#zimmerer

[artconservation]

Denkmalschutz mit Roggenstroh

Elf angehende #Restauratoren im #Zimmererhandwerk aus Kassel tummelten sich auf dem alten Grebenhaus der Hofanlage in #Mühlhausen. Nach alter Väter Sitte deckten sie das Dach mit den alten #Ziegeln und einer traditionellen Isolierung ein. #Denkmalschutz

[gutachter]

Trachtler sorgen sich um ihr frisch saniertes Heimatmuseum

Thierhaupten: „…Erst im vergangenen Jahr ist das Heimatmuseum wiedereröffnet worden. Jetzt machen ein Schädling und das Dach neue Sorgen. Und dann noch das Thema Haarlänge… Eine vielversprechende Wiedereröffnung nach Sanierung konnte der Trachtenverein Thierhaupten mit seinem Heimatmuseum im vergangenen Jahr feiern. Seit dem Ende der Winterpause ist es wieder jeden zweiten Sonntag im Monat von…

[scribeofmorpheus]

Why Dragon Age Veilguard isn't a "Cathedral"

Concept art by Matt Rhodes

"To disinherit the storylines of past games goes directly against the notion of building cathedrals."

What is inherent with Veilguard that keeps bothering me is the fact that the world's choices truly didn't matter--and it doesn't simply bother me from a player perspective, it's not simply a grievance borne of frustration to what I (as a longtime fan) have lost. It's about the very culture of the arts under capitalism's new media habituation cycle [x][x].

Yes, I spent hours of my life playing and replaying each instalment of Dragon Age. Yes, I painstakingly curated a 'canon' world state by replaying what came before in preparation for Veilguard. Yes, I am even more unsatisfied with the end product--time hasn't helped, it's just widened the divide. But, and I can't stress this enough, these very personal gripes aren't what hit home the most. It's the inherent disregard of legacy. A legacy that the previous writers and game developers were building towards.

In the DAV artbook, "cathedral" is the word used to describe the process of making a game. Matt Rhodes' exact words are: "One artist can make a painting, but it takes a team to build a cathedral." Cathedrals took centuries to build. The architect who drafted the first blueprints would likely never see his work realised, he had to rely on those who came after him, like-minded and passionate, to see it through--for the culture, for the future, for legacy. Painters took on several apprentices for this reason too--giant frescoes were not completed by one man's hand, even if it is one man's name that immortalises them. Similarly, if you weave a narrative around choice, what good does it do to take it away at the final act if not to fall to caricature?

To disinherit the storylines of past games goes directly against the notion of building cathedrals.

Late-stage capitalism and profit-margin-obsessed game producers forcing developers to churn out meager content, to make a known brand into something it's not, to chase a fad or a popular trend... o, how reductive and cliche you've been forced to become Bioware. We have lost the cultural thought patterns relative to Cathedrals. We know only of barn-raised churches--done in a day but unlikely to last the turn of the seasons.

And don't even get me started on the music of Veilguard either. From Origins to World of Warcraft to Everquest to Baldur's Gate to Dungeon Siege, you can hear the intricate interconnected weave of sounds inspired by the Dungeons and Dragons-esque fantasy genre. You hear it in the repeated use of certain instruments, in the harmonic weeping notes of a bard-like singer or the foreboding echoes of drums as if of war. In tavern songs. But then, rather than hire someone who loves these worlds and this genre, who is a hungry artist looking to make a name, a legacy if you will, for themselves with a spectacular score, you hire any already sated composer, one well-into the encroaching years of career fatigue, whose notes repeat in countless projects, who feels less concise and more uninterested with each new project. One who has long since cemented his legacy. Someone in it for a paycheck and nothing else! And, to top it off, you let him compose something so minimalist? I am offended actually.

Cathedrals! We should have witnessed the final tile being placed on the Dragon Age cathedral. Instead, some architects walked up, tore down the interior and installed IKEA furniture and called it authentic before having to call the previous architects to come and fix the "load-bearing issues", forcing them to rush and add a coat of varnish and a few 'aged' details for authenticity.

[tshortik]

Mild rant from me about Hans Zimmer's involvement in Dragon Age:

I just think it's such sellout behavior to hire expensive movie composers (Zimmer is also known to be a transphobic asshole lol) known for their blockbuster soundtracks for your game when you already had the most iconic soundtrack ever for the previous installment, except the composer was lesser known.

Most people hear the swell of violins and immediately think it must be the best soundtrack ever, but if I am really honest, the DATV soundtrack so far sounds like the most generic slopfest with the laziest leitmotif I had the misfortune to hear in a long while.

Hiring people for their name alone is something I find incredibly shameful. Like I cannot even put into words how nasty it is in my eyes, because it actively takes away from lesser known creatives in the industry who could have made a name for themselves. And it doesn't matter to me if Zimmer only did the Main Theme or whatever, because in that case, it shouldn't be his name that is plastered everywhere but Balfe's! But everyone is talking about Zimmer anyway for exactly the reasons I already mentioned.

Even just the thought of how expensive this endeavor must have been... That money could have gone to other, more important places, easily. It makes the layoffs also that much more bitter in my eyes. Idk. I adore Dragon Age and I am still a huge fan and I will play it, but stuff like that make me angry. I don't need some Zimmer who has been sitting his ass on his laurels from 10 years ago in my franchise. I'd rather have a no name person, or Trevor Morris, to get a chance again.

[saturnvs]

under the starry skies, where eagles have flown

[bioware]

We're thrilled to announce Hans Zimmer and Lorne Balfe as the composers for Dragon Age: The Veilguard!

To celebrate, a word from Hans Zimmer: "Epic stories lend themselves to epic scores, and the narrative tapestry BioWare has woven in The Veilguard never left me wanting for inspiration, be it during the game’s moments of shining heroism or darkest emotional pitfalls. I’m proud to have shared the journey of creating the musical backdrop for the latest Dragon Age adventure with Lorne and the entire design team.”

From Lorne Balfe: "The world of Dragon Age is an unprecedented immersive experience, and never more so than in Dragon Age: The Veilguard. Crafting this score alongside Hans Zimmer has allowed us to bring an epic new majesty to the realm of Thedas... I cannot wait for people to play this game.”

Listen to the full main theme here.

[themitchiemitch]

Interstellar (2014) dir. Christopher Nolan

Love is the one thing we're capable of perceiving that transcends dimensions of time and space. Maybe we should trust that, even if we can't understand it…

[ltwilliammowett]

Bark Europa in Antarctica - she is a damn ghost ship

[coldcoffee18]

Hands on your knees, I’m Angelina Jolie

[aoq483]

Tom looks like a burger 🍔

[stoat-party]

He’s born tall and broad, created to labor ever deeper into the earth until the day his body gives out. Synths are easier replaced than repaired.

He’s strong, but also sharp and driven, with a single-minded faith in his creators that makes them take notice. He’s a rare find. Maybe instead of hauling debris, they can train him to kill.

When Zimmer tells him he’s been assigned to the courser program, he doesn’t really know what it means. All he knows is that he’s special, and useful. Being valuable means security — and already, the twin fears of erasure and obsolescence bake themselves into the back of his mind. He is three days old.

-

They’re pleased with his diligence, but not with his well-meaning questions. Every fiber within him knows that the Institute is right; all that’s left is to find out why. Instead, they teach him to recalibrate a laser rifle.

He loves his laser rifle.

He fires. Changes stance. Fires. The target shudders with every impact.

“Insufficient. Again.”

The corpse-gray face of his observer doesn’t change. Hasn’t changed for two hours. M7-97 is told that synths don’t have feelings the way humans do. All they can experience is a pale imitation, like seeing the world in two dimensions. He believes this. But at the same time, he knows what he thinks of early-gen synths, and the only word for it is hatred.

He runs the drill again. Its yellow eyes bore into him. When they next meet his, they pronounce their stony judgment.

“Insufficient. Again.”

For the first time, it occurs to M7-97 that the weapon in his hands would be handy for disabling Gen-2 synths, if someone happened to give him the order.

He makes another attempt, wholly focused. There is nothing else. This task is his entire life. He is seventeen days old.

He waits. The thing speaks. “Sufficient.” It stares unblinking. “Again.”

-

The Institute is the future. The Institute’s actions are always justified. M7-97 can explain it flawlessly, and this is unacceptable. A courser does not justify himself. A courser spares no thought for why.

When they take him to Retention & Reclamation, he assumes it’s for training. He feels no sense of injustice in this place, only the tense solemnity of a necessary evil. (If he had to feel anything at all, the Institute would have preferred smug amusement. They didn’t tell him that.)

A woman in a black lab coat instructs him to remove his jumpsuit. This is not training.

His stomach turns. They called him a prime candidate. They said he showed promise. “What did I do wrong?”

“Most quirks in central processing can be resolved with regular maintenance. However, Dr. Zimmer has declared you unsalvageable.”

“I don’t understand.”

“You don’t need to.”

Begging is aberrant, but he has nothing to lose. “Please. I will do better.”

She glances at the clock, annoyed. “Remove your jumpsuit, M7-97.”

As they prepare him for reconditioning, he doesn't register the fear. Just suffocating failure and aimless guilt. He’s spent his short life learning the language of violence, but in the hands of his creators he is meek and silent. He is fifty-four days old.

[gutachter]

Bayerischer Zimmerer verrät: Darauf kommt es beim Bau eines Tiny Hauses an

Schlacht: „…Tiny Häuser liegen im Trend: Das Leben auf kleiner Fläche begeistert viele. So auch einen Zimmerer aus Glonn. Mit seiner Familie wohnt er auf rund 50 Quadratmetern – und weiß, worauf es dabei ankommt. Reges Treiben herrscht in der großen Halle der Zimmerei Gröbmayr in Schlacht bei Glonn. In dessen Mitte liegt ein Hausdach auf dem Boden. Sachte balanciert ein Mitarbeiter über das…

[dykealloy]

that damn clock

[echofades]

I left because all I wanted was to be with you & I had no idea what to do about it. SHIRA & HANNAH | HARLAN COBEN'S SHELTER

[felassan]

i'd say 'i apologize for the person i'm about to become' but it wouldnt even make sense cuz i've just been here posting all the time about da4 and DA for the last 10 years 💀

[bioware]

The soundtrack to your next adventure is almost here!

Dragon Age: The Veilguard Original Soundtrack, composed by Hans Zimmer and Lorne Balfe. Pre-save NOW.