar movies on tumblr are so funny like “there’s no plot it’s boooooriiing” maybe take your head out of your scenario-brain-based ass and recognize they are probably the most impactful movies of the last decade idk ?

[creatingblackcharacters]

No, That’s Not ‘How Color Works’. - Whitewashing

Whitewashing, as defined by Merriam-Webster:

"to alter (something) in a way that favors, features, or caters to white people: such as a) to portray (the past) in a way that increases the prominence, relevance, or impact of white people and minimizes or misrepresents that of nonwhite people and B) to alter (an original story) by casting a white performer in a role based on a nonwhite person or fictional character"

In fandom context, we know it to include:

Making someone’s skin lighter

Making someone’s hair a thinner texture

Changing someone’s nose to be thinner

Shrinking their lips

Changing the character in their entirety to be someone else

The Normalization of Whitewashing

Remember how I mentioned last lesson that despite the nature of poorly drawn Black characters, most audiences are not turned off enough to discourage the action in professional works? Similar idea with whitewashing. Not the same- unlike the Ambiguously Brown Character, which claims to have plausible deniability, overt whitewashing is usually enough to make fans speak up! But that’s the key word here- overt! It has to be “bad enough” to make enough people speak up, but as we’ve seen many a time, “bad enough” seems to have a much higher threshold for nonblack viewership (sometimes the limit doesn’t exist!)

Some visual examples

This is a link to my personal thread on a Netflix show I was watching- Worst Ex Ever. Now, while the show itself was quite enlightening, there was something I could not get over. I thought I was going crazy. And that was that no matter how dark the person of color would be in real life, the animated portions would draw this light pinkish-brown. Every. Single. Time. It's like they couldn't fathom scrolling down the color wheel. And this is a Netflix original! Netflix has plenty of money for someone to have caught this in creation. But... it was produced. And put out. And they're making more of it.

I asked all of the Dragon Age fans about the series, and uh… I didn’t know things were this bad, guys! Apparently this is a man of color, but it doesn't seem like the creators want you to know that 🤣. Jokes aside, as I’ve discussed before, the noticeable whitewashing- and that was one of many racist things I was told- was not enough to prevent sales... so why would they stop? I can only hope this new game, with all the updates, is enough to turn the tide. But the series has gone on for a while now, that if they’d chosen to do ye same olde… there clearly would not be a lack of financial support to prevent it.

Colorism as a Tool

Even when actors of color are cast, colorism often plays a role in normalizing whitewashing to audiences, even to Black audiences! People think “oh well at least they’re Black!” as if that is the only important part. It is not.

While Aaron Pierre, the actor cast for John Stewart of Green Lantern fame, is a GORGEOUS, STUNNING man, he is not the dark-skinned man that John Stewart is supposed to be and should not have been cast! To me, this is overt colorism, but clearly for many people this is not “enough” to warrant concern or even prevent the casting itself- including the studio behind the movie! Black fans have plead for years for the character of Storm to be played by a dark-skinned, preferably African, woman, and it has never happened.

It naturally happens in fan spaces as well, which is another indicator that colorism as a tool for whitewashing is quite effective for audiences. If I see one more Zendaya fan cast for Kida from Atlantis, I will scream. It’s been happening for years, and I don’t think any of the people who just want to see her and Tom on screen either understand or care that Kida is a dark-skinned character. Zendaya doesn’t look anything like Kida- it doesn’t matter if she’s Black too! Just because someone is Black does not mean they can play every single Black character! I’ve even seen people fancast Emilia Clarke of Game of Thrones fame, to which… I don’t have the words. I can’t fathom what would cause these decisions other than racism.

The Common Excuses

I must be honest. I don’t really feel like re-iterating how certain things are not okay and how to fix them, because I’ve already discussed these things in massive detail. So I’m just going to direct the excuses I regularly hear to my lessons, where you can read up on them.

“Their hair/eyes are like that because they’re biracial so-”

Relevant Lessons: 2.1, 2.2, 2.3, 8, 9, 10

There is nothing wrong with having biracial characters with a range of features. I am not saying that! Because yeah, genetics do happen!

But I mentioned this in my last lesson, and I will re-emphasize here, that using biracial identity as a way to whitewash is a sinister form of racism. The intention here- the real intention- is the issue here! The idea that somehow this character can only look the way you want them to look by "diluting" their Blackness… I don’t know how you can explain yourselves out of that one.

You don’t get to use us as an excuse for diversity while still trying to maintain your preference for Eurocentric beauty standards. Black biracial people don’t always look light skinned, thin-haired and ambiguous, and even the ones that do don’t deserve to be treated as your fetish for pretend antiracism. If you just want to draw a white person with a tan, do that. But don’t change a character’s entire look just so you can work in some whiteness. If you want to claim that canon Black character’s mother was white, then I guess they inherited some of her personality because their features should not change.

“It’s my style/It’s the color-”

Relevant Lessons: 3, 4, 10

I hate all excuses for whitewashing, but I’ve grown to despise, hate, abhor and loathe this one the most as I’ve become an artist. I wish there were stronger words to describe just how much I hate the “style” and “color” excuse.

Are style and use of color oft intertwined? Absolutely. I’m not saying they aren’t. But out of everything, there are two things I want artists to understand:

1. Style does not cancel out racism! No style forces you to choose ashy greys and to change peoples’ features. That’s you! If you look at something, and it looks offensive, you change the style. You grow as an artist!

2. “Everyone who is brown will look ashy so I just-” if you recognize that your Black characters look strange in comparison to your nonblack characters, then it’s time to try something else! I don’t understand this sudden need for “realism” when it comes to color and lighting, but not when it comes to hair, for example. No one cares about realism when giving every and all Black characters wavy tresses they probably wouldn’t have, but suddenly milquetoast watercolor attempts at brown and off-putting lighting is “how it works”. That’s not fair.

The color picker is an available tool! I use it often!

Dead giveaway of purposeful whitewashing: if someone gets the outfit color palette right via color picking, but the skin color is multiple shades lighter. That means they were looking at that character and chose not to proceed.

Dead giveaway of purposeful whitewashing: if the white characters in the show are completely correct in their palettes. Again, that means they cared enough to look at everyone else… and not the Black characters.

If you use the color picker and the color picked is… disrespectful, you do not have to use that! You can simply choose a better color that is still similar to the brown that ought to be depicted!

“It’s the lighting-”

Relevant Lessons: 4, 5

If your white characters do not shine like snow in the sunlight because of your lighting, then your lighting does not make your Black characters suddenly light tan.

If your Black characters look bad in your lighting of choice- for example, putting a very dark-skinned character in electric white lighting can be ghastly- try changing the intensity or the color of the lighting. DON’T change your character’s skin color!

I'm going to show you some pictures of South Sudanese model Nyakim Gatwech. Pay attention to the choices of light, color, and makeup.

Look how BEAUTIFUL she is! Look at the choices of intensity and color of light, and how they make her look different in each image.

Now look at this image in comparison:

In this image, whoever did her makeup and took this picture did not take into consideration her skin tone. She's also under this really intense lighting. This is an example of "increasing the lighting does NOT make an image "better"". She didn't need to have lighter skin or "more lighting" to look good. She needed BETTER lighting, lighting that worked with HER.

To see this as an example in drawn art, @dsm7 makes an excellent argument for proper lighting and color, why it is an issue to use it as an excuse, and how to solve that problem.

‼️DISCLAIMER FOR NEXT EXAMPLE‼️

Okay. I am about to show y’all a fan-created example from my personal experience. It is a TEACHING EXPERIENCE ONLY. I am not including the artist’s name in this image. It happened a couple years ago, and it’s over- they’ve chosen to be who they are despite me kindly confronting them about it. The only reason I’m including it at all is because I feel like it would be remiss to have such a clear-cut, multi-level example, and not teach with it. That said, no, I am not telling anyone to act out towards them. Again, that is not what I’m telling you to do. The last thing I need is a literal lynch mob of angry nonblack viewership for trying to teach you all, and y’all sitting there watching it happen to me. Every example of whitewashing is not going to be so obvious, but I hope you learn how to spot the examples in the art you see and share.

I'm obviously a Hades fan, particularly of Patroclus- despite my disdain for the lack of effort in his canon character design. So I've seen a lot of things. That said:

“Well it’s just MY design of them-”

Relevant Lessons: ALL

The sepia coloring did not do this. The lighting did not do this. The design is the exact same as the Hades version, even down to the shape of the hair curling in the back. The only thing that is different… is the man himself.

Y'all. Y'all! You CANNOT take a pre-existing Black character and say “oh well this is my design of them” …and the design is of a whole white person. Because if the rest of the fit is the same, and the only thing that changed is the Blackness… Racism. If you’re going to “make up your own design”, then do that!

“Blackwashing”

Speaking of: I’m sure someone edgy out there thinks they’re so smart as they retort to the screen: “but if that’s not okay, then why is Blackwashing okay?” To which I say- shut up. 😐

The “definition” by fandom: making a nonblack character Black, usually an anime character, but characters in general.

Funny enough, the actual definition in the dictionary (or closest to) is “to defame”, in contrast with whitewash (as in whitewashing history). Maybe racist fans ARE using it correctly when they say you’re blackwashing their characters, when they mean you’re making them “less likable because they’re Black now”. 🤔

Anyway: Blackwashing is not real for the same reason reverse racism is not real.

Me painting these characters brown is not going to take away from the fact that there are far more of you in media than there is of me. Me saying that I ‘headcanon a character as Black with 4C hair’ is not going to make the studio go “oh! Well they must be Black with 4C hair now!” Me saying “oh I think I’d like this character better if they were Black” as a beta tester (less overtly, obviously, because I’m not racist!) will never make a studio change that character. Black viewers have minimal value in comparison to the power of the white viewer’s dollar. I could draw white characters Black every single day of every single game media… and they would still produce majority white characters. There has not been centuries- if not millennia, when we consider Jesus Christ himself, even- of purposeful “Blackwashing” with the intent of removing the original ethnicity- and thus importance- of white people. No one has ever been allowed to forget when someone is white. No one has ever been allowed to forget or not acknowledge white people.

How it could be "solved"

Personally, I love Black edits and I welcome them here. I find them creative and fun. But if you really, REALLY didn’t want us to make those edits, then naturally, we need more Black characters in all of our media!

I wouldn’t have to make edits if I saw more of me to begin with in the things I like to watch- but when we have those characters, racists act an ass about them. We’re not allowed to even be present! I’ve seen too many gamer bros mocking the existence of Yasuke in Assassin’s Creed, and he was a real ass man. But if we made a game about African peoples in African societies, how many of the gamer bros would actually play those games? Do you think there’d be as much support, when we hear so much about Black characters that are treated so abhorrently? How many games do we have where people would love their faves just as much if they were Black? I even learned that Solas was apparently supposed to be a man of color. IMAGINE how many people would not have liked that man, with the same exact plot and characterization.

Something I’ve noticed recently: apparently "Blackwashing" is not a thing when White fans “allow” it. Take this recent trend with Miku. International Miku was beloved! But if you draw any other character as Black on any other day, there will be people that are horrid about it. Ask any artist, Black artists and Black cosplayers especially, who’s ever done it what their comments are like. I’ve read entire missives akin to white supremacist drivel on how it’s somehow morally wrong to make characters Black. Meanwhile no amount of “hey maybe you shouldn’t do this” prevented the movie Gods of Egypt from being created, with a cast full of British White people.

Solutions to Avoiding Whitewashing!

1) Using References!!

Do I think you should know what Black people look like? Yes. We’re humans. It’s 2024. Everyone knows what we look like when it’s time to hate and discriminate against us, so you know what we look like when it’s time to love and depict us. If you’re on Tumblr, you have access to the Internet. ESPECIALLY if you’re in the U.S., as Black people are the source of damn near every piece of online pop culture. If you can find my dialect to make my jokes, you can find pictures of me.

Would I rather you use a reference every single time so that you can only strengthen your depiction of my people? ABSOLUTELY.

Anyone on the Internet telling you not to use a reference or that you shouldn’t need a reference? Unfollow them. You don’t need that negativity in your life. Why would you deprive yourself of a tool to create? The greatest portrait painters in history had to look at their subjects! You are not getting paid nearly as much to do this as Hans Holbein, and he had to stare at Henry VIII correct else lose his head- you can pull up multiple references. I’d far rather be judged for using hella references than be judged for being a racist!

Part of the issue is people draw what they’re used to, what they’re comfortable with (thus last lesson). But if what you’re used to is not what someone will look like… That’s not okay. Their features are not the issue, your skills are the issue. Learn! Practice! There is no rush. No one is rushing you to be perfect at drawing Black characters, and no one is rushing you to post them. You can just practice! If you’re not a professional, you can take as long as you need to draw! If you need to draw that piece of hair over and over until you feel like you have down the shape, you do that! If you need to use a tool that would draw the hair for you, you get that tool!

If you want to post, you can say you are practicing! If you make clear you are practicing, then be willing to accept that people may have feedback. I’d far rather deal with someone saying they’re unconfident and practicing, than someone posting a whitewashed caricature and closing their ears because “well at least I’m trying!”

2) Empathize! Care about actual Black people when you create a Black character!

Imagine, if you will, in the Twilight Zone: you went to an artist, and you asked for a white character (I typed in “regular looking white dude” on google). There’s hardly ever any white characters, you’re so super excited about this one! You paid good money, because you’ve seen just how amazing this artist creates! They’re so good at drawing characters of color! But no matter how many times you ask, they send you back an image of… Assad Zaman.

That man might be fine as hell! Gorgeous! Beautifully done! Chef’s kiss. Stunning! But… He’s not white. That’s not what you asked or paid for. You can’t even fathom how they mixed this up, they don’t even look alike! And when you confront them, they gaslight you, they call YOU the issue for not understanding how you can’t tell that this is a white man! They would never get this wrong! They have white friends, you’re the racist! But you’re not stupid, and you have functioning eyes- you can SEE what this drawing looks like! And… It’s not you.

It’s dehumanizing. It’s being told that there’s a “better way” to look like you, and that’s by… Not looking like you. You, as you exist, are what’s incorrect. Your identity is incorrect, not their drawing. It’s better to have thinner hair instead of an afro or locs, it’s better to have lighter skin, it’s better to have a straighter, thinner nose over a round one, and smaller lips.

And what makes it worse is knowing that people who don’t look like you? Probably won’t care. They won’t be willing to see- not unable, but unwilling- that playing with this caricature is harmful, that they’re propagating harm by not acknowledging it. They’re letting you know that your humanity means less to them than the clout received with a whitewashed or half-assed Black character, and that people will applaud them for that ‘attempt at inclusion’. And people will applaud! They will be entertained by the mere performance! And that hurts.

I’m going to say this, and it’s awkward and I try not to say it directly on here, but… Having Black friends and/or being around actual, real life Black people would help. I can tell from some of the questions I receive that Black characters and their traits- especially things like our hair and our cultures- are being treated as… alien concepts. But even if, for whatever reason, you legitimately don’t know any Black people, you do not need to know us individually to care about our humanity as a whole! Even if you do not know we’re there, we are, and we could possibly see your work!

By acknowledging Blackness and making room to understand what it means- and that includes how we can look- you are doing the bare minimum of acknowledging our personhood. If you cannot do even that, you don’t need to be drawing us.

Conclusion

Here’s the thing: if you want to draw a white man with tanned skin, do that. Just do it! You do NOT have to erase me to have more of you! There is not a single fandom where the majority of the white fans ever said “gee, not another white guy!” It simply doesn’t happen. God knows we wish it did sometimes. You will always have an audience for white characters. There’s no danger to any of you of “being erased”.

(Without putting on my political hat, I will say that a lot of white people who consider themselves to be far from white supremacist will express beliefs in line with great replacement theory if you push them hard enough. It is unfortunately not as uncommon an idea as you might think. I would do some self-evaluation.)

People are going to notice that you only ever draw white people, but… To be frank, that has never stopped anybody from being successful. Again, Jen Zee, at Supergiant with the terrible dark-skinned characters… Still has a job. at Supergiant. A professional studio. Dragon Age. Multiple games of consistent whitewashing and racist writing. Still going. If racism prevented creation and popularity, I wouldn’t have to have this blog. Alas, that is the society we currently live in.

But if you ACTUALLY want to depict Black characters, if you ACTUALLY want to do right and be respectful- not because you want the clout, but because it’s the right damn thing to do- then you need to commit! This means drawing them as they are meant to be! Accept that you’ll likely lose some fan base, who was there (whether they were aware of it or not) for the white and lighter skinned characters. Accept that this means that trying to appeal to those people by whitewashing characters is 1) wrong, 2) racist, which is 3) something you chose to do when you could simply have just… Drawn more white people.

I’ll say it again: antiracism is hard. It’s hard doing the right thing in a society that rewards racism so easily. It’s really hard knowing that people will stop supporting you or caring as much about your work when you start including Black characters as actively as you do white ones, especially if you start talking about the importance of it. But in my honest opinion, I’d far rather be someone that cared about others, with genuine fans, than someone that was racist for the fleeting internet clout of strangers. And that may be less ‘hopeful’ than I normally am in these lessons, but… People make choices. And people who have been informed- as you are now- are aware of the choices they are making. It’s the thought that counts, but the action that delivers- let’s choose better actions.

[hayatheauthor]

The Anatomy of Punching a Character in the Face

Punching scenes are a staple of action sequences in many genres. Whether it’s an intense brawl, a quick defense, or an emotional outburst, a punch can carry a lot of weight both physically and narratively. As a writer, it’s essential to understand what really happens when a fist meets a face—from the immediate impact to the longer-lasting effects on both the person getting punched and the one throwing the punch.

This guide will help you craft authentic, detailed, and believable punch scenes by exploring different areas of the face, types of punches, and the aftermath of such an impact.

1. Target Areas of the Face and Their Vulnerabilities

A punch isn’t a one-size-fits-all situation. Depending on where the fist lands, the consequences will vary significantly. Different parts of the face have varying levels of vulnerability, and targeting these areas produces different effects, from knockouts to broken bones.

A. Jawline: The Knockout Zone

The jawline is a classic target in many fight scenes, especially when knockout punches are involved. This area is highly vulnerable because a hit here causes the head to snap to the side, leading to a sharp rotational movement of the brain inside the skull. This movement disrupts the brain’s communication and often results in a temporary loss of consciousness—what we commonly refer to as a "knockout."

Common Effects: Dislocation or fracture of the jaw, loss of consciousness, slurred speech, and severe pain.

Visual Aftermath: Swelling around the jawline, bruising, and possible misalignment of the jaw if broken.

B. Nose: Breaking and Bleeding

The nose is another vulnerable target, known for being easily broken. It’s not just a fragile bone structure, but it’s also connected to many blood vessels, meaning a direct punch to the nose often results in immediate bleeding. The nasal bone can fracture, causing difficulty in breathing, and in some cases, the nose may need surgical intervention to reset.

Common Effects: Intense pain, bleeding, difficulty breathing, potential for a broken nose.

Visual Aftermath: Blood running from the nostrils, swelling, and significant bruising around the nose and eyes.

C. Cheekbones (Zygomatic Bones): Bruising and Fractures

The cheekbones are one of the more solid structures in the face but are still susceptible to breaks, particularly from a heavy blow. Damage here can lead to not just bruising, but potentially severe injuries that can affect the entire facial structure.

Common Effects: Fractures of the zygomatic bone, swelling, bruising, and pain extending to the eye socket.

Visual Aftermath: Black eyes, noticeable swelling on one side of the face, and a sunken appearance if the bone is fractured.

D. Forehead: A Hard Target

The forehead is much harder than most parts of the face and is less vulnerable to severe damage. However, punches to the forehead can still cause pain, disorientation, and dazing of the recipient. While it’s less likely to result in a knockout, it’s effective in dazing an opponent, especially if the puncher’s goal is to create an opening for another strike.

Common Effects: Swelling, redness, and potential concussions if hit with enough force.

Visual Aftermath: Redness, minimal bruising, and a dazed expression.

E. Eyes: Black Eyes and Swelling

A punch to the eyes is particularly brutal because the area around the eyes is delicate, and the skin is thin. It’s not just about swelling but also potential damage to the orbital bones. The impact can cause "black eyes," characterized by intense bruising and swelling that may close the eye shut for days.

Common Effects: Swelling, black eyes, potential orbital bone fractures, temporary blurred vision.

Visual Aftermath: Discoloration that starts purple and turns yellowish-green as it heals, swollen shut eyes.

2. Types of Punches

Not all punches are created equal. The type of punch thrown can drastically change the outcome of the scene, both in terms of damage and realism. Understanding these different types of punches will allow you to convey more varied and dynamic fight sequences.

A. Jab: Speed and Precision

A jab is a quick, straight punch, usually thrown with the non-dominant hand. It’s not meant to be a knockout punch but more of a setup punch to create an opening or keep the opponent at a distance. Jabs are fast and can be disorienting, especially if they repeatedly land in quick succession.

Common Effects: Light bruising, potential cuts, and swelling in the area hit.

B. Cross: Power and Impact

The cross is a powerful, straight punch delivered with the dominant hand. It’s often aimed at vulnerable spots like the jaw or nose. Unlike a jab, the cross is meant to deliver a significant amount of force, and when landed properly, it can cause serious damage.

Common Effects: Knockouts, broken bones, severe swelling, and bruising.

C. Hook: Lateral Devastation

A hook is a wide, circular punch that targets the side of the head, particularly the jaw or temple. It’s one of the most powerful punches and is often used with the intent of knocking the opponent out.

Common Effects: Knockouts, severe disorientation, potential for concussions, and jaw dislocations.

D. Uppercut: Lifting from Below

The uppercut is thrown upward, usually aimed at the chin. It’s a devastating punch that can lift the opponent’s head and jolt their brain, leading to knockouts. Uppercuts are especially dangerous when they land cleanly on the jaw or chin.

Common Effects: Knockouts, broken teeth, jaw fractures, and disorientation.

E. Haymaker: Risky but Powerful

A haymaker is a wild, swinging punch delivered with as much force as possible. It’s often thrown with reckless abandon and is easy to dodge, but if it connects, it can deal significant damage. Because of its wide arc, it leaves the puncher exposed to counterattacks.

Common Effects: Knockouts, severe bruising, and possible fractures if landed correctly.

3. Punch Wounds: What They Look Like and Healing

Punches to the face leave lasting marks, some immediately visible and others taking days to fully form. Understanding the aftermath of a punch will help you describe the physical toll on your characters more accurately.

A. Immediate Effects

Swelling and Redness: Swelling can begin almost instantly, particularly in areas with soft tissue like the eyes and lips.

Bruising: Bruises start off as red, then turn purple, blue, and eventually fade into yellow or green as they heal.

Bleeding: Punches to the nose, lips, and even cheeks can result in bleeding, either from the skin breaking or from internal damage like a broken nose.

B. Long-Term Injuries

Black Eyes: Punches near the eyes can lead to bruising that darkens the skin around the eyes, giving it a purplish hue.

Fractures: Broken bones, such as the nose or jaw, may require weeks to heal, and in severe cases, surgery may be necessary.

Scarring: If the skin is cut open, there’s the potential for scarring, especially if stitches are required.

C. Healing Process

Bruises: These typically take about a week to two weeks to heal, with the colors shifting as the body absorbs the blood trapped under the skin.

Fractures: Healing from fractures can take several weeks to months, depending on the severity.

Swelling: Swelling can last anywhere from a few hours to a few days, with cold compresses helping to reduce it.

4. How the Punch Affects the Puncher

While we often focus on the person receiving the punch, it’s important to remember that throwing a punch can also take a toll on the puncher.

A. Physical Strain

Knuckle Damage: Hitting a hard surface, like a jaw or forehead, can cause damage to the puncher’s knuckles. This is known as a “boxer’s fracture,” where the small bones in the hand break due to impact.

Wrist Injury: If the punch is not aligned correctly, the wrist can absorb too much force, leading to sprains or breaks.

Fatigue: After multiple punches, especially in a drawn-out fight, the puncher can become fatigued, leading to less powerful or accurate strikes.

B. Emotional and Psychological Effects

Adrenaline Rush: For inexperienced fighters, throwing a punch can lead to an adrenaline surge, which can cause tunnel vision or reckless behavior.

Moral Conflict: If the puncher is not used to violence, they may experience guilt or shock at the damage they’ve caused, especially if the recipient is significantly injured.

5. Psychological Impact of Receiving a Punch

A punch to the face doesn’t only cause physical damage. For the recipient, it can have a lasting psychological effect, especially if the punch was unexpected or in a vulnerable situation. Writing this aspect adds depth to your characters and shows that a punch is more than just physical pain.

A. Shock and Fear

Fight or Flight Response: Getting punched can immediately trigger a fight-or-flight reaction. Some characters might freeze or retreat, especially if they’ve never been in a physical altercation before.

Loss of Confidence: For characters not used to violence, being punched in the face may cause a significant loss of confidence. They may question their own strength, bravery, or ability to defend themselves.

Increased Aggression: Alternatively, the punch may trigger a rage-fueled response, pushing the character into aggressive, reckless action.

B. Embarrassment and Humiliation

Public Fights: If the punch occurs in front of others, there’s often an added layer of humiliation. Characters might feel embarrassed, even if they weren’t at fault.

Internalizing the Event: The recipient of the punch may carry the emotional impact for a long time, replaying the event in their mind, feeling shame, or seeking revenge.

C. Post-Traumatic Stress

Lingering Anxiety: In extreme cases, receiving a punch can cause anxiety or even post-traumatic stress disorder (PTSD). Characters who’ve experienced significant trauma might relive the event through flashbacks or become hyper-vigilant, avoiding confrontations in the future.

Fear of Future Confrontations: A character who’s been severely beaten might actively avoid scenarios where they could be hit again, making them overly cautious or paranoid.

6. Writing Tips: Making It Believable

Writing a punch scene isn't just about describing the physical action. To make the moment believable and impactful, you’ll need to consider various elements—from pacing and sensory details to character psychology and aftermath. Here’s how to make your punch scenes authentic:

A. Build Tension Before the Punch

Foreshadowing Conflict: Build up the tension before the punch is thrown. Is the character agitated? Are there verbal warnings or body language that suggests things are escalating? By slowly ramping up the tension, the eventual punch feels earned and inevitable.

Use Dialogue: A heated exchange of words can make a punch more meaningful. If the punch follows a particularly cutting remark or threat, it adds weight to the action.

B. Focus on Sensory Details

Physical Sensations: Describe not just the punch itself, but how it feels. Does the skin split? Does the puncher’s knuckles scrape against teeth or bone? Is there an immediate sting or delayed throbbing pain?

Sound: The sound of a punch can enhance the realism of the scene. A dull thud as a fist connects with soft tissue, the crack of a bone breaking, or the splatter of blood hitting the floor are all effective auditory details.

C. Show Immediate and Delayed Reactions

Physical Reaction: After being punched, characters rarely shake it off immediately. Staggering, falling, or momentarily losing their vision are realistic reactions. You can also show how the puncher feels—did their hand hurt from the impact?

Emotional Fallout: Punches are often emotional events. Show how your characters feel right after—whether it’s satisfaction, regret, or shock. The emotional weight of a punch can be just as impactful as the physical consequences.

D. Consider the Aftermath

Healing Process: Don’t forget that punches have a lasting impact. A black eye will take days to heal, and a broken nose could require medical attention. Characters might have to deal with soreness, swelling, or difficulty talking and eating.

Ongoing Tension: A punch can dramatically shift relationships. A once-trusting friendship could be shattered, or a bitter rivalry could be born. Make sure to carry the emotional weight of the punch forward in your story.

7. Common Misconceptions About Punching

Many writers fall into the trap of perpetuating unrealistic portrayals of punches. These misconceptions can make your scenes feel less authentic or overly cinematic. Here’s how to avoid them.

A. The Myth of the "Clean Knockout"

Reality: A punch to the jaw might cause a knockout, but it’s not always instant. In real life, knockouts are often messy and unpredictable. The recipient might stagger or struggle before finally losing consciousness, and they could wake up with serious concussions, memory loss, or nausea.

B. Punches Always Cause Immediate Bleeding

Reality: While a punch to the nose often causes immediate bleeding, not all punches result in visible blood. Even when skin splits, it might take a moment for blood to pool and become visible. Bruising and swelling often take hours to fully appear.

C. Punching Doesn’t Always Lead to a Win

Reality: Throwing a punch doesn’t guarantee victory. The puncher could hurt themselves, miss entirely, or end up escalating a fight they weren’t prepared for. Additionally, punches to the forehead or temple might not have the knockout effect portrayed in movies—they could just make the puncher’s hand hurt more than the opponent.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[richdadpoor]

Disney VFX Workers Announce Intent to Hold Unionization Vote

Image: Disney Just three weeks after 52 visual effects workers at Marvel Studios announced they had filed a unionization vote with the National Labor Relations Board, 18 more internal VFX employees at Marvel parent company Disney have now also moved to form their own union, indicating a growing sea change in the demands of the historically non-union VFX industry. Variety reports that a…

[suppermariobroth]

In Super Mario Sunshine, whenever Mario impacts a solid surface at a high speed (known in the speedrunning community as "bonking"), a small visual effect of pink and orange stars emitting from the impact location is produced.

In some locations in the game, particularly inside the pachinko side area, it is possible for Mario to become caught in an "eternal bonk state" where the star effect is produced continuously as long as no input is made, creating a visually impressive fountain of stars.

Main Blog | Twitter | Patreon | Small Findings | Source

[shesnake]

Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’

Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable.

Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.

While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.

As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.

"For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then there’s cloth and hair effects, which have to repeatedly be redone anytime there’s an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them."

"Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side."

[aokozaki]

It's funny that Visual Novels have a reputation in the West as being cheap to produce, a good idea for indie devs, because it feels like people look at the staging and scene-blocking of VNs from the 80s or 90s and go "yeah this seems easy".

But then Fate/Stay Night, a 20 year old game, has scene direction like displaying the "full moon in the night sky" CG, and zooming in on it so far that the white of the moon completely fills the screen, before transitioning to this CG and panning down so that Berserker's first scene has this really dramatic, effective pan.

Lancer's introduction in the Rin Prologue also zooms in on a normal background before transitioning to an event CG with the camera in the "same spot" so it can then pan right to reveal Lancer perched on a railing.

Like, oops, turns out Visual Novels can actually do some insane things with their visuals, even as of 20 years ago, and western game devs are just shockingly behind on the potential of the medium.

[txttletale]

hey what DO you watch on youtube? seems like you'd have some neat recommendations :3

i really loathe the like super-highly edited sound effect post-mrbeast slop most of youtube is now so i mostly like stuff that's like... calm and sedate. stuff i've been watching lately in no particular order:

northernlion vods and clips. he's an OG. i especially like his react court series, i must have watched all of them like five times.

speaking of OGs i've been watching zero puncutation (now fully ramblomatic) for like ten years and if anything it's only gotten better. best game review content on the internet. been really enjoying his more recent, slightly longer and more thoughtful 'extra punctuation/semi-ramblomatic' series too.

any austin's skyrim unemployment rate videos. instant classics to me, it's just a guy going around in skyrim trying to figure out the unemployment rate in every town. it's a very dry kind of humour, he plays it admirably straight, and it's weirdly calming.

kitten arcader's foot the bill videos. in a kind of similar vein, he watches the saw movies and then produces an itemized bill for everything jigsaw needed to buy to make his traps. it's kind of like... if cinemasins was fundamentally curious instead of fundamentally incurious, it scratches a similar sort of nitpicky detail-oriented quantifying itch but without inimical to the concept of art.

shuffle up and play. it's a magic the gathering play series that has enough editing that the gamestate is actually legible but not enough editing (or at least, not enough obtrusive in-your-face editing) that its annoying. i also like that they reguilarly play non-edh formats like cube and pauper.

spice8rack. i'm pretty picky about video essays but spice8rack has very obviously actually read books and has interesting things to say about the topics it discusses (mostly magic: the gathering). sometimes it has a kind of grating Theater Kid Energy but the fact that it actually meaningfully structures essays and analysis to earn the silly long runtimes is a rare delight from a video essayist.

jenny nicholson is a long-time favourite and another permanent fixture in my rotation. she's just extremely, remarkably funny which makes her the only 'basically just summarizing a thing' youtuber i think is worth the time of day.

i watch some sketch comedy, mainly wizards with guns and aunty donna, who both consistently put out really funny stuff that's kind of ITYSL-adjacent in its barefaced absurdism and contenmpt for concepts like "stopping a joke at the logical punchline". i also really like alasdair beckett-king and binging the old clickhole backlog for short-form comedy on youtube.

wolfeyvgc is right on the edge of the level of editing i find tolerable but as a long-time fan of multiple esports he Has It, he's absolutelyt fantastic at t elling the narrative of a tournament, explaining plays clearly, and generally making competitive pokemon esports thrilling and interesting ti someone (me) who#s never played it and doesn't care about pkoemon that much

i religously watch every elliespectacular/dathings YTP, the absolute best in the game right now, top tier snetence mixing and really good at actually setting up and paying off jokes in a way it feels like a lot of ytp doesn't. verytallbart is also pretty good.

trapperdapper is a channel i recently binged, it's a really fucking funny parody of minecraft challenge content that veers slowly from obvious angles of parody into pure absurdism with tons of blink-and-you'll miss it subtle visual gags.

too much future is a great youtube series where the two guys from just king things/homestuck made this world play through every fallout game and analyze them in that context. extremely funny and also just top-tier very sharp analysis. really good

another one of the rare good video essayists is jan misali. they're really funny and will go into topics that kind of seem narrow or strange to begin with in such depth and make them so interesting that it's consistently astonishing.

oh and finally sarah z makes pretty good videos. 'the narcissist scare' is an absolutely brilliant deconstruction of one of the most annoying pop-psych phenomena of the last couple years. and remarkably well script supervised i think did anyone else watch it and think 'wow the script supervisor on this must have been, a mind geniuse'

ok i think that's all i've been watching lately. hope you like whcihever of these recs you check out :)

[ssahotchnerr]

hey i tried to see if requests are open but can’t see anything, so hungover!reader x hotch? 🙏🙏

remedies

cw; fem bau!reader, drinking mentions, hangover talk and symptoms, fluff <3

There was a brief moment of peace when you stirred. Being pulled from such heavy sleep, a moment of solitude, before you met consciousness with excruciating pain. Regret was the next sensation to sweep through your body, until your awareness vaguely focused elsewhere. You either heard footsteps nearing, or it was the repetitive throb in your head.

Aaron had a key to your place and he had let himself in. You hadn't answered any calls or texts, and he was partially worried (he had known you were going out the night prior, and did return home safely). His concerned look turned to a sweetly pitiful one as he saw you lying there, hazily blinking up at him.

"Hi sweetheart."

"Aaron?" Your head rose, your voice hoarse as it exited your lips, your dry throat to blame. You cursed your hangover for dulling the usual excitement whenever you caught sight of him. "What're you doing here?"

"We had brunch plans."

Your brows scrunched in confusion, as well as your eyes as they attempted to adjust to the light. "What time is it?" You could've answered your own question by peering at the clock besides you, but you didn't dare turn your head. The more you moved, the worse.

Aaron checked his watch, moving his jacket sleeve to view it, "Half past noon."

At his words, your eyes widened. The sudden shock interfered with your head, causing the pounding to only elevate.

"Oh god I'm sorry." You facepalmed by use of your pillow, the momentary darkness enhancing the dizziness behind your eyelids. "I'm awful."

"I wouldn't go that far." Aaron teased lightly as he sat on the bed besides you, his hand finding your back and sliding his palm along it softly. "Crazy night with the girls?"

"Penelope tried- created a new concoction of drinks." A wave of nausea hit you from the memory, your stomach swirling. You scowled in disgust, "Seemed like a good idea at the time."

Aaron hummed in response, another pitiful smile tugging on his face as you groaned. He felt bad you felt bad. He's had his fair share of hangovers, sure, but never one at the hands of Penelope.

"I'm never drinking again." With all you had left in you, you forced your head to lift to defeatedly meet his eyes. "I'm sorry. I did have an alarm set. Or... I think? I must've slept through it."

"No it's okay, I figured. Knowing them, we shouldn't have made plans for the following morning." He flashed you an understanding smile, his hand stopping and giving you an affectionate tap.

"Probably a good idea."

"I can take an accurate guess, but how are you feeling?"

"Like the jet ran me over."

"That bad?"

"Penelope called her drink moonlight mojito blitz." Again, you nearly gagged at the thought, Aaron himself made a face. "Or something of the sort. I don't know, it had a complex name one way or another."

"Lucky for you then, I have more simply named reinforcements ." Aaron offered, gesturing to your bedside table. "Gatorade, water, ibuprofen, which I'm judging by the strain on your face, you should take now." He reached for the container, dumping the tablets into his palm. "Down the hatch."

You weakly sat up against your pillow, holding out your own hand. As you did what you were told, he produced the Gatorade.

"Drink up."

You winced at the words, "I'm having flashbacks."

He laughed softly, the sound enough to soothe any hangover, or plainly anything. "Sorry, but I'm serious. You need the electrolytes, I won't allow dehydration if I can help it. You'll need to eat something too, but that can wait at least. Until-"

You finished for him, taking a generous sip. "Until the room stops spinning."

"That's right," Aaron offered you another small, closed lip smile. "Can I get you anything else?"

You peered up at him, playing up the hopefulness in your eyes. The visual was for effect really, you knew he would implement anything you asked, as he always did. "My favorite pillow?"

"Sure honey, where-"

"You." You grabbed his wrist, weakly tugging him towards you and trying your hardest to not let your grasp drop despite the downward, heavy pull. "You're my favorite pillow."

Aaron slid besides you easily, and before he was thoroughly comfortable or settled, were you clinging onto him. Your face buried itself into the skin of his neck, while one of your legs lazily draped over his waist. He molded just as equally into your body too.

Your head was still spinning - part of you feared it would never cease - but Aaron's contact allowed some sense of stillness. Like you weren't going to be picked up and somehow carried away; he would ensure you were close and grounded.

"Is this really all you need?" Due to your close proximity, you could feel his voice vibrating through his chest. "Can't I do anything more? Is the room too warm? Too bright?"

You shook your head, tightening your leg's hold on him. There was a playful tone in your voice, "I may need you to hold my hair back later."

"You say the most romantic things to me." Aaron chuckled, his lips tugging into a smile before pressing his lips atop your head. He quipped back gently, "Looking forward to it."

[soulcaretherapist]

Divine Talent

In the Matrix Destiny chart, I will be sharing a thread about the talent arcana energies, which is the position you most frequently ask about. The spot marked with X on the map is what we call divine talent, which represents the talents your soul is inherently born with in this life.

1 - You have many ideas and can generate ideas easily. When activated positively, you have the potential to succeed in whatever you touch.

2 - You can understand other people's motivations, that is, you can grasp why they do what they do at a glance. This gives you esoteric abilities.

3 - You have a good taste and a high sense of aesthetics. You have the ability to expand; you can turn a small task into big projects.

4 - You excel in team management and establishing authority. You have a strong talent for attracting money. If money isn’t coming to you, it means you are activating this area negatively.

5 - You have a talent for learning and teaching. You can master anything and explain everything you know in a way the other side can understand.

6 - Your communication skills and sincerity stand out. You are someone people come to for advice, trust what you say, and listen to your words.

7 - You have the ability to progress quickly in any job, reach your desired goals, and inspire change in both yourself and those around you.

8 - It's hard, if not impossible, for others to lie to you. You can approach everything objectively. You can achieve balance and harmony.

9 - You are more mature than your age, and this grants you wisdom. You have the ability to achieve your inner goals (knowing yourself, realizing your dreams and desires) on your own.

10 - This is a placement that brings luck. You have the talent to manage finances easily and spot profitable opportunities. You can easily attract people to yourself.

11 - Your physical and spiritual endurance is strong. You can do everything at once. You know your strengths and can use them in the most accurate way.

12 - Spiritual practices (like meditation, breathing, reiki) work well for you and have healing effects when applied to others. You have a different perspective and can solve seemingly unsolvable problems.

13 - You can make the necessary changes in every area of life and are not afraid to take risks. You can learn multiple things at once. You have the ability to easily absorb deep and detailed information.

14 - You have diplomacy and mediation skills. You can calm conflicts and maintain your composure during these processes.

15 - By opening yourself to others, you can show them what they cannot see in themselves. You can easily identify others' weaknesses, vulnerabilities, and talents.

16 - You are talented in directing people, organizing, and creating strategies. You can foresee events and chart your course accordingly.

17 - Your ability to express yourself is unique and creative. You can be the center of attention in any field you wish, shine, and stand out from the crowd.

18 - Your subconscious is very powerful. You may receive information through dreams, and your dreams may come true. Your manifesting ability is strong; everything you visualize can come into your life.

19 - You have leadership qualities and can inspire/give strength to others for success. You have the ability to not give up no matter what.

20 - You have good speaking skills and can influence masses. You can create systems from nothing and have excellent analytical skills. It's hard to confuse you.

21 - You have an aptitude for foreign languages and cultures. You can adapt to any environment. You can produce knowledge and content for a wide audience or listener base.

22 - Your decisions and thoughts may be unpredictable by those around you. You influence people with your positive energy. You can turn every tough task into fun and achieve results that will surprise everyone.

[spaceistheplaceart]

A Human's Touch - HL2VRAI AMV

constantly thinking about the relationship between the game, the NPCs/science team, and Gordon/The Player

ID AND CREDIT BELOW:

BEGIN ID

An animatic set to the song "A Human's Touch" by TWRP. The visuals are timed with lyrics, so I'll type the lyrics in quotes "like this", then explain the visuals, then move onto the next lyrics. I hope this format works well for all, and if it does not- feel free to reach out!

"Am I a toy to you, my love?"

Benrey stares up through Gordon's computer, standing on a black and white grid. He is in a beanie and jumpsuit, like many citizens from Half Life 2. He has a small mustache and a shadow over his eyes. He has a neutral expression. With each word of the lyrics, the camera zooms further out to reveal he is in a computer inside Gordon/The Player's room. The room has a PC tower, a chair, a desk, a microphone, a shelf with a VR headset and games on it, and a few posters. One poster is of "Kane and Lynch 2: Dog Days" and another is of two chimps grooming eachother. With the following musical beats, the room changes slightly to show passage of time. The chair moves around, things appear and disappear on the desk, and the chimp poster is torn down for another poster that says "Gamer's don't die, they respawn." On the final beat, the player is sat at the desk.

"Just a thing to play and then throw away."

A computer screen with four applications shown on it: steam, discord, garry's mod, and Half Life. A mouse cursor floats over Half Life before retreating. The screen is shut off and turns black.

"I never asked for this."

Benrey and Coomer sitting against a black background. Benrey is turned away, hunched a little. The lyrics appear on his side of the screen.

"I always did my best."

Coomer is turned to the side, looking up with his hands grasped together and eyebrows worried. The lyrics appear on his side now.

"Without your love I am..."

The Chuck E Cheese shown at the end of the series, drawn in black and white. The screen glitches.

"A broken mess."

The Chuck E Cheese is now worn down and broken. There's a banner hanging out of it that says HAPPY BIRTHDAY TO before it's ripped off. Minions are laying in one of the corner buildings. On the righthand side you can see partially graffiti that says BUBBY IS BEST. In the background is the citadel from Half Life 2.

"Now I'm never enough."

Tommy and Bubby sit against a black background. Tommy is facing the side, with a worried expression, wearing a suit, his propeller hat, a bowtie, and holding a briefcase on his lap. The lyrics appear on his side.

"And it's almost too much."

Bubby is turned away. His fist is clenched and producing fire. He wears a tattered labcoat. The lyrics appear on his side now.

"For me to work..."

Gordon, against a white background, limp with lines attached to his hands like a puppet. His face is not visible.

"I need..."

A side by side of the player lifting their VR controllers and Gordon's hands lifting limply in game in sync.

"A humans touch."

Gordon's hands drop to his sides again as his head lolls to the side, rolls back, then he opens his eyes- a VR headset flashing over them at "touch".

END ID

I took the screen turning off effect from this video

[astrogre]

Astro Observations 1

My first Astro observations post, I would like to confirm that my observations are the niche ways in which a placement may manifest, it is the way I’ve noticed it in others, the people around me, celebrities, myself and in my studies. It is not the doctrine wide broad way the placement occurs for everyone.

Venus in 10th house natives tend to be well known for the person they may date. They tend to date people that really match them physically and can have their relationships idolized by others. The sign it’s under can show what their partners may be known for. This is also a common placement for celebrities because the interest from others in your love life increases your public image, making you more desirable and of interest to everyone including agencies/record labels, they will see your influential potential and love that. Even if you guys don’t date anyone people may have someone in mind who they think matches you or others can just look at you and wonder what your “type” is. Your love life in itself is of interest to others.

Eg. Chris Brown, Johnny Depp, Jimin, Victoria Beckham, Kristen Stewart, Billie Eilish, Kanye West.

Another way Venus 10th housers may manifest is they may have crushes on renowned key figures from history like JFK, Alexander Hamilton, Stalin, Cleopatra, Marilyn Monroe, royal monarchy literally any people of historical significance. (Saturn influence is long lasting and for Venus to be here it can make natives romanticise powerful historical figures)

Pluto 3rd housers can dominate the conversations they have with others so much that they don’t let the other person have their own opinion.

Capricorn Chiron in 6th house makes people feel worthless and terrible if they haven’t been productive for a day, these people don’t like to be lazy, it makes them feel inferior. They put a lot of pressure on themselves to produce and their day routine may be their greatest pride.

10H stellium always have career plans, they like to advance their CV and career prowess for fun, always taking up opportunities. Especially if sun is here.

12H stellium always posting the weirdest stuff that others don’t understand but it has a unique vibe to it that just feels “right” at the same time, they may have this aesthetic that feels eery but overtime enjoyable and something to look forward to because of its uniqueness. I have a 12H stellium friend and they always post pictures of weird random abandoned places with crocs and dirty teddy bears laying in the middle of them. At first I thought it strange but overtime, I look forward to what monstrosity of visuals they will bring next. 12H really does bring out things never seen before. 🤔

Venus in 1H makes you look very feminine, you may style yourself in a feminine manner or have a naturally feminine appearance. Eg. Leo Venus in 1H May have very beautiful feminine looking long hair.

1H Libra Mars has a similar effect as Venus in the 1H however these natives have a hint touch of masculinity, are rather playboy, Casanova and can have a big ego. Think of Flynn rider from tangled. Very pretty boy.

People with 12H Capricorn placements may procrastinate or find difficulty in bringing the planets in there into reality and get frustrated at themselves for it. It’s similar to the planet being in retrograde E.g a 12H Capricorn moon not being able to fully show or act on the way they feel in their head. Look at the house of where Saturn is in your chart to find the topics and how you can bring the energy of your Capricorn 12H planets out.

0 degrees for any planet or asteroid means that you embody that planet/asteroid and its sign in its most pure authentic form. It can make you the epithet of that placement.

Lilith Square Asc makes someone not able to escape looking like a bad boy/girl it always comes out in their appearance without them intending to. They don’t want to present themselves in a way that looks scandalous but at the same time a part of them is and they can’t escape that. It’s like an energy. They’re dynamic and free, they like what they like and that shows in their face and appearance. They also can’t change things about themselves to please others even if they wanted to.

Jupiter 1H usually have big features, like a glossy kind of look to them. It may be big eyes, flushed face, supple puffy skin, wide nose or just have an abundant looking face. I’ve also noticed they tend to have a squared shape face with rounded edges. E.g Hailey Beiber, Abraham Lincoln, Gerard Butler, Aishwarya Rai, Niall Horan, Ashton kutcher, Whitney Houston, Cristiano Ronaldo

Also this is completely random and not astrologically backed up but whenever I think of Jupiter 1H I just think of clear gleaming skin. Perhaps it is backed up astrologically as Jupiter blesses and brings luck to the house it’s in and it being in the 1st rules a natives appearance. Anyways when I think of Jupiter 1st house I always imagine that they don’t need very much makeup they have this glow to them already that cannot be copied.

Virgo ASC style and dress themselves in a way that’s unique for them, for an example they may always have a signature accessory that they wear that only they understand why it’s so important to be worn. E.g. can be a headband, jewellery or hat. They may also be consistent in the way they look, they don’t tend to have “bad days”. In my personal opinion I find Virgo rising men the most attractive. But beauty is in the perspective of the beholder.

Speaking of which, my unpopular opinion is that I don’t believe that a sign or planet can make you more beautiful than another sign E.g like how people say Venus, libra and Taurus is an indicator of being beautiful -I just think that each sign personifies beauty in a different way. In my eyes I see Libra and Venus beauty to be feminine and attractive, but I find Pluto Scorpio beauty to be alluring and intense, magnetic, like Phantom of the opera, like an enchanting vampire that resides in the shadows. I also find Uranus Aquarius beauty to be far more entrancing, striking and even as if the native looks like their from a game fantasy novel or a manga protagonist. I don’t think we can just say “having Venus prominent makes someone more beautiful than others”, perhaps conventionally but not universally. Planets and signs of the first house can show us HOW the beauty is made manifest. It being of Venus, libra influence just kind of makes it feminine or conventionally attractive like butterflies or roses rather than intense or of large magnitude (unless making aspects to magnifying planets like Jupiter)

Aquarius moons can feel a lot of emotions but they’re very good at holding it in. People say that they don’t feel much because the nature of Aquarius being detached however I’ve also seen it occur in a way where the Aquarius moon native may pretend they’re not hurt or sad so that they can keep it pushing and force this happy facade so it hurts less but in reality their just burying the pain deeper. They are kind of avoidant but it makes you feel sorry for them because even if you try to comfort them they don’t even acknowledge the pain themselves so it doesn’t make much of a difference.

Jupiter in 6th house always have action packed days, they spend their days with joy and have a really good time. They usually have their dream day to day life. They’re your one friend that is always doing something interesting, fully booked and loves it.

Jupiter 8H are never strapped for cash, these natives can just be very lucky in getting money from others. Especially if in harmonious aspects with sun, Pluto and Venus. If aspects are negative native still doesn’t worry much but may find that people are a little more hesitant to giving or Jupiter 8H native doesn’t want to ask for it.

Mars 1H makes someone want to work harder on their body by going to the gym, may want to look more manly, aggressive.

Jupiter conjunct moon in 7th house makes you a very passionate lover, anyone who is in a relationship with you can always feel excited and you excel in relationships.

Mercury conjunct ascendant can make someone always think about their goals, plan their next move. They use their minds to get what they want from life and can talk about the principles they apply to themselves which can make them look rather intelligent to others. Can also make someone appear very youthful, not only in appearance but their mannerisms too. Like a dimply smile, blushing and shaking their head when complimented. An animated response.

Moon opposite asc, tends to make a person unable to think clearly when emotions are involved, especially when it’s related to topics in the house your moon is in, like you can look a little mentally unstable here 💀 because your emotions that you show can drastically change from 0-100. moon opp asc also can have a person go against what they want, their principles and approach to life, the opposition forces them to deny their feelings existence in order to act in the way they believe is best. You can even care more about your image than the themes of the moons house.

E.g 7H moon opposite ascendant can make someone care about their image in the relationship, display an image of nonchalance when in reality they’re very protective of their partner. The feelings from their partner and their relationship can be irresistible and make them at times abandon their vices and plans for themselves

[unteriors]

Since you're Australian, why are so many of the posts from the US? Did you start with Australia and then move onto other countries once you'd felt like you exhausted it? Or is the US particularly interesting for your purposes?

A big part of the reason is the enormous difference in scale. Australia has about 25 million people, versus 300 or so million in the US. Each of the 50 states has at least one or two major cities, most have many more than that. In addition to the volume of real estate imagery produced by this market, there are a few things about the US in this context which draw me in from an Australian perspective. One is how real estate listings weirdly embody how much more visually apparent the harmful economic forces of the past 50 years are in American society than they are here or elsewhere. Australia's welfare state was developed roughly during the same time as in the US, and has similarly been cut back since the 1970s. But it was always much weaker in the US than in Australia or Western Europe, and correspondingly the effects of its deterioration - along with other economic trends - have been much more visible than they are here. The way this is played out in terms of localised funding for public services means that many American cities have pockets (of varying sizes) where poverty and other forms of systemic oppression are concentrated and left open to the elements. The sort of stuff Jacob Holdt documented in his photos in the 70s, or that you see in a lot crime films and thrillers with location shooting. Gentrification and other forces since then have pushed these pockets into other areas and made some places seem less grim, but from what I've heard it seems like it would be hard for the average person in the US to ignore that these large, systemic problems exist. Conversely, in Australia, this kind of intense poverty has been pushed into the margins of society during the same time period - to remote communities (where people suffer from chronic diseases that have been eradicated in most other wealthy countries), country towns with shrinking economies, or to the fringes of larger cities (where people sleep in their cars in parking lots, or multiple families form sharehouses to afford $400-500+ pw rents). Though as things have gotten worse, particularly since COVID, it's getting harder to ignore. But still there's a substantial part of the population here who have grown up in ignorance of any of the larger, percolating structural problems in Australian society, and who proactively retain that ignorance into adulthood.

I think you can see these different perspectives play in out in real estate listings. In most American states, even in most of the towns I've looked at, you can see a broad spectrum of living conditions (and commercial interpretations of ideal living conditions) - from burnt out trailers, to overpriced renovated shitty older houses with cheap grey vinyl flooring and white walls, to clearly lived-in time capsules to McMansions to actual mansions. Some photographs are clearly shot by owners, others by real estate agents with a great variety of care and attention to detail (from elaborate staging to crime scenes). Rightly or wrongly, I feel like I get a broader, more honest (or at least more direct) feel for the housing crisis. It's a more honest horror film.

Australian listings, I think in part due to concentrations in corporate power in the real estate industry (similar to other monopolies that have formed in our economy), tend to more heavily adhere to the visual language of advertising and are more heavily regulated by agencies. The problems still exist, the housing market here is among the worst in the world and little effort is being made to address the underlying structural issues, but you can see the lack of will to acknowledge these issues in the level of gloss that's applied. You can look at a listing of an older house in Western Australia, for instance, and know for a fact that it's riddled with asbestos and probably has several other structural issues, but most likely enough time and effort will have been spent on staging and lighting and maybe surface-level renovations that it will seem otherwise fine. Lots of turds that have been polished successfully enough that you need insider knowledge to properly identify them as dogshit. Incidentally, I spent part of my childhood in a house built in the 1960s that had asbestos in the walls and ceiling.

I'm still interested in images from Australian listings (and other sources) though, I just look for other things that are interesting. Anything that runs contrary to the artificially positive, limited world view that advertising promotes. Even if its a poorly-lit time capsule that is directly aesthetically opposite to the ideal of house-beauty at the moment, or an obviously run-down house that has had every realtor photography trick in the playbook thrown at it until it becomes deeply uncanny. And it's always interesting to see what other people find interesting; I genuinely think the housing crisis underwrites every other political issue we have to contend with, its tendrils extend in many different directions, and I think this also means imagery like this can reach people in a diversity of ways. Aesthetically, nostalgically, inspiring fear and self-loathing and horror. All good sources of inspiration for creativity.