#waiting to get the individual images to upload

[my-my-my]

The High School Warfare!

[xadianglyphs]

Seventh Source: The Dark Magic Symbol

In honor of Book Seven: Dark, I want to revisit and expand on analysis of the dark magic symbol, itself—something I'm always low-key thinking about, but now I'm going to make you think about it, too.

We are lucky enough to have a fascinating window into the design process for all the primal source symbols (both individually and as a set) through the portfolio of Samuel Thompson, the designer. This includes the dark magic symbol:

I've scaled up the secondary, "also-ran" designs so they're all the same size, because I do want to talk about some of them. There are several paths of development visible, and each one reveals something that was seriously considered as a possibility for representing dark magic as a whole.

It's in the Blood

So to start out, we know on some level that, during story development, what became dark magic was originally blood magic. Two years ago, when I first looked at the concept art for the symbols, the filename used for the dark magic symbol image was "blood." That was corrected at some point when the designer uploaded new images with better presentation (as one does when maintaining a portfolio), but it happened.

There's also more than enough association between dark magic and blood developed over the course of the series that it seems pretty clear that the name changed on a surface level but the underlying concept remained.

It's even visible in the designs that not only was a blood droplet considered as the entire symbol, but it was incorporated into variations of multiple design directions.

Dragons in the Dark

There's a bit of a problem when you go from "blood" to "dark," which is "how do you represent darkness in icon form?" The primal sources are ultimately elemental—you can see in their design process that a lot of it was about creating a balanced set where the symbols are both individually distinct and yet related enough to fit together as a group. Earth has the usual "do we do rocks or plants?" decision-making, but otherwise it's just... the sun is the sun, water is water, etc. But what the hell is the iconic form of darkness?

Well, apparently it's dragons, because pretty much all of the rest of the designs are a clear evolution of what began as a dragon symbol. It gets stylized into a set of wings that is then further stylized, and in combination with other influences discussed in the next section, we eventually start getting something like the final symbol.

There's one other direction kind of explored here, which is the ouroboros dragon(s). I actually wrote out a whole thing about the ouroboros as a symbol historically vs. through the lens of modern Christian-influenced western culture to use here, but really none of that is the point. The most likely scenario is that they told the designer, "let's explore some possible directions dragons" and the ouroboros designs are just something you do in that situation. Obviously you don't want to actually choose it for the final direction, because then you'll never escape the specter of Fullmetal Alchemist.

But like... why dragons? I mean, this is not an accident. The designer dragon-ed the fuck out of this shit, and the only reason to do that is "that's what he was specifically told to do." So at some point during development, there was apparently a consensus that dark magic should be represented by something related to dragons.

Now, this could be as simple as "dark magic uses the essence of magical creatures, and a dragon is pretty much the epitome of a magical creature," or something like "dark magic elevates humans to being equal with dragons." After s6, however, I feel like there are enough weird little things connecting the Celestial Order, the archdragons, Aaravos, Laurelion, the Staff of Ziard, and various other stuff that it could be... something else. Something we're not yet able to see in its entirety.

But that's something we'll have to wait to find out.

The Staff of Hermes Ziard Hermes

Now to return to reality: the influence of the caduceus on the dark magic symbol is a done deal. It has literally been said. Even if it hadn't, it's also just... kind of obvious.

Like yeah, that sure is a set of wings with a little knob between them and a twisty stem, just like the the final dark magic symbol and all the designs that most resemble it.

I'm not going to go over the caduceus in depth because I did that once already. You can tell I was naught but a wee, innocent babe by the way I use the words "wiki" and "confirmed" in the same sentence. In that post, I spent a lot of time digging into the associations of the caduceus and Hermes/Mercury as if that was a window that would tell us something about dark magic. It was a fun post but largely irrelevant, now—this time, we're going to come at it from another direction.

Setting aside the more distinguishing features of the caduceus like the wings and snakes, what is it? It's a staff. (Or a rod, depending on your interpretation of the distinction between the two.)

Well, interestingly enough, we happen to have another staff to bring to the table for consideration. One that's important within the setting, inextricably linked with dark magic, and with an iconic design.

Now bear with me, because here's my argument: the dark magic symbol is based on the caduceus, but in relationship with the Staff of Ziard, with either the staff influencing the design of the symbol or vice versa.

To see what I'm talking about, we can take a look at the staff from a few different angles. Personally, when seen closed and from the front, I think it already looks plenty like wings.

But if we put it in profile I can do a little overlay to show what I'm talking about more easily:

It's not strictly the most anatomically accurate setup, but stylized in a way that's interestingly similar to the stylization of the "wings" in several of the symbol designs. This could be related to the the "dragons" stage of the designs, assuming that there is some connection with the dragons, or it could just be visual influence from the caduceus itself.

We should also consider the shape of the staff from the front when it's extended (unfolded?):

The rounded rhomboid/oval shape, the diamond in the center? Come on, work with me—it could conceivably resemble the symbol, right? Though yes, I do know what you're thinking. A professional would call that "yonic" and definitely not giggle about it.

As for the twisty bit—what would be the coiling snakes in the caduceus—there's a certain iconic spell associated with the Staff of Ziard:

Maybe a stretch. But you don't get much twistier than a tornado.

Contexts and Meaning within the Setting

Now that I've chewed on my tinfoil had enough that I'll never get the taste out of my mouth, I also want to just touch brief(-ish)ly on the actual use of the symbol within the context of the series setting. Like the primal source symbols, the dark magic symbol doesn't actually show up very often. The two biggies are Claudia's spellbook and the Key of Aaravos in Callum's dream:

I'm going to ignore Callum's dream because the use of the dark magic symbol there says more about Callum's psychology than it says about actual dark magic, while Claudia's spellbook is a use that its author presumably intended to be meaningful for other dark mages.

Ignoring the garbage symbols in the corners, the central hexagonal symbol is reminiscent of the geometric tree of life diagram, which you may be familiar with if you are into either one of several varieties of religious mysticism... or anime. Let's be real, it's probably anime.

I'm not going to explain it in detail because honestly I don't know a lot about it and it's (intentionally, as with most mysticism) pretty complicated. Extremely summarized baby version which suffices for my purpose here is: the hexagonal tree of life diagram is a hierarchical arrangement of nodes and connections between them, with each node representing a distinct facet through which we are meant to recognize a single greater truth or divinity. On the cover of the spellbook, we have the dark magic symbol surrounded by smaller symbols for each primal source. This is a clearer arrangement that could be conveying the same concept—each of the primal sources is only a facet of a truer, deeper magic, which we are to take as being dark magic.

None of that is particularly important, I just think it's neat. Anyway, what I want to do now is propose that there is, as of season six, one additional appearance of the dark magic symbol within the setting context. This one:

Like... rhomboid shape, little diamond in the center, twisty stem? This isn't something unique to the Hearts of Cinder spell, it's an early or ritualistically stylized version of the dark magic symbol.

To contextualize this further, allow me to draw attention to this image from Tales of Xadia, part of a larger graphic showing a scroll that illustrates significant events in the history of dark magic:

We have a sacrificed creature, from which dark magic flows. On it appears to be carved some symbol composed of straight lines, which because of the size and angle we can't really see clearly. I spitballed a while back that it could be a straight-lines version of the Star primal symbol. We also have use of the actual dark magic symbol, which I'll spare you my analysis of since really it's just more of the same.

It's still a little bit fuzzy how dark magic spells get the magic resources from reagents, but generally a living reagent (used in its entirety) is killed and non-living reagents (harvested from a larger source) have some destructive act performed on them, like crushing. We have a spell that uses a living(?) human heart, which is apparently distinct from a human life in some way, even though the latter is not going to be getting very far without the former. For casting such a spell, unless you're currently holding someone else's still-beating heart in your hand, you probably want to be at least a little specific about exactly which heart in the vicinity is gonna get consumed. I'm putting forward that there's a way to mark a reagent such that it connects properly with the spell in cases where squishing it in your fist or whatever is impractical.

Like with a symbol, right? And what better symbol than the one for all of dark magic, the staff that may or may not be behind everything?

With that, thanks for coming to this long-ass TED Talk that was entirely an excuse to say "the symbol Viren carves over his heart to mark it for sacrifice is an ancient or stylized version of the dark magic symbol, which itself likely on some level derives its shape from the Staff of Ziard, which he is literally holding in his hands." I've wanted to say it since s6 released. I cannot be stopped.

[hyallulonelyhime]

Hyahime presents: That time when a jsk became an ironing board cover..

Today i'm sharing a classic from cgl many of you have definitely heard about: The ironing board fiasco. The story of a girl, her dad's fiance and many feels.

Everything started when OP shared this image and said the following:

Due to some unusual circumstances, I'm currently living in a partially-renovated house with my dad and his fiancé.

His fiancé is a very sweet lady who is very thrifty. She makes all her own clothes and and will usually find a practical use for something, rather than throw it out (i.e recycling old bottles and jars to pot plants).

I had a Baby The Stars Shine Bright Strawberry and Cherry Ruffle jumperskirt that I didn't wear anymore, so I was planning to sell it. From memory, it cost about $400.

I put it out in the main room next to a pile of clothes I planned to donate to Good Sammies, so I'd remember to take photos of it for the sale. I then went away for a week to visit my grandparents

When I came back, I noticed the pile of clothes had disappeared. Cool, my dad and/or his fiancé had donated them for me. But wait… Where was the jumperskirt?

It was then that I saw the sight portrayed in the uploaded. My dress had been cut up to to make an ironing board cover and a tablecloth. I don't know where the rest of the material is.

It appeared that my dad's fiancé had assumed the jumperskirt was part of the donation pile, and thought there was no harm in 'recycling' it for her own uses. In her efforts to pretty up the concrete-y wasteland of a house, she had unknowingly destroyed an expensive brand dress.

Literally the only thing I could do in that moment was stare blankly. I can't even be mad at her, she had no idea.

So now I have a BTSSB ironing board and table cloth.

the story immediately caught the attention of users as they scrolled. Some found it terrible, others couldn't help but laugh..

Though some were quick to say it must've been fake.

So.. did OP fake this for attention? Let's investigate.

It is very unlikely the fabric was gathered from a replica, judging by the print details and the fact that this isn't a very sought-after or popular piece you'd see everywhere.

But how did one dress result in so much fabric? Although it looks like a lot, one anon pointed this out:

But she knew she'd get the attention, right? ...yes, but I don't think anyone would come up with this specific odd way to recycle a lolita piece and make the community react.

OP responded to the questions and thoughts with the following:

At this point, some anons were pretty much just fighting over if it's okay for OP to be so calm or not. Which.. is a little bit weird. Others were more emotional about this than the victim themselves.

But what you may not know is.. there's more. There's more to the Kawaiironing fiasco.

Op comes back.

I queried the whereabouts of the remaining material and she showed me. She said my dad told her I was "throwing them out" (I have no idea where he drew that conclusion as i specifically said I was donating a bunch of clothes, so at the very least he should have assumed I was, you know, donating them), so she thought it was fine to cut up. My fault anyway, didn't separate the "sell" pile from the "donate" pile. HOWEVER… There were a few other brand dresses I was planning to sell. I assumed they had been donated with the rest of my clothes, as they were nowhere to be found. I was a little sad about that (they were valuable Angelic Pretty, BBSTB and Metamorphose), but oh well. Then I looked in her material bag and found they had also been cut up… When dad said I was "throwing THEM" out, he did not state a plural by accident… Pics to follow.

If anyone wants individual versions of those pics lemme know.

The loli gods frown upon me today for my unbecoming carelessness in handling burando.

Op decided to keep the truth a secret: ignorance is bliss, and her stepmother did not deserve to feel the guilt of ruining so much burando.. or to know that so many lolitas were in shambles knowing about her crafts.

..Although, anons said this wouldn't stop her from doing it again. Maybe she should know so she doesn't cut up even more dresses.

One thing is certain. that's a really cute ironing board cover. Maybe the fabric could become even more random burando stuff: headbows, little makeup bags, cup coasters, mats.. oven mitts?

Lolita home goods for all! we demand a cute life!(✧∀✧)/

[thecutestgrotto]

question! im considering doing dividers as gifts for my friends and I was wondering if you had any tips? is it a better idea to hand draw the designs to avoid any potential copyright issues or is using free to distribute clip resources okay?

I know how to draw and do edits just fine I’m just not sure what other graphic artists do in this regard

Hi anon! Okay, so this is going to be a little long winded and maybe stuff you might know about the process, but I hope it’ll be helpful as a guide for others too maybe? Tips under the cut otherwise everyone’s gonna have to scroll through it.

So, for everyone needing some help, I present:

The Official™️ Dividers & Graphics Guide

->For tips on how to use dividers on your posts click here

1. Personally, I LOVE Canva because it has a library of pre-uploaded elements and it’s super easy to use. Like if I search stars hundreds of individual elements come up as results.

(I know some people also use Visme, which I don’t have any real experience with, but it’s an alternative with good reviews.)

As long as you are not claiming each individual element is your own creation, you’re in the clear. People making graphics like these almost always use premade elements and combine or edit them into a unique piece. That being said, if you claim that an individual element is your own, you’ll probably be called out. I don’t know how familiar you are with the community so forgive me if I sound condescending: the graphics/digital art community is a wild place when it comes to plagiarism but it’s good that artists look out for each other.

Anyway. Creators that upload designs/elements/templates to Canva are aware that they can be changed/edited. If you have Canva pro (which I recommend because you can do transparent PNGs so easily) some elements are only available via pro subscription and you’re compensating the creator for the use of the element and however you change it.

Basically, the divider/graphic is yours, but the individual elements are theirs. You don’t need to give credit because it’s like using stamps or stickers. For example: You wouldn’t typically use Lisa frank stickers on a coloring page and then credit Lisa frank in the corner of the paper. ⚠️I strongly urge you to stay away from AI art. Generators steal from artists to create what the user searches for!⚠️

For tips about finding more images click here

2. Hand drawing can get a little tricky. You have to be careful with your dimensions and even file size sometimes. In my personal experience, if you’re new to this type of graphic art you should wait until you’re comfortable with it. It can get confusing. I’ve had MANY graphics come out a blurry, frustrating mess and I’m by no means the best divider maker/graphic artist on the planet.

An extra example: my Cute Coquette set vs my Dark Siren set. Technically, there’s nothing wrong with the coquette ones, but they look fuzzy/blurry. I made them when I was first starting out and I struggled with how to line up the right dimensions. I keep them up because as much as I don’t like how blurry they are, it shows my progress and I’m rather fond of them. It’s not even close to what I do now, like the Dark Sirens, which even zoomed out have a lot of detail but are clear and defined. 🤷🏻‍♀️

3. To avoid said blurring, I recommend using these canvas sizes:

Banners and headers: 1055px x 500px, I’ve also done 3000px x 500px.

Standard Size Dividers: 3000px x 240px

Thicker/Thinner Dividers: Basically you can go as thin or thick as you want as long as that first number is 3000px. I added a screenshot of ones I’ve used recently that might help.

I think if you’re using software like procreate, the canvas sizes are the same but you’ll have to go through some extra steps if you want to get it into canva or whatever graphic editing software you’re using.

4. Lastly and most importantly, just have fun. Play around with the settings and figure out what works best for you!! You of course can DM me with more questions, but I hope this at least helped a little bit.

🩵🌸

*Edited 2 hours after posting to add personal examples, and this little guide can now be found in my navigation post!*

[petalsource]

⋆        barbie fever . . .  by petalsource .

. . . a complete blog makeover inspired by barbie .

hi, barbies! today, i bring you a complete makeover fully inspired by our favorite pink lady, barbie herself, to allow all of you to bring your own characters into her world in plastic!

feel free to  tweak and adjust to your needs, add different background colors and overlays, but kindly  do not  claim as your own or use it for commercial purposes. feel free to tag me on your creations with this on  #petalsource! seriously... i can't wait to see what comes of this!

💐  click the  source link  to  get it as a package or individually on  deviantart  or  payhip  !

and . . . keep reading to find more details about the graphics, hq live previews and important tips to use the templates !

✩ about the items!

➷ think pink! -- a two-picture promo template inspired by the iconic 2023 movie posters. you'll need: two pngs of your faceclaim of choice, and the custom fonts (listed below). the glittery polygon of the first picture is available in 7 different glitter colors! high quality examples.

➷ this barbie -- two options of transparent dash icons; one matching the "initial" poster and one matching the "glittery polygon" poster. high quality examples.

➷ so plastic -- two options of centralized headers; one matching the "initial" poster and one matching the "glittery polygon" poster. to use it at its best quality, disable the "stretch header image" option when uploading the header. high quality examples.

➷ magenta -- version 1.0: pinned post (or miscellaneous) banner inspired by the 2023 barbie poster. version 2.0: pinned post (or miscellaneous) pair of banners mimmicking the layout of a barbie doll box. one banner goes on top of the postbox, insert pinned post or text, and the other banner goes on the bottom! high quality examples.

➷ doll up -- lookbook template inspired by the barbie doll box, featuring a "doll" picture and six customizable objects / accessories. you'll need: full body png of your faceclaim of choice, custom fonts (listed below), and 6 pngs of random objects or clothes to "come with" your doll. i've added a short tutorial down below on how to find and use some easily! high quality examples.

➷ pink ipod -- playlist template inspired by the barbie ipod, featuring a cover art and nine songs. high quality examples.

you can purchase all items as a package (deal price) or individually!

✩ important tips & useful information!

➷ needed fonts: bartex, cocogoose.

➷ object pngs + removing background of images: i found a super useful pinterest board with photos that can be used on your graphics: oxfordcommah's object pngs. additionally, the clothes png search on p*nterest is really diverse, and you can narrow your interests like "pink clothes png" or "vintage shoes png" and find a lot of options. once you found your images, go to remove.bg and paste their urls in there. it'll remove the background of those images for you and you can just paste them on your template and have fun!

➷ used coloring psds: the beautiful and super pink psds i used on the previews were not made by me and are NOT included in the downloads. in case you want to use them, they can be found here: dreams, 003.

➷ styles: the download includes two styles, one for a subtle drop shadow used in a few layers and one for the plastic box effect in the lookbook template. you can install them by opening the styles tab on photoshop > the four lines > load styles > find the barbie styles on your downloads!

➷ in case you have any questions, pop into my inbox or ims and i'll be happy to help you!

[microwavetoaster-selfships]

Okay yall, I'm making this post just cause I might do it a bit rapid fire and in case no one wants to miss it:

Some peeps reminded me a bit of the fact that asides from what bit of art I post, I forget that no one really knows how I visualize my Cars F/Os as humans, and I coulda swore I had a post before where I linked some fanart for that reason, but I can not find it, so I'm remaking that post. I am also going to add it to my pinned just so anyone can see it whenever. This post is going to be TWO PARTS. Because. Image limit is like. Ten or something. As of right now I'm only adding pictures of the ones that I have tags for or else I'd be unloading my entire pinterest board. Which, I wouldn't mind, but it would probably make yall go nuts.

Because it's going to be two parts, once I post the first part, it may take a couple minutes till I get the second part done. And of course the second part will be linked in the first one. They won't be very long as they're just going to be a thing of pictures. I may expand it into third+ parts in the future and elaborate on some humanized designs for other characters that I mention often but don't have tags for(yet).

I also messed up posting the first part, so I will be reblogging it to boost it as well.

After that, I'm gonna try and wait a bit afterwards, but I'm going to post that fic that I was talking about as well!! So that will be coming to tumblr blogs near you soon.

☆And this is just a *maybe* but because of the whole humanized thing and how I view them, there are some where I have my own ideas for them that I can't find any fanart that matches that, and so I might pump out some art later tonight to throw there. I'm adding this just cause I'll probably upload the art individually as its own post as well.

So that's the posting agenda for tonight!! I normally don't do posting agendas but. Like I said it might be a one right after another thing, and tumblr notifications can be wonky, or if you're like me and follow a goofy amount of Tumblr blogs, it might get lost in the sauce somewhere.

[markantonys]

HELLO, I am here to ask how in THE WORLD do you get a trailer to look so good in gifs? every time I go to do something from a yt video....it always turns up, for lack of a better word, shitty. WHAT ARE YOUR SECRETS besides sheer talent?

aww thank you! but i agree, giffing from youtube videos is THE WORST i try to avoid it, but when WOT trailer season comes around, we have no other choice! in my explanation, i'll only talk about the tools i use, and if you don't have those tools and instead use other tools then i unfortunately won't be able to offer any insight because this is the way i've been making gifs since 2012 haha i am very set in my ways at this point!

my guess is that it might be more to do with the manner of capturing the video than any photoshop settings, because i've found that the quality of the source material is the biggest factor in the quality of a gif. when giffing from youtube (and from all other places), my method is to simply screenrecord the video as it plays in its original player, rather than download a copy of it. this may not be the H-est Q way to do it, but it's good enough for my taste!

i use the free xbox windows app, which has a screenrecording function in it:

then on youtube, i make sure the video is on the highest possible quality setting (so actually clicking on that setting rather than leaving it on the auto-quality default). i right click to loop the video, fullscreen it, start recording my screen, and start playing the video towards the end so that the youtube player will fade away after a few seconds and the video will loop back to the beginning and i can then have a clear screen throughout the whole thing (rather than starting my recording right at the beginning of the video and having the youtube player visible for the first few seconds).

i also suspect that youtube videos miiiiight take a bit of time after uploading to fully process the HD version - for example, i recorded the WOT trailer immediately after it was uploaded, but when i was giffing the next day, i went "wow this shot of nynaeve looks so bad" and went to try to re-record that shot, and sure enough it was noticeably better quality that time. (and i probably should have done the same for the entire trailer, but by that point i'd made a bunch of the other gifs and they were Fine Enough so i couldn't be bothered to redo all of them.) so it might be worth waiting some time after the upload to get your recording, or perhaps letting the whole video play through once to fully buffer as the HD version and then recording the second play? i'm totally just guessing here, who Really knows what caused a quality difference in my two recordings! but if you're screenrecording and notice a low quality shot, it never hurts to at least try to re-record it again and see if it's better that time; internet video players can be finicky in how good the quality is at a given moment.

next i go into photoshop. i've always used the "import video frames to layers" method for giffing, wherein you select that option in photoshop, pull up the video you're using, and highlight the portion of the video you want to turn into a gif, and then photoshop converts it into individual frames for you (i get the sense that the screencapping method is more popular, but it seems so confusing to me, so i've never tried it!)

finally, these are my sharpening settings (using photoshop's "smart sharpen" filter). the one on the left is my usual setting for gifs, which is a more dramatic sharpening, and the one on the right is my milder sharpening settings, which i tend to use for screencaps/still images - i also used these milder settings on my youtube trailer gifset because i found that with the lesser video quality (compared to a gif from an actual episode recorded out of the prime video player), the more dramatic sharpening settings made it look kinda grainy and harsh, so the subtler sharpening ended up being better for those particular gifs.

so, that's the basics of my process! like i said, i think the quality of the giffing source is by far the most important factor, and i've found that for youtube videos, screenrecording the HD version straight out of the youtube player works pretty well in maintaining as much of the original quality as possible. you can see here my 2 different recordings of the nynaeve shot. they have the exact same sharpening settings and coloring, but #1 is noticeably blurrier/more pixelated and it's solely because youtube was apparently in a better mood the second time and gave me a better-quality version of that shot for my recording.

[19orionis]

asking you about coryneliaceae :) gimme the fungus

WOOHOO!!

So they're a family of parasitic fungi that live in the tropics and are really into one particular family of conifers for their hosts-- Podocarpaceae. Lagenulopsis, a lonely genus with only one species (L. bispora), is especially picky-- it'll only dine on living Podocarpus trees. It was first found on P. milanjianus, which is a very useful tree for us (pretty/ornamental, provides good shade for tea and coffee crops, some medicinal stuff apparently but I don't know the specifics). The uses are cited from that species's Wiki page, lol.

Speaking of Wiki, I have a whole Wiki article ready to go for L. bispora that I'm just awaiting feedback from my prof for, but it should be up for the public sometime next month, and I can't wait to share it here! I'm only not sharing the draft publicly cuz my rumination brain is like "what if someone decides to just upload my work and I don't get the credit" 💀

Corynelia and Lagenulopsis sexual fruiting bodies (ascomata) look like teeny tiny black spiky balls when they're in a group, and look kinda like Coke bottles individually, especially Lagenulopsis. Again, despite my own feelings on copyright law, I'm really trying to avoid using anything I don't have the rights to when it comes to academia shit, otherwise I'd repost some pictures directly into this ask, but if you search for Lagenulopsis bispora, you'll immediately see some good pics in the image results. That journal that the first several you'll see are from is also pretty nicely comprehensive.

[rainbowchewynuggets]

IT'S DONE IT'S DONE IT'S DONE IT'S DONE

I've been grinding away at this for months. I can't wait for people to see it. This project turned out to have a lot of gears behind it, so check out the artist statement below!

vvvvvvvvvvvvvvvvvv

I love this song. The first time I heard it, I already began picturing a story where a woman stumbled upon a gathering of birds in the forest and became so enthralled by their song that she partied with them until she became a bird, herself. It turns out that isn’t too far off from the singer, Yma Sumac’s, first experiences learning to sing. She would imitate the animals near her home in the hills of the Andes mountains as a very young kid, developing a vocal range that would make her famous later on.

From there, I fell into a montage of research on her life and the Peruvian festival music that defined her early career, as well as the complicated story of the exotica music she became most known for in the United States. I followed that up with a month-long dive into northwest Peruvian culture, mythology, ornithology, flora, and topographical studies. Then, I blacked out somewhere during the drawing phase, and now I’m here.

While I really value what I’ve learned while doing this project, I think it’s important to note that I did it all as an amateur researcher and a foreigner to the subject. I decided it would be a little conceited to try to make a totally accurate depiction of a traditional Peruvian festival, so I instead focused on referencing the regional variation of these traditions. Costumes and music have their own specific designs and textures depending on the area, and dances and festivities reflect local history. Yet, it all shares the same themes of celebrating prosperity and surviving hardship. Common motifs and characters reflect a shared heritage and cultural identity that coexists with individuality. It’s all just very cool to me.

So I asked myself, what if these birds had their own version of these traditions? What would a bird sing a folk song about? What would be new and cool to Yma, but still familiar enough that she could join in? (I got lucky, since Peruvian festival culture is already very reverent of birds and feather patterns.)

What I ended up with pulled a lot from the Carnaval de Cajamarca, which originated in the next town over from Yma’s childhood home of Ichocán. It also references these dances, among others:

Huaylarsh - Los Emplumados - Marinera - Tondero - White Dance / Los Chunchos

It’s also important to know that I took a lot of creative liberties with my research to pull the story together. I hope I haven’t used any elements in a harmful or insensitive way–and if I have, I’d like to know so that I can apologize. (I also missed out on some cool stuff, like the White Dance always having shaker beads on the legs.) I highly encourage you to have a look at some of the sources I did, and to look further if you’re interested. I found it all very enlightening, and I hope you will too.

Yma’s wikipedia, which seems like a mostly accurate overview based on other sources

Her official website, curated by a fan and friend

A segment on NPR about her musical career

The interview I got the opening from

The ornithology archive that saved my ass

I’d like to work on uploading all the frames as an image reel somewhere so they can be looked at individually. Might take a while, though.

Thanks for watching!

(To those using a screen reader, the video description follows this message. I'd like to apologize for putting the description as the last thing on the post. Not only is it extremely long, but this seemed to be the rare instance where the description would benefit from the context of the post's commentary before being read itself. I wrote and formatted this description in a way that I hoped would apply to aid various disabilities that impede enjoying music videos, and I am very interested in getting feedback.)

DESCRIPTION

[The following is presented as an animatic (a series of still images edited into a video) set to music. The art is drawn with condensed yet fuzzy pastel-like linework and full color. The song used is “Chuncho” by Yma Sumac. The song was composed to imitate the various sounds of tropical birds and animals. It has no lyrics, at least in a traditional sense. I, the describer, have tried my best to translate the especially abstract nature of this song into language that can be interpreted through text. Please use the best of your imagination to fill in the rest. An audio description will always refer to the visual description that follows it.

Audio: A male interviewer asks, “Since you are referred to the bird who became a woman in your native Peru, Ms. Sumac, may we hear your exotic voice?”

Visuals: A title card appears with gold lettering on a black background. It reads one word: Chuncho. The word is depicted as if it were carved into a flat surface with loose individual strokes.

Audio: A woman answers, “I will try to imitate the birds, as I did in my earliest years in the mountains of Peru.”

Visuals: Credits appear, also in gold text: Sung by Yma Sumac (Zoila Augusta Emperatriz Chàvarri del Castillo. Drawn by Carlie Hughes (rainbowchewynuggets).

Audio: The music begins with the steady four-note strumming of a guitar, which will continue throughout the song. Then, it is accompanied by low ragged notes from a heavy woodwind instrument.

Visuals: A green cicada flicks its wings as it rests on a plant with jagged leaves and a little white flower growing from the middle. Beetles of green, red, and yellow crawl around on trees and ferns among puffy yellow blooms. Yellow humpback beetles huddle together on a cold stone surface as mothlike butterflies cling to hanging purple-grey moss in the background. A cluster of butterflies of black, green, blue, orange, purple, and red flare their wings along stems and vines. A line of spiny cocoons hang from a vine leading up the center of the group.

Audio: A vocalist, the same woman as before, begins to sing in vocables. Her first notes are short, round, and bubbly, like the chirping of a small bird. The lilt of a flute follows.

(“B-bm, bui-bui-buiii…”)

Visuals: A small village sits on the side of a forested and scrub-covered mountain at night. Buildings twinkle with yellow and blue window light through the darkness. At the edge of the forest, a tall lean woman appears with warm orange skin, long black hair, a simple green dress cinched at the waist with blue trim on the neck, hem, wrist, and waist, and a powder blue shawl tied at the chest. She sneaks away from the village into the temperate tropical forest, glancing back to make sure hasn’t been followed. She grows more at ease as she leaves the buildings behind and strides between bushes, deeper into the trees. She passes a flowering plant with orange petals. Its bulbs are held aloft on long, long stems.

Audio: The vocalist sings in elongated threads of notes, wavering in a minor key in a mischievous way.

(“Whu, hu-uuuu…”)

Visuals: The woman grazes her fingers along a bush with little black berries and white spiky flowers. Her hand passes up and down with the shape of the bush, like the rise and fall of an ocean wave. She walks uphill, past pink clover and increasingly frequent stones.

Audio: The vocalist clicks and rolls her tongue with her notes, like drops of water splashing across stones.

(“Dlu, dlu-dlu-dlu-dlu-buiii…”)

Visuals: A voice suddenly gets her attention. The voice passes by as a green line with wide wave forms. The woman follows it. She passes through a stone forest–dense moss-covered rock formations that reach up toward the sky. The ground below is streaked with snake trails. The line of song is now yellow. It leads her forward along a trail through the rocks. She climbs a more precarious formation of boulders, through dense shrubbery and a dramatic rocky landscape. As the voice shifts redder, her colors shift pinker. Even the environment’s colors are shifting to pinks and blues. She climbs a hill, past tall spindly trees and a nearly vertical mountainside. The pink line of song leads her still upward.

Audio: The vocalist belts out the deep throaty call of a tropical bird trying to be heard far and wide. The notes increase in frequency, then widen into a whoop that softens to a murmur. The flute follows her with a few short forceful notes.

(“Ah, bya bya bya-bya-bya-bya-bya-byaaa, whoa-whoa-whoa-whoa-wi, wa-wa-wa wiii…”)

Visuals: When the woman reaches the top of the hill, a light shines up at her from the other side, returning her original colors. Below, she sees a gathering of human-sized bird people celebrating on a leafy platform. They’re dancing in different sized circles around a tree at the center. Rainbow colored ribbons of different lengths have been tied to the branches of the tree and hang down to form the silhouette of a condor. More ribbons and colorful bulbs hang from the leaves above. The line of song (now light blue) travels in a circle around the tree trunk. The camera zooms in, revealing details of the birds and their costumes. The birds are pigeons, hawks, cuckoos, seedbirds, and corvids. They’re all dressed in colorful hats, vests, slacks, and dresses with patterns that reflect those of their feathers. A circle of spotted woodpeckers closest to the trunk wear purple gowns and party hats. The party’s singing expands the blue circle of light. A wider circle of yellow, green, and white birds sit and watch the celebration from the edges of the platform. As a line of bright manakin birds zip by with their hands clasped together, the woman approaches from a nearby branch. She’s enticed by the party and joins the dance, clasping hands with a green parrot and leading the line with a broad smile on her face.

Audio: The vocalist makes a quick sudden series of escalating notes, then makes a hard sound with her teeth and returns to a low whoop. The flute echoes her.

(Ba-bana-baba-cht!,  waw waw waw waw waw waw waw wiii…”)

Visuals: The birds switch to individual dances. A short red woodpecker and a tan long-necked bird with ribbons in her hair dance and sing together, their lines of song intertwining. The woman and three pigeons in red and black dresses stomp their heels in a quartet dance. She follows their steps flawlessly, familiar with the type of dance. When they begin to sing and whistle, she joins them–though her voice isn’t as strong as theirs and her line of song is thin and brittle.

Audio: The vocalist makes a low growl, at first imperceptible, that grows to a steady rumble. The flute follows.

(“Rhhh…, rhh, rhh rhhh…”)

Visuals: Then, the lights darken and redden. The woman stops to notice all the other birds heading to the back of the platform. They climb and flutter up to sit in fruit-bearing branches that grow just beyond. The woman finds herself a spot and picks a piece of fruit to eat. She takes a bite as a show begins. A band of various birds wearing ponchos and cloth hats sit down by the show platform. They play their instruments (flute, guitars and a drum) and count in the performance.

Audio: The vocalist makes more short bubbly chirps. They grow higher in small strings of notes until the phrase ends with a low long note.

(“Bom-bom, t-bom-bom-bom, mbom-bom wiii…”)

Visuals: Five owls appear, bathed in magenta spotlight before the center tree trunk. All of them have their yellow-spotted wings wrapped to mostly cover their black and gold-trimmed dresses. The four owls on the sides are short and red, while the one in the center is tall and bright purple. As all five begin to sing a golden song, they operatically open their wings and extend their feathers. As the light darkens to violet, the black and gold patterns in the folds of their wings leap out as if exposed to blacklight. They extend their arms upward and then double over to kneel on the stage, fully splaying their wings in a dramatic display. The woman watching is transfixed.

Audio: The vocalist rolls a noise from the back of her throat. Once, twice, three times–before hitching the roll up and down and letting it trail off. The flute makes a low hollow arc of a note.

(“Ghhh, ghhh, ghh gh-gh-gheee…”)

Visuals: Cut to the next performance. Two teams of blackbirds with long waving feathers compete, standing on each other’s shoulders to form two pyramids. The one at the top of each team lunges forward to try to strike the other with a long stick, propelled by their team. Their feathers glow with yellow light from above. The team on the left—with orange vests and red sashes—strikes first, only nearly missing. They gloat as the lime vest and green sash team on the right recoils and protests. Then, it’s the green team’s turn to take a confident lunge, forcing the red to frantically pull back in time to dodge. On the next strike, the red team buries the stick in the top of the enemy pyramid (actually tucked under the green leader’s arm). The victim feigns a mortal wound, and the entire team flies away. The red team poses, victorious. The red leader gets down to the floor to greet the widow of the green team, wearing a green dress. She peers at him from behind a silky black wing. As soon as he lands, she whacks him over the head with her own concealed stick. He is surprised. She is unamused.

Audio: The vocalist lets out a ghostly wail that wavers wildly like an eerie wind, higher and higher. A shaker instrument rumbles beneath her voice.

(“Woaaa… woaaa… woaa–”)

Visuals: Next, it’s dark. Three colorful birds in masks and costumes tread the air at an angle on the left side of the screen against a blue and green background. There’s a yellow spiky one, representing lightning. A blue round-feathered one, representing rain. And a spade-feathered green one, representing trees. Long beaded threads tied to their wings and tails wave and tangle across the screen as a group of five hummingbirds in shades of red struggle to survive the “storm” raging around them. The colored ribbons of the central tree are muted and flutter with the power of the wind. Two other birds hug the trunk, nearly out of sight. There’s a prop on the floor to the right made to look like a stone alcove, where more hummingbirds are hiding. The storm bringer birds beat their wings hard, casting the strings of lightning, water, and leaf shaped beads in huge chaotic waves. The five hummingbirds in vests and dresses wince and tumble against the wind, flying together in a tight circle. The threads crisscross behind them, an overwhelming force on the tiny birds’ scale. A red line of song floats up to reach them, guiding them down to the nest.

Audio: When her wail is at its highest, the vocalist pushes it further into the voice of a shrill songbird. The note hangs high in the air, then takes a few steps down and up. The segment ends with the sudden interjection of the low round voice–as if in surprise–and a trailing mumble.

(“Haaa, aa-aa aa-aa aa-aa, hoa? Ah, bw-huh…”)

Visuals: Those in the stone nest finish singing and reunite with the others, pulling them down to safety. A blackbird hiding behind the trunk spreads its wings, sitting on the shoulders of a brown woodpecker. The blackbird’s vest and wingspan are covered in yellow, signaling the coming of daylight. The storm birds retreat and sit still on a nearby branch. The wind is suddenly gone.

Audio: The guitar plays alone.

Visuals: After the stage performances, the audience members move back to the platform. They’re gathered off to the far left side of the central tree trunk, standing in a circle around a single figure. The light of the gathering area is deep plum-purple in far off areas and warm dull pink over the crowd. The empty space around the single dancer is salmon red, and the figure herself is blue.

Audio: The vocalist perfectly mimics the sound of a flutter, of delicate waving in the wind.

(“W-w-w-w-w-w-w”)

Visuals: The camera zooms in on her hand as it flits a pink handkerchief in the air.

Audio: The vocalist belts a pair of bold staunch vocables. The second note is held for several seconds before fading out.

(“Kyen, kyen…”)

Visuals: The camera pulls back to reveal the rest of her. She’s a blue eagle with wings that grade from red at the arms to pink to blue at the wingtips in a wavy pattern. Her smiling beak is bright pink. Her dress is royal blue with reddish-pink trimmed ruffles on the hem of the skirt, waist frill, neck frill, and the flower decoration on the side of her head. She stands with the hem of her dress in one hand and the handkerchief extended in the other in an open invitation to dance. A pale pink spotlight frames her head and shoulders against the darkness, and a dark pink line of song passes behind her. Her partner, an eagle of the same coloration with a blue vest and pants, pink shirt, pale orange sash, a blue hat in one hand, and a pink hanky of his own raised in the other, is calling to her. He puts his hands behind his back and takes high steps toward her. When the two are close, they turn and walk parallel to each other in a slow circle. The male’s back is to his partner. He looks at her over his shoulder with a smile and abruptly splays his feathers to be cute. There’s a layer of pink under his outer coat. She grins, entertained.

Audio: The vocalist repeats the two vocables, twisting the end of the second up into a high wavering trill that eventually soothes and disappears.

(“Kyen, kye–eee, ee, eee, ee…”)

Visuals: The two turn to face each other, circling tighter and tighter in unified song until they’re face to face, looking deep into each other’s eyes. With another turn, they’ve passed by each other and out of sight.

Audio: The vocalist makes a whisper, a ghost of the two vocables. Then, a few quick whistles, barely loud enough to hear.

(“Hyo, hyo”)

Visuals: The woman, who has been captivated by the dance, suddenly notices that the crowd has dispersed around her. Partners are walking off in all directions, leaving her alone. The dance is over.

Audio: The guitar picks up, getting faster and louder for a bit.

Visuals: The woman walks alone in the blue night air along a tangle of tree branches that form a pathway. She walks with her hands behind her back, her face looking preoccupied and a little disappointed. Bushels of soft leaves pass by in the background.

Audio: A high, light pleasant note from the vocalist overtakes the guitar. It grows until it fills the soundscape.

(“Aaa…”)

Visuals: An orange song reaches her from the direction she came, and she stops. When she turns, she sees a blue swift standing on the branch path, far behind her in an opening in the trees. The underside of his feathers is dingy orange, and he’s wearing a black vest, white pants, a rusty red sash around his waist, a bright green kerchief around his neck, and an orange rectangular accessory tied around his neck like a necklace. His face is obscured by a white hat with an orange band. He bows low with a hand on the hat. The hat comes off, revealing inviting eyes and a smiling orange beak. The woman grins and accepts the invitation with determination.

Audio: The vocalist draws long high vocables that resemble a wail. They trail off with a low note.

(“Whoa whoaaa…”)

Visuals: She and the swift untie the fabric around their necks and step toward each other as the line of song forms a ring above them. The woman holds the ends of the shawl in her hands and her hands at her hips with the body of the shawl hanging behind her waist. The bird holds his kerchief out in one hand with the hat in the other, held behind his back. He takes measured winding steps along the branches. The woman mirrors his steps, then pushes off of the main path and lands on an outcropping branch.

Audio: The vocalist’s song wavers back up and demurely bobs up and down, intertwined with tweeting from the flute.

(“Hoa…  ohee…”)

Visuals: Her voice, seafoam green and a little stronger than before, trails behind her. She darts back onto the main branch and ducks behind the bird, then circles around to face him, the two only a few feet apart. They exchange steps pushing the other forward and back and flicking their garments in time with their movements. The woman’s voice grows stronger, nearly matching his. The bird quickly catches up as she moves backward, dancing beside her. The two dancers then leap from the main branch and fall down into the rocky forest below, passing by grassy plateaus and vines creeping through stone. Their song follows all the way down. They leap across boulders in the moonlight, side by side. The swift suddenly stops and folds his kerchief around the center of the shawl, hitching the two together. 

Audio: The vocalist belts a complex series of syllables that mimic the heavy majestic cawing of a large bird or hawk. The flute makes itself known a little as the voice fades out.

(“Hlau-lau-lau hau-au-wau-wa-wiii…”)

Visuals: The woman, at the receiving end of the momentum, is swung wide and lets out a vibrant complex line of song that could match any bird’s. The two pull closer to each other and end their song on a low steady note. Then, they bow to each other as the camera pulls back. They’re standing on a rock that rises above a basin of  water among huge formations of rock. Pairs of birds dance all around them in the shallows.

Audio: The guitar takes over for a bit.

Visuals: The camera cuts to an upward view of a varied group of birds sitting in branches, staring downward with interest. The light from the moon coming down through a break in the trees above is now cool green. The light coming up from where the birds are looking is orange-red. 

Audio: The vocalist lets out the aggressive growling of a cat.

(“U-wau, wau-wau-wau-wau”)

Visuals: Below, the woman is dancing in a line with three reddish woodpeckers in a greenish clearing in the trees. They wear intricately detailed dresses in different combinations of bright green, yellow, red, and black with geometric and floral embroidery. The dresses are cinched at the waist with a piece of fabric covered in colored bands. Their heads are covered in scarves with the same colors and patterns. They sing and step aggressively toward the left of the screen. At the other side of the clearing, a line of four red and white faced woodpeckers with green beaks and wings face right. They wear bright green hats, kerchiefs, and sashes, yellow and black striped vests, and dark red pants with yellow tassels at the ankles. Their black shoes tap against the ground as they make quick little dance steps and flutter yellow handkerchiefs. They hold onto the brims of their hats and then lean down with a flourish of their arms, exposing the red crests of their heads sticking up underneath. The dance then changes formation. The girls dance in a line to the left as the boys step in a line to the right. 

Audio: The growl hushes down to a wavering whisper, like wings beating in the dark.

(“Tchwahh-cwah-cwah-cwah-cwah-cwah-cwah-cwah…”)

Visuals: Out on a cliff by a waterfall, the scene is bathed in cyan. The line of dancers–alternating male, female, male, female–do a hopping dance from partners on the left to those on the right and back again as they move along the cliff, passing behind the waterfall as it disappears into the greenery in the foreground.

Audio: The guitar asserts itself again.

Visuals: Everything is suddenly red. A guitarist in a blue poncho and a red neck sash frets the neck of a guitar with a brown feathered hand. Rainbow ribbons are tied to the headstock. A deep orange song emanates from the strings.

Audio: The vocalist quickly accompanies the guitar with a harmonized version of the growl that revs up climatically, taking steps up the scale until it’s at its absolute height.

(“U-wa-wa ee-ee eh-oh! Oh-oh-oh-ohh!”)

Visuals: A congress of the partygoing birds stand in lines facing each other, all wearing blue outfits with red kerchiefs with rainbow tassels on them. The group jumps up and down in unison as part of a dance. The party breaks into smaller dances, and the woman dances by herself. She’s wearing a green skirt and flowy purple top with red underskirt, waist cinch, and scarf. Rainbow tassels are attached to the overskirt, and they swish with her movements. Beside her are a hawk woman and a pair of long billed bird men dancing in a circle with their ankles locked. A pair of red birds with white streaks on their wings suddenly hoist the woman into the air, as other birds are hoisted in the distance. As she’s held aloft, she sings and spreads her arms, revealing more tassels on her top, resembling wings. Her song is immense and beautiful. The camera focuses on one of the hoisted birds in the background, who has executed a handstand with the person who threw them. The blackbird’s feathers are all sorts of bright colors. The song passes by behind him. The excitement of the party disguises the presence of a looming pair of yellow slitted eyes peering out from a dark spot between the leaves nearby. A trio of purple pigeons dancing in a line with twigs and colored strings in their hands dip and weave together. The one in front balks, noticing the threat at last.

Audio: The high energy of the music suddenly cuts out. The shrill call of a small bird climbs up out of the silence.

(“Eee…”)

Visuals: A striped short legged pampas cat pounces into the center of the dance field. It misses the birds, but the illusion is shattered. The bird people are just birds again. They fly in a frenzy up through the trees to the safety of the early morning sky. The hilltop erupts with silhouettes of wings.

Audio: When the small bird’s call is at its highest, it tumbles back down and transforms into a low disquieting wail. The guitar re-enters.

(“Ee-ee-ee-ah-ahh ahh oohhh…”)

Visuals: The pampas cat has retreated into the dim tawny forest. It stands on a bent tree branch among bushes and hanging moss and stares into the camera with glowing yellow pupils. A tiny rodent scurries by and into a bush. The cat notices and darts after it. Nearby, dozens of bats hang from the underside of a rock formation that extends over a field of berry bushes. Their sleepy heads are tucked into their folded wings. A straggler flaps up to join the rest as the sun continues to rise. Elsewhere, a hive with wasp-like insects resting on the outside hangs over a rock. Sunlight gleams over the scene from a break in the trees in the background. A large brown mouse climbs up on the rock, backlit by the sun. It grabs a wasp in its teeth and leaves before the rest of the hive can wake up.

Audio: The vocalist makes a low steady murmur. A couple shakes from the shaker instrument follow.

(“Hoo…”)

Visuals: A colony of green and brown frogs with purple eye ridges, yellow faces, and orange bellies are asleep on dewy ridges of rock. A green cicada hangs out on a leaf off to the top left corner. The mouse jumps down through their resting spot, waking them all up. The frogs croak a green song as the cicada hangs on for dear life on the swinging leaf. The wind moans through the crevices of another stone forest. The little flowering shrubs that grow on the rocks bristle in the breeze. A variety of green, yellow, and blue lizards poke their heads out of the rocks, into the morning light.

Audio: The vocalist repeats the murmur. The flute follows this time.

(“Hoo…”)

Visuals: The camera pulls back to view the entire rock formation. The still rising sun shines only on the top half of right-facing stones. Long spindly tree trunks grow from the top left, out of sight. Long grass waves on the ground below. An alpaca-like vicuña raises its head from the long grass, facing the light. In the branches of the trees above, various birds perch facing left.

Audio: The vocalist makes a mysterious sound that begins as a harsh sound between her teeth and ends as a whisper. It echoes in the background.

(“Chwah-ah…”)

Visuals: The camera turns back to the village. Golden light casts diagonally across the brown roofs and tan buildings. The silhouette of a small bird flies toward the center of town.

Audio: The vocalist makes the sound again, then pulls the whisper up into a harsh repeated rasp from the back of her throat.

(“Chwah-ah qwah-qw-qw-qw-qw-qwah-qwah-qwah”)

Visuals: Down in between the one-story houses, the bird flutters down. Long shadows lay across a passage leading toward a door on the side of a building. We see the shadow of the woman land in the soft dirt path where the bird’s would have. She heads toward the door at a walking pace.

Audio: The call returns to a whisper. The vocalist clicks her throat in a short series of hollow sounds, nearly like the creaking of wood.

(“Qwk-qwk-qwk-qwk-qwk, qwk qwk qwk qwk”)

Visuals: As she opens the door to enter the purple interior light of the house, we see that she’s back in her green dress, but now her shawl is red. The sun glints in her hair. Before she goes inside, she looks back and winks at the camera with a smile. Then, she slowly pulls the door behind her until it’s shut.

Audio: The vocalist lets out her breath entirely as the accompanying music trickles into silence.

(“Haaa…”)

Visuals: The screen is black for a few seconds.

Audio: The high whistling call of a green manakin can be heard over the rustling of forest trees. The call’s tone is raised at the end, like it’s asking a question.

(“Twee?… Twee?… Twee?… Twee?”)

Visuals: The end card appears. Yellow and green lettering and a border lay on a black background. The text reads: Yma Sumac. Peruvian soprano and composer. October 13th 1922 until November 1st 2008. Biographical and reference info in description. Chuncho, 1953. Written by Moises Vivanco. Capitol Records, Universal Music Publishing Group. Carlie Hughes. Tumblr @rainbowchewynuggets. www.carliehughes.com. End ID]

INDEX

[lisxdumbr]

Wait what happened?

I don't know if you're aware of the account @//gradualcolors on Twitter who for many years now, had data mined every single asset in the game to be able to compile them in a drive folder that would later be the heart and core of the enstars wiki and recently the miraheze eng server only MakoTools wiki.

Grad's work started data mining cards only but quickly escalated to transparents, banners, motion chibis, voice lines, even songs.

A week ago Grad received an strike put there by happyele about the individual versions of One on One that were hosted in the drive. Grad took them down 6 days ago but stated that they feared this would impact the drive in general. Today they wake up to 78 strikes in the folder.

Unfortunately because of this, the entire drive will have to go down, meaning all images and resources from the wiki(s) will definitely go affected by this.

When investigating the possible reasons, people came to the conclusion that it had to do with happyele's recent policy changes, since they became aware that their art was being used with malicious intend and did state they would become stricter from now on.

If anything it's frustrating but I can't blame them, the surging of AI has definitely striked us all and of course I'd understand not wanting their hard work data mined to feed a machine without the consent of the artists in the first place.

This situation is as tragic as the day the translations got taken down, if not even worst because this time it's because of an actual harm, well, the only thing we have left to do is make a back up, the drive is getting taken down 20hrs from now aprox, if you want the complete info you can check the latest communicate the wiki Twitter account uploaded

[andmaybegayer]

Last Monday of the Week 2023-11-06

It was Bandcamp Friday so I'll open with a rundown.

Listening: One song per album let's go

Do The Hate by MiSLeD, off TERRORTORIES, a deeply uncomfortable sounding song.

I originally picked up MiSLeD's acoustic album a few Fridays ago and took a while to come around on their unbelievably blunt and hyperlocal style. A sledgehammer through Johannesburg concrete, I have come to love 'em. Do the Hate has an aggressive chant that makes it genuinely kind of uncomfortable to listen to and also extremely fun to yell along with.

The Length of the Chain by Chamber Mage, off their 2022 demo tape and thus far their only album release unless you go see them live.

I picked these guys up off I think the Topic Lords podcast? Solid reliable heavy metal. Can't wait to see their first full album, they're from Denver so if you're from that part of the world definitely find out if they're playing.

All On Fire by Double Sun, from the album of the same name, Pretoria boys playing bluesy punk.

One of the last bands I saw in Johannesburg before I moved. I had the three-part Dead Wreck Beach stuck in my head for a good long while. I'm still not sure what it is about Gauteng that produces so many psychedelic punk bands but I'm not complaining.

Two Jack de Quidt albums, soundtracks from Friends at the Table which I have been getting really into.

First up, The Tower, As Built By The Divine Candidate Chital, from the soundtrack for COUNTER/weight, meditative track to match the meditative and still incomplete two-player game The Tower.

Apperances of The Tower in F@TT games are always great. It's a game that the GM and composer have been working on forever and they get really, really into it.

Next, gotta be Marielda, from the season of the same name. The clarinet from this is so memorable.

The intro tracks to every game are obviously the ones you hear the most, and they're all bangers.

All Through the Night [Patrick's Version], from the Titus Andronicus demotape for their most recent album The Will to Live. Rough cuts from studio sessions.

I adore The Will to Live, when I'm honest I really don't care much for most of Titus Andronicus's work other than The Monitor and now The Will to Live. These are good at capturing what I like about live performances: performers going ham and not necessarily performing well but definitely performing the most.

And lastly, Threshold from sungazer, off the album Perihelion. This was an experimental piece combining rhythms at both extremes of human perception, with the overall rhythm of the song being as slow as possible with individual bars being impossibly fast.

There's a whole Adam Neely video on it, because he's one part of sungazer.

Alright on to the rest of the show:

Reading: Back into The Count of Monte Cristo, rapidly seeing the roots of many other stories I've read crystalize into this genre, most notable Eoin Colfer's Airman.

Watching: The various Hackaday talks that have been uploaded over the past week, some good ones lately like A Hacker's Guide to Audio and Video Formats.

Playing: on Saturday evening I finished making dinner and sat down to play Titanfall 2 from the start because for some reason my save was incomplete and I figured I'd just start over. And then it was two in the morning and I had beaten Titanfall 2. Great game.

Making: Abortive attempts at designing some adapters for my vacuum cleaner because I realized I took my reference images wrong and had to start over, fortunately before I wasted any filament.

Also Hack Week at work, so I'm working on some original code with two much, much more experienced python developers, which if nothing else is a good learning experience.

Tools and Equipment: Modern text editor configuration systems can be rigged to almost completely bootstrap themselves if given an internet connection. You should use this to your advantage. I use lazy.nvim in bootstrap mode now and it's so easy.

Side note, nvim's lua configuration mode is real nice, major improvement over vimscript when you want to do anything complicated. Sorry Tim Pope.

[unvale-io]

Hello UnVale Community…ready to go to space with us?

Join us for a galactic event called #UVInSpace ! 🚀

In this totally spaced out event, you and your OCs get to partake in this space fantasy event through art and writing! Will your OCs become an alien? Maybe an astronaut? Will you take them to a whole new world? The galaxies are the limit! 🌌

Here’s how you can participate in this galactic adventure:

Pick any OC(s) of your choice that you would want to put in your space scenario.

Create a piece of either art or writing your OC(s) fit for a sci-fi setting.

After uploading your piece to UnVale put the hashtag #UVInSpace on the OC page!

Remember that it won’t work if you just do it on the individual image or piece of writing!

And that’s all you need to do!

There will be a showcase for all illustrated/graphic pieces showing everyone’s sparkling creations on March 20th! You’ll have until March 18th to get all of your submissions posted to be included!

We can’t wait to see you all in the starry universe! 💫

[scamornoreviews]

Photo Cash Machine Review - Is It Legit?

Discover how Photo Cash Machine helps you earn extra income by taking photos. Learn how this program works, its benefits, and how anyone can get started.

Curious if snapping pictures could lead to some extra cash? This Photo Cash Machine review dives into how this program turns a photography hobby into a unique way to earn. From lighting tips to digital uploads, learn how you can make money with just a camera and internet connection.

Introduction

With the surge of online opportunities, who doesn’t want to earn a little extra? If you’ve got a camera and a knack for capturing the world around you, the Photo Cash Machine might just be what you're looking for. This program promises a straightforward path to turning photos into earnings. But does it live up to the hype? Here, we’ll break down what Photo Cash Machine is all about, how it works, and whether it's really as simple as it sounds.

What Is the Photo Cash Machine?

Photo Cash Machine is a program designed to help individuals make money by taking and uploading photos. Created by Zeg Magnes, it’s aimed at people who may not be professional photographers but still enjoy snapping quality pictures. With this guide, users are shown practical ways to capture in-demand photos that companies are willing to pay for. Magnes even includes helpful tips on staging and lighting to enhance photo quality, which can be crucial in the competitive world of online images.

Key Benefits of Using Photo Cash Machine

Photo Cash Machine has gained popularity for several reasons, including:

Ease of Use: No special skills or expensive equipment required. A digital camera or smartphone and an internet connection are enough.

Flexible Schedule: Upload photos anytime, allowing users to fit this into their own schedules.

Variety of Earnings: Payments can range from a few dollars per photo to $50 or more, depending on quality and demand.

Guidance for Success: Detailed insights on lighting, staging, and market demand make it easier to create quality photos that sell.

How Does Photo Cash Machine Work?

Photo Cash Machine takes the guesswork out of earning through photography. Here’s a look at the process:

Capture Photos – Use any camera to capture photos that are clear, interesting, and marketable.

Follow Program Guidelines – Magnes’s guide offers advice on capturing images with the right angles, lighting, and appeal.

Upload and Wait – Upload your photos to the recommended platforms. Once companies or individuals find value in them, they can purchase your work.

Earn Money – Each successful upload can lead to a payment directly to you. While not every photo may sell, those that do offer potential earnings with minimal extra effort.

Why Photography?

In today’s digital world, quality visuals are in high demand. Businesses need appealing photos for websites, ads, and social media. By capturing simple photos that resonate with a brand's audience, photographers can meet this demand and earn in the process.

Who Should Try Photo Cash Machine?

The Photo Cash Machine program is ideal for:

Beginners: You don’t need a degree in photography to start.

Hobbyists: Those who already enjoy taking photos can turn their interest into income.

Freelancers: This program provides an extra stream of income with little to no investment.

Anyone Looking for Side Income: Ideal for people who want a flexible way to earn without a rigid schedule...

Full Photo Cash Machine Review here! at https://scamorno.com/Photo-Cash-Machine-Review/?id=tumblr

FAQs About Photo Cash Machine

1. How much can you realistically earn with Photo Cash Machine?

While earnings vary, some users make a few dollars per photo, and some photos can bring in up to $50. Success depends on photo quality, demand, and platform.

2. Do you need professional photography equipment?

Nope! The program is friendly to both smartphone and digital camera users. As long as your photos are clear and follow basic staging tips, you’re good to go.

3. How quickly can you start earning?

With Photo Cash Machine, you can start uploading right away. Earnings may start once your photos are reviewed and purchased, which can take a few days to a couple of weeks.

4. Is this a full-time income?

Photo Cash Machine is best viewed as a part-time or supplementary income source. It’s perfect for bringing in a few extra hundred dollars a month.

5. Are there any hidden costs?

There are no hidden costs if you already own a camera or smartphone. The guide itself covers techniques without requiring expensive software or equipment.

Tips for Success with Photo Cash Machine

To maximize your success, here are a few pointers:

Experiment with Angles: Companies look for unique shots, so get creative with how you frame photos.

Optimize Lighting: Use natural light whenever possible, and avoid harsh shadows or bright spots.

Upload Regularly: Consistency matters. The more photos you upload, the greater your chance of making sales.

Keep Learning: Experiment with new techniques and learn what types of photos perform best on each platform.

Is Photo Cash Machine Worth It?

Photo Cash Machine appears to be a legitimate way to earn some extra cash, especially for those who enjoy taking photos. While it may not make you a millionaire, the potential for earning extra income with little upfront investment is attractive. It’s not a replacement for a full-time job, but it’s a fun, creative way to earn while doing something enjoyable...

Full Photo Cash Machine Review here! at https://scamorno.com/Photo-Cash-Machine-Review/?id=tumblr

[weather-cluddy]

My Mikoto playlist, for all your waiting for Double needs.

A Sleepwalker On This Mortal Shore/A Sleepwalker Gazing on Nirvana, by Hello Tanita-san/Tatsuya Kitani. (Self-cover)

Fun fact, the animation for this one was made by Mana Inoue, same person who did the PV for Weakness, How To Be in Love With You and Bring it On! You can definitely see the similarities with the first two, with the use of photographs 'glued' to 2D drawings. This one pushes the body horror a fair bit further, though. Be prepared for writhing brains made of realistic human fingers and such. (Also, the vocaloid version's CC subs has a mistake at 2:23)

OP by Hachiya Nanashi

Flight Instinct by Last Note

Run! by Polysics

Opening from Cells at Work Black, in which your average overworked salaryman's body is depicted as a 'black company' in miniature where their cells must struggle not so much to fix things as to just postpone the inevitable for another day, growing increasingly desperate and despondent all the while. IIRC, things got bad enough that the English version of the last few manga volumes shipped with suicide hotline numbers in the back.

Somehow still the cheeriest song in here.

Disordered Self-restraint Girl by otetsu (Note: flashing lights)

There's Supposed to be a Cheat Code for Happiness by UtataP

Ceremony Day and Manhole by Polyphonic Branch

Walk Tall and Die by TadanoCo/4o

You might know this one from the Eve cover, which has more views than the original. I really enjoyed the lyrics, both individual lines and as a whole. It's quite nice how they go from harsh and frustrated to softer as the song goes on.

There Was No Savior by YASUHIRO (Translation)

Disqualified Town by Yonaka

Fun fact: I picked this song before Mikoto's T2 cover got announced, so the fact that MV shows Miku wearing a gas mask is 100% a coincidence.

On An Empty Morning by kemu (Utaite ver.) (Translation)

I really like this song because the tone changes a lot depending on your interpretation. Does the calm tune represent the singer at long last achieving peace after terrible pain, leading a life that's mundane and sometimes difficult but ultimately worthwhile? Or have they just sunk into apathy, emotionlessly sacrificing other people just to continue their empty lifestyle, having so little concept of happiness that they actually think they're fulfilled by this?

Both options are pretty interesting. And well, in the context of Mikoto's crime, "I take someone’s fleeting future and use it as a stepping stone" takes on a new meaning.

I Hear the Sound of Someone Else's Business by Ame no MurakumoP (Translation)

I linked to a fan PV that honestly deserves more attention (less than 30 views, seriously!?). The PV uses a lot of white and dark blue, but I don't think it switches fast enough to require a flashing lights warning? The official upload uses a still image, if it helps.

Synesthesia Ghost by Nekobolo/sasanomaly

La Mersonnalité by Misato Kurematsu

Don’t Carry Our Memories Away by rinri (EMA ver.) (Translation)

The EMA cover isn't official or anything, but it's my favorite version so I'm gonna link it too. The original does have the advantage of having Mikoto Meika singing it, though.

It's kind of interesting how different the illustrations for the original and the cover feel: in the original we see the boy smiling desperately wide as he faces towards the shore, like he's reassuring somebody watching. Meanwhile in the cover he looks indifferent or perhaps annoyed, but for the last chorus he turns around fully and splashes around as if inviting you to follow him.

Childhood by MushiP

The Good Child and the Fox by Kikou

Silver Warp by YUUKI MIYAKE/Napoli-P (Utaite ver.) (Translation)

I was going to write about how Ore would be the brother that gets caught when escaping and is implied to stab his parents, while Boku is the one that gets away... and then I noticed the funerary portrait at the end. Just pretend it isn't there, I guess Or take it metaphorically.

The Full-Throttle Abscondence. by Pekoro

Delusion Girl by Touyu

This playlist is mostly based on Boku, but I see this song as being about both alters. The whole "crushing despair of normalcy" part being obviously Boku, and the desire to save somebody to justify your own existence being Ore. I think that if Fuuta were a bit older this song would fit him pretty well too.

Hide and Seek -reprise- by BuzzG (Translation)

Magician In Love by Koyori

Imposter Advisory by 150p (Utaite ver.) (Alternate translation) (Note: flashing lights)

Perfect Crime Love Letter by 150p (Utaite ver. + alternate translation) (Note: flashing lights)

Red is Scary by Iyowa (Translation)

Cyber Thunder Cider by EZFG

It Takes 3 Minutes to Listen to a 3 Minute Song by Owata-P

There's No One Who's Bad at Art by Suttaka

Love, Me Normally by Will Wood (Lyrics)

Dense Forest of Morals by OPA (Translation)

I'm Controversial by Ado (Note: flashing lights)

Fraulein=Biblioteca by nyanyannya

I'm imagining this one being sung by Es, or at least Mikoto's impression of Es (kind of like the shadow Es from Backdraft). I think in a way it fits all the guilty prisoners, but the lines about sleep talk and "I'll make you remember your sins" make it even better for Mikoto especifically.

No.4 THE EMPEROR by Owata-P (Translation)

I Can't (Mar)read the Situation by CosMo

This one is more of a "How Mikoto views the world" song than one strictly about Mikoto. Don't neglect your social skills in favor of your true self or you will be doomed to a life of envy, regret and isolation. Also the Earth will explode. Truly a sobering reminder.

A Lethargic Coup d'état by Last Note

The Taste of Cockroach by Maretu

Most people would probably think of this one as a Fuuta or Muu song, and I do agree (more Muu than Fuuta imo). But honestly, while Mikoto would never start a bullying campaign, I can totally see him as a bystander, the kind of person who insist that everyone should just talk it out and then everything will be fine. Of course, we still don't know what caused his murder, only that apparently being kidnapped was an improvement. So you could also view him as the victim, which gives new meaning to those weird lines in the middle of the song that really don't sound like they're from the same person as the rest...

But mostly, I added this song for the "shadows lurking under the light/denial" angle, which is theme for the last section of the playlist. I don't really know enough about music to sort it by genre/sound similarities, so I organized it by themes! Or at least I tried to put similar songs together so they'd "flow" into each other.

Everything is an Illusion by Pongini (Translation in the replies of the pinned comment)

I Look Up as I Deliver by POLYSICS (Alternate translation)

The ending for Cells at Work Black. Fun fact, this song's name is most likely based on I Look Up as I Walk AKA Sukiyaki.

[some-teeth-in-a-trench-coat]

I love being locked in dissociate couch tumblr no bed dissociate worm???

anyway if I made a social media it would be not care what you upload the sex whatever (exceptions of real that is illegal where the servers live but this would NOT include gay it is fully allowed) if America is scared not my problem however much like AO3 very organized content filter available include chose not tag and unlike tumblr there would be system for STANDARDIZE style such that not need block "thing tw" "tw thing" "cw thing" "thingy" "thing mention" etc. while also supporting obscure and specialized filter for weird personal triggers and squicks and spoilers and any other reason not want view. I think separately exists organizational tags such that have functionality and control over it BOTH globaly visbile and per account local, with customizable defaults for optimal ease of use. IMPORTANT IS CHOOSE WHAT EASE IS FOR USER. There would be so many settings for you with reasonable defaults to minimize the required actions for individuals on average to get wanted experience but it is all in user's hands. User has power. Important.

accessibility option: hide posts with undescribed image no need tag for filter. what if id is not in alt? remove need to ever put elsewhere! including when OP did not do it you can still add! it will be communicated who submitted ID and yes you can lie you can always lie lying is possible in all situations. You can also be corrected like always. additional benefit of add retroactive alt text: Screnreader sees it on the image! no need to wait for the part where they explain the image that was twenty paragraphs ago! Continuity! (note: I never used screenreader I simply assume it is not magic?)

there should also be option to, for filterless posts, specific warnings, or always, hide images, gifs, and/or videos by default if you worry it might contain visuals you do not want to see. if alt text exists you can choose to view it without viewing file, so you can check it to decide if you want to view, or get context for post without viewing, or just prepare yourself for what exactly you will see. Up to user!

I need to got to bed and reboot speecher but I don't care you get my ramble anyway. your problem now <3

[doctoryogesh]

https://www.ycpathlab.com/dexa-bone-scans-key-in-osteoporosis-diagnosis-treatment/

DEXA bone scans: Key in osteoporosis diagnosis & treatment

https://www.ycpathlab.com/wp-content/uploads/2025/03/DEXA-bone-scans-Key-in-osteoporosis-diagnosis-treatment-copy.webp

What is a DEXA Scan?

DEXA (Dual-energy X-ray Absorptiometry) is a specialized imaging test that measures bone mineral density (BMD). It helps detect osteoporosis at an early stage, allowing doctors to take preventive measures before severe bone loss occurs. A DEXA Scan in Karnal is a quick, non-invasive, and painless test that provides detailed insights into your bone health.

Why is a DEXA Scan Important for Osteoporosis?

Osteoporosis is often called a “silent disease” because it progresses without noticeable symptoms until a fracture happens. A DEXA scan plays a crucial role in:

Early detection: Identifies bone loss before fractures occur.

Monitoring progress: Helps track changes in bone density over time.

Assessing fracture risk: Predicts the likelihood of future fractures.

Evaluating treatment effectiveness: Determines whether medications and lifestyle changes are working.

Who Should Get a DEXA Scan?

A DEXA scan is recommended for:

Women aged 65 and older

Men aged 70 and older

Postmenopausal women under 65 with risk factors

Men under 70 with risk factors

Individuals with a history of fractures

People taking medications that affect bone density

Those with conditions like rheumatoid arthritis, thyroid disorders, or chronic kidney disease

If you fall into any of these categories, getting a DEXA Scan in Karnal at the Best Pathologist in Karnal, Dr. Yogesh Chhabra’s lab, is a wise decision.

How Does a DXA Scan Work?

A DEXA scan is a simple and safe procedure. Here’s what you can expect:

Preparation: You may be asked to avoid calcium supplements for 24 hours before the test.

Procedure: You will lie on a padded table while a scanning arm passes over your body, focusing on the hip and spine.

Duration: The test takes about 10-20 minutes.

Results: The scan results provide a T-score and Z-score, indicating your bone density status.

At the Best Lab in Karnal, you receive accurate results with expert analysis by Dr. Yogesh Chhabra.

How to Maintain Healthy Bones?

Along with regular DXA scans, you can take the following steps to keep your bones strong:

Eat a balanced diet rich in calcium and vitamin D.

Exercise regularly, focusing on weight-bearing activities like walking or strength training.

Avoid smoking and excessive alcohol consumption.

Take prescribed medications if you have osteoporosis.

A proactive approach, along with timely testing at a trusted Lab in Karnal, can help prevent osteoporosis-related complications.

Where to Get a DEXA Scan in Karnal?

If you are looking for a DEXA Scan in Karnal, Dr. Yogesh Chhabra’s lab is the best choice. Known as the Best Pathologist in Karnal, Dr. Chhabra ensures accurate diagnostics with state-of-the-art technology. His lab is recognized as the Best Lab in Karnal, offering reliable testing services for osteoporosis and other health conditions.

Book Your DXA Scan Today!

Don’t wait until it’s too late. If you are at risk of osteoporosis, schedule your DEXA Scan in Karnal today at the Best Lab in Karnal. Early detection can make a significant difference in your bone health. Contact Dr. Yogesh Chhabra’s lab now for expert guidance and accurate results.

By prioritizing your bone health and choosing the Best Pathologist in Karnal, you can take control of osteoporosis and lead a healthy, active life!