#COMPOSITIONS. Like under an angle and it zooms in

[random-cockroach]

[pyrosomatic-metamorphosis]

rough art tips to learn and then break at your leisure.

the distance between your eyes is roughly one eye. the corners of your mouth dont extend past the middle of each eye. ears are roughly in the middle of the tip of the nose and the eyebrow. the eyes are in the very centre of the head. the neck is just a Little slimmer than the width of the head (varies with fat distribution, but fat tends to build up under the chin). hair is easier to draw when you plot out the hairline and then where it parts. leaving appropriate distance on the side of the face (cheekbone area and back to ear) contributes to making characters look more realistic/hot as hell. i dont know specific tips for that so use reference. an amazing reference/study site is lineofaction.com . if you think of the face in planes it makes it easier to construct (look up tutorials). if you draw a spiral like a tornado it can help you figure out awkward perspective for extended limbs (look up foreshortening coil technique). tangent lines are when two lines intersect and cause visual confusion (when it looks like a line that defines an arm is part of the line that defines a building, for example) and avoiding them makes your art way easier to comprehend. quick trick to good composition: choose a focal point (where you want your viewer to focus), detail that area the most, and make sure various elements of the piece are pointing to that focal point. you can use colours to contrast hue, saturation, and brightness and make certain elements of your drawing stand out. drawing in greyscale can help you figure out values. using black in a piece isn't illegal but you should know what you're doing when you do use it- it desaturates a piece and if used as a shading colour can desaturate and dull whatever youre shading too. if you use almost-black lineart and then add black to darken the very darkest areas it will do a lot to add some nice depth. the tip of your thumb ends just above the start of your index finger- your thumb also has two knuckles and all your other fingers have three. if you see an artist doing something you like (the way they draw noses or eyes or hair or anything else) you can try to copy that and see if you want to incorporate it in your style <- this is ENCOURAGED and how a lot of us learned and developed our styles. there are ways to add wrinkles to faces and bodies without making the character look a million years old, you just have to keep experimenting with it. The smile wrinkles around your muzzle dont connect to your mouth or to your nose; there should be a small space in between smile or nose and the wrinkle line. eyes when viewed in profile are like < aka a little triangle shape. think of the pupil like a disk and apply foreshortening to it (it looks like a line when seen from the side instead of a full round dot). subtle gradients can add a LOT to a piece. texture can also add a LOT. look up Tommy Arnold's work (his murderbot pieces are some of my FAVOURITE) and zoom in. find those random little circles he added and try to figure out why he added them there. light bounces. there's lots of way light bounces. sometimes it even spreads through the skin. i do not know these light tricks yet but i want you to know that they exist. draw a circle to indicate hand placement, draw a straight line between that circle and the shoulder, and then (normally at a right angle) draw a straight line on top of that line to find the placement of the elbow. elbows are normally placed Just above the hip when standing and your arm is at rest. there are no bad colour combos if you're brave enough about it, just fuck with the saturation and brightness until it works. keep playing. try new things. add your own tips to this post if you want or even expand on some ive mentioned here. good luck go ham etc

[jeremyberman]

Mastering Travel Photography: Tips to Capture Your Journey Like a Pro

Travel photography is an exciting way to document the places you visit, the people you meet, and the experiences you have. From bustling city streets to tranquil natural landscapes, every destination has its own story to tell. With the right skills, your photos can transport viewers to these places, evoking the emotions and beauty of your adventures. Whether you're a seasoned photographer or just starting, here are some essential tips to help you capture stunning travel photos that stand out.

Understand Your Surroundings

Before you even start snapping pictures, spend some time getting to know your surroundings. Each location has its distinct character, and understanding this will help you tell a more compelling visual story. Do a little research ahead of time to learn about the local culture, landmarks, and traditions. This will help you anticipate unique moments that are worth photographing.

It's also helpful to scout locations once you arrive. Walk around, observe the light at different times of day, and take note of potential shots. Some places look their best at sunrise or sunset, while others may come alive after dark. Planning ensures you’re in the right place at the right time to capture those magic moments.

Travel Light, But Smart

When traveling, it’s essential to strike a balance between carrying enough gear and traveling light. Overpacking can weigh you down and make it difficult to move quickly, while underpacking may limit your ability to capture a variety of shots.

Camera: For travel photography, a compact mirrorless camera or a good-quality DSLR works best. These cameras offer flexibility in manual settings and the ability to switch lenses, but if you're tight on space, a high-end smartphone can still take incredible shots.

Lens: A versatile zoom lens, like an 18-200mm, will cover most of your needs, allowing you to shoot landscapes, portraits, and close-ups without constantly changing lenses. If space allows, consider bringing a wide-angle lens for landscape shots or a prime lens like 50mm for crisp portraits and low-light scenes.

Accessories: A lightweight tripod is essential for long-exposure photography, such as night shots or photos of waterfalls. Also, pack extra batteries, memory cards, and a lens cleaning cloth. These items take up little space but can save your shoot if things go wrong.

Use Natural Light to Your Advantage

Lighting is the key to great photography, and understanding how to work with natural light will significantly improve your travel photos. The golden hours—shortly after sunrise and before sunset—offer soft, warm lighting that enhances the colors and textures of your shots. This is often the best time to capture landscapes, cityscapes, and portraits.

However, you won’t always have the luxury of shooting during golden hour. If you find yourself photographing under the harsh midday sun, look for shaded areas to soften the light or position your subject so that the light falls from behind, creating silhouettes or soft backlighting. Overcast days are great for shooting portraits, as the clouds act as a natural diffuser, spreading the light evenly and eliminating harsh shadows.

Pay Attention to Composition

One of the most important aspects of travel photography is composition. A well-composed shot can make even the most straightforward scene look extraordinary. Start by using the rule of thirds—imagine your frame divided into nine equal parts by two vertical and two horizontal lines. Place your subject along these lines or at their intersections to create a more balanced and exciting image.

Another key to good composition is finding leading lines. These are visual elements like roads, rivers, or pathways that naturally guide the viewer's eye through the image, leading them to your subject. Similarly, look for natural frames within the environment, like archways or windows, that can enclose your subject and add depth to your photo.

Capture the Human Element

One of the most impactful aspects of travel photography is documenting the people who inhabit the places you visit. Candid shots of locals going about their daily lives can add depth and emotion to your travel album. Markets, festivals, and public spaces are great settings to capture the essence of a place through its people.

However, always be respectful when photographing others, especially in cultures where privacy or modesty is valued. If you’re unsure whether someone is comfortable with being photographed, ask for permission. Learning a few phrases in the local language can help you connect with people and gain their trust, making it easier to take their photos authentically.

Don’t Be Afraid to Go Off the Beaten Path

While it's tempting to focus on famous landmarks and iconic views, some of the best travel photos come from the unexpected. Venture off the beaten path and explore areas that aren’t as heavily photographed. You might stumble upon a hidden alleyway, a quiet park, or a local café that offers a fresh perspective on the destination.

Additionally, being spontaneous and flexible with your plans can lead to unique opportunities. If you see an exciting scene unfolding, stop and take the time to capture it. Travel is full of surprises, and some of your best shots might come from moments you didn’t plan for.

Edit Your Photos Thoughtfully

Post-processing is an integral part of the photography process, but it’s crucial to keep your edits natural. Over-editing can make photos look artificial and detract from the authenticity of the scene. Tools like Adobe Lightroom or mobile apps like Snapseed can help you enhance the colors, contrast, and sharpness of your images without overdoing them.

Start by adjusting the exposure and contrast to make your photo pop. You can also tweak the saturation to make the colors more vibrant, but be careful not to go too far. Subtle edits are often the most effective, bringing out the best in your photos while preserving the original beauty of the scene.

Travel photography is all about capturing the essence of your journey and sharing it with others. By understanding your surroundings, using natural light, paying attention to composition, and being open to spontaneous moments, you can create photos that tell a captivating story. Whether you’re exploring remote landscapes or bustling cities, these tips will help you capture images that not only look stunning but also reflect the true spirit of your travels.

[techtired]

How to Master Pigeon Photography in Cityscapes

Pigeons are often overlooked in wildlife photography, but these urban birds present an incredible opportunity for creativity, especially within cityscapes. Their adaptability to urban life makes them fascinating subjects for photography, offering dynamic shots against the backdrop of busy streets, towering buildings, and bustling squares. Mastering pigeon photography in cityscapes takes patience, creativity, and an eye for the unique moments that make urban life so compelling. In this guide, we’ll explore how to elevate your pigeon photography skills, bringing out the charm of these familiar yet fascinating creatures within their urban environment. Choosing the Right Camera and Settings When photographing pigeons in cityscapes, the correct camera settings can make a big difference. Since pigeons move quickly, you'll want to use a fast shutter speed to freeze their motion. A shutter speed of at least 1/1000th of a second is ideal for capturing them in flight or when they're dashing across busy streets. Consider adjusting your aperture and ISO if you're working with natural light. A wider aperture (f/2.8 to f/4) will help isolate the pigeon from its background, making the bird stand out amidst the city’s chaos. You may also need to increase your ISO if you're shooting in lower light, but be cautious to avoid too much noise in your images. A zoom lens can be handy for equipment, allowing you to capture close-ups of pigeons without getting too close and startling them. A lens with a focal length of around 70-200mm works well for maintaining that distance while still getting detailed shots. Incorporating the Cityscape The ability to frame these birds against the urban environment makes Pigeon Photography in cityscapes unique. Instead of focusing solely on the pigeon, use the city as part of your composition. Buildings, streets, and architectural elements can serve as exciting backdrops, adding depth and context to your photos. Try photographing pigeons near iconic city landmarks, or look for contrasts between the birds and modern structures. Bridges, fountains, and public squares often attract pigeons, offering prime spots for framing them within the architectural landscape. Perspective is important here. Shooting from a low angle can give pigeons a sense of grandeur, especially when they’re framed against tall buildings. On the other hand, photographing them from above, perhaps from a high-rise building or a staircase, can provide a fresh take, showing them blending into the intricate patterns of streets and sidewalks below. Timing and Lighting As with any photography, lighting plays a vital role in pigeon photography. Early morning and The "golden hours" are the early morning and the late afternoon. These times provide lighting that can create stunning effects. The sun's low angle during these times casts longer shadows, making the textures of feathers and cityscapes more dramatic. Midday lighting can be harsher and create unflattering shadows when the sun is overhead. However, embracing the stark contrast and playing with shadows can also present unique opportunities. Pigeons sitting in the sun, with dark city shadows as a background, can make for compelling, high-contrast images. Consider also the weather. A cloudy day diffuses light, softening shadows and making capturing details in the pigeons and the background easier. Rain can add another layer of interest — wet pavements reflecting the city lights or pigeons huddling under awnings are perfect for moody, atmospheric shots. Getting Up Close Without Spooking Your Subject Pigeons, while familiar with humans, can still be skittish. To avoid startling them, move slowly and keep your distance. If you're using a telephoto lens, you won’t need to get too close to capture a detailed shot. Let the pigeons come to you rather than chase them down. A good strategy is to find a spot where pigeons frequently gather — like a park bench, a public square, or near a food vendor — and wait. By staying still, you'll blend into the environment, and the pigeons will begin to act naturally around you. This patience often results in more candid, less forced images. Capturing Motion and Stillness Pigeons offer a range of photographic opportunities, from still portraits to dynamic action shots. To capture motion, focus on the moments when pigeons take flight or land. You can use burst mode to quickly capture multiple frames, increasing your chances of getting the perfect shot. On the other hand, still shots can be just as powerful. A lone pigeon perched on a streetlight or quietly resting on a fountain can evoke a sense of calm amidst the hustle and bustle of the city. Experiment with both approaches to see which resonates more with your style. Post-Processing Tips for Urban Pigeon Photography Post-processing is where you can fine-tune your pigeon photographs and bring out the best in them. Adjust the exposure to highlight details in both the pigeon and the cityscape. You may also want to tweak the contrast to make the bird stand out more from the urban background. When editing, keep an eye on color balance. Urban settings can sometimes introduce harsh or unusual lighting conditions, so adjusting the white balance can help restore natural tones. If you shoot in RAW format, you’ll have more flexibility in recovering details from shadows or highlights. Pigeon photography in cityscapes is a rewarding challenge that combines wildlife photography with urban exploration. You can capture compelling images showcasing birds and their environment by understanding pigeon behavior, mastering your camera settings, and creatively incorporating the city into your compositions. With patience and practice, you'll soon be able to turn these common urban dwellers into captivating photographic subjects. Read the full article

[mi4012thameenahallaldeen]

Final Requirements

List :

1. Compilation of set images :

2. Environment storyboard

3. Concept art

4. Final Moodboard :

5. Final Storyboard :

8. Colour Palette Sheet

I won’t get into an explanation on the colour choice since I have already explained it and I would like to avoid repeating the same thing. The colour choice is explained under no. 10 : Analysis on my creative decisions

9. Final Narrative : It’s quite early in the morning, the air a bit dull after the recent murder. The Police Captain walks in with Somerset. The captain hands over a case file. Somerset takes the file into his hands slowly, his calculated and observant personality made clear through these movements. He puts on his glasses and flips through the pages. Somerset hears someone walk in and slightly looks back. Detective Mills walks in rapidly as if he is in a rush, his movements too reflecting his personality as he stands beside Somerset and stares at Somerset for a bit, who stares back. Mills looks back and forth, from Somerset to the Police Captain. Somerset looks back at the file. As he flips through the pages the audience is able to catch a glimpse words like “Victim”, “Passion”, “Crime” and then Somerset stops at a photo of the body being rolled out. END.

Final narrative + camera angles : It’s quite early in the morning, the air a bit dull after the recent murder. The Police Captain walks in with Somerset (close up, low angle shot of their shoes walking past the book/paper).(Camera switches to waist height)The captain hands over a case file. (Camera changes to bird’s eye view and the camera slightly rotates while zooming in on) Somerset takes the file into his hands slowly, his calculated and observant personality made clear through these movements. He puts on his glasses and flips through the pages (close up of pages then camera cuts to an extreme close up of his eyes reading carefully and methodically, no rapid movement, very calm) Somerset hears someone walk in and slightly looks back. Detective Mills walks in (camera is behind him. We can’t see his face but we see his outfit) rapidly as if he is in a rush, his movements too reflecting his personality as he stands beside Somerset and stares at Somerset for a bit, who stares back. Mills looks back and forth, from Somerset to the Police Captain. Somerset looks back at the file. (Camera cuts to pages being flipped) As he flips through the pages the audience is able to catch a glimpse words like “Victim”, “Passion”, “Crime” and then Somerset stops at a photo of the body being rolled out. END. (Scene then cuts to second scene.)

The next scene is the title opening where we see all sorts of words going across the screen, extreme close ups of books, extreme close up of someone writing words. So my ending matches with what comes next.

10. Analysis of final creative decisions (scroll down for a summary) :

For my chosen movie I had to work on, which is Seven (directed by David Fincher), I first had to analyse his other movie opening sequences and study what colours, composition and overall mood he goes for. What I noticed is he often establishes his character dynamics and traits. I studied Zodiac and Fight Club. When comparing the opening scenes of those movies with the opening scene of Seven I noted down the similarities to confirm my observations. In Fight Club he introduces two main characters and their dynamics with each other, in Zodiac he establishes what the main character is like (a serial killer and his mannerisms). In Seven he establishes the two main characters Detective Somerset and Detective Mills. So in my storyboards I decided to go with the same method of establishing the characters.

As for the colours he plays around a lot with light and shadow, desaturated yellow and blue tones so the characters and their actions are more highlighted.

For composition Fincher likes to use weird camera angles and a combination of cuts in the shots. In Zodiac he combines a cramped space with close up shots, in Fight Club he combines an open space with extreme close up shots.

Thus, by establishing the main characters with their main traits within the opening scene he is able to continue with playing around with the plot. Finchers storylines take a very slow beginning. Instead of using up half the movie trying to establish the main characters he uses the opening scene to get it done so the audience plays make attention to the plot.

Summary : After studying David Fincher's other work I have incorporated his style of directing into my storyboards. Since his opening sequences are focused on establishing the main characters and their personalities I have made sure my storyboards reflect that detail. By introducing the characters we are able to follow the plot in a comprehensible manner. Using the same desaturated colour tones in my storyboards allow me to worry less about colour and focus on delivering my narrative through the use of light and shadow, especially since we aren't supposed to have dialogues. In my storyboard I have established the location, professions and mannerisms of my main characters thus giving the audience an idea of the genre of the movie.

11. Learning outcomes :

Camera angles -> According to the brief one of the deliverables is a document containing photos of the set we had to plan how to make the set so we are able to get photos of different angles.

We also have to use different angles in our storyboards as well so we got to practice drawing different camera angles as well as studying the camera angles the director of the chosen film uses so that our storyboards fit the director's style.

Presenting our work visually -> Having to plan beforehand on how to make our deliverables visually comprehensive was a good experience.

Taking photos of the set -> All these photos are based on visuals. Our set (Police Captain's office from Seven) came out pretty nice honestly. They resemble the actual set used for the film. We were unable to get a hold of any behind the scenes of the set so we went purely with screencaps of the movie.

Greyscale and lighting -> Adding shadows and light to show how the lighting looks like in our chosen setting helps convey how the lighting should be set up in the scenario of an actual film production. We get practice of storyboarding beforehand.

Colour theory -> To set the mood of the setting as well as the opening of a movie. Most often if there are bright, saturated colours involved it's a happy movie. If there's desaturated monotonous colours involved it's usually of a more serious genre. So we get to learn how to use colours to aid us in visual representation.

Teamwork -> Working together with people we don't usually work with is a good experience for when we go to our workplace. Learning each others' strengths and weaknesses and learning how to work with that. For example since Thesandu and Nihindu are good at 3D modelling we asked them to do a 3D mock up of the set to get an idea of the measurements and placement of things.

Personal reflections -> Was fun working with Sayaka, Cain, Uvindu (our Supreme Leader), Thesandu and Nihindu. I learnt to break away from the norm and keep an open mind, especially with the new group members. Learnt that getting others' opinions is beneficial for a team when it comes to brainstorming especially to figure out the materials we're going to use and the measurement of the set and objects. For example we had the brilliant last minute idea of using a laptop for the backdrop during the presentation. Never would've come up with it alone.

Everyone contributed to bringing materials for the set and building it.

For taking the photos of the set we had to take turns helping each other in getting photos that matches the storyboard. I liked how it went.

[anjali141202]

Night Photography: Tips for Shooting in Low Light Conditions

Capturing the essence of the night through photography is a thrilling venture into the world of creativity. It's when the world takes on a different hue, and the ordinary becomes extraordinary under the play of shadows and artificial lighting. However, shooting in low light conditions, especially at night, can be challenging. In this blog, we'll explore the art and science of night photography, sharing valuable tips to help you master the craft. Additionally, for those looking to elevate their night photography game, Skyvik offers a range of premium mobile lenses and attachments to enhance your low light shooting capabilities.

The Allure of Night Photography

Night photography adds a whole new dimension to your creative journey. It's a realm where imagination and technical skill collide to produce mesmerizing visuals. Here's what makes night photography so appealing:

Ambient Lighting: The limited available light at night provides a unique and atmospheric ambiance to your photos.

Vibrant Colors: Artificial light sources like street lamps, neon signs, and car headlights add vibrant splashes of color to the darkness.

Silhouettes and Shadows: Night photography allows you to play with silhouettes and shadows, creating visually captivating and mysterious images.

Starry Skies: Capturing the night sky with its stars and celestial bodies can be an awe-inspiring experience.

Tips for Mastering Night Photography

Shooting at night can be a test of your photography skills, but it's immensely rewarding when done right. Here are some valuable tips to help you capture stunning images in low light conditions:

Use a Tripod: Night photography demands longer exposure times. A sturdy tripod is essential to keep your camera steady and avoid blurriness.

Fast Lens: A lens with a wide aperture (a smaller f-number) is your best friend in low light. It allows more light to enter your camera, making it easier to shoot in the dark.

Adjust ISO Settings: Increase your camera's ISO settings to make it more sensitive to light. However, be cautious, as high ISO levels can introduce noise.

Manual Focus: Autofocus can struggle in low light. Switch to manual focus and use live view to zoom in on your subject and ensure sharpness.

Experiment with White Balance: Play with your camera's white balance settings to capture the colors as your eyes see them, or creatively adjust it to set the mood.

Long Exposures: Embrace long exposure photography to capture light trails, stars, and other dynamic night elements.

Frame Your Shots: Pay attention to composition. Elements like leading lines, reflections, and framing can add depth and interest to your photos.

Skyvik Mobile Lenses: For smartphone photographers, Skyvik offers a range of mobile lenses and attachments. Their wide-angle lenses can help you capture more of the night sky, while macro lenses reveal the beauty in the smallest night details.

Skyvik is a reputable brand renowned for its high-quality mobile lenses and camera attachments. Their products are designed to enhance your photography experience, especially in challenging conditions like night photography. By using Skyvik's mobile lenses, you can elevate your low light shooting capabilities and capture remarkable nightscapes. To explore their range of premium mobile lenses, visit the Skyvik website.

In conclusion, night photography is a captivating journey into a world of shadows, colors, and artificial light. With the right techniques and equipment, you can master the art of low light photography. Whether you're an amateur or a seasoned photographer, the allure of night photography is undeniable. So, venture into the night, experiment with the tips provided, and let your creativity shine in the darkness. Happy shooting!

[ardn604kannonhen]

Wk2:

Case Study: Boy 2004

2 ideas: silent voice, the bogs,

Language, the underground language. Changes the existing language and dislocates it --> like cut up letters. Has anger and frustration in its connotation.

Las scene inspired by the last supper.

Ordinary-looking extraordinary. Have density that the story goes so quickly like a dream you don't have time to process it.

Pitching: writing a synopsis about 50 words -> short synopsis about 25 words -> logline (Boy - revenge is silent.)

Director's notes: visual treatment(inspired by music videos, 1995 Nick Brandt), Text, (DM9DDB 1998), sound(to create dislocation, pulling away the obvious, pushing up the subtle),

Casting: agents, auditions, tattoos, piercings, nudity, headsheets,

Often short film is expected to be under 15min particularly at festivals.

Narrative:

Continuity editing: seamless editing that links shots together. Matching screen direction, position, and temporal relations. Draws the audience attention to the narrative instead of cuts.

Motivation(reason to cut), information(new information), composition(framing), sound(also needs continuity and a bridge), camera angle(at least 45 degrees change of angle and shot sizes), continuity(evident continuous action. Cut on action)

Cutting on action, two shot(shot-reverse-shot), eyeline matching, maintaining continuity of screen direction, parallel cutting(simultaneous action shown through cuts).

opposing: crossing the line, not respecting the direction of action, jump cuts,

Montage:

suggests the construction of meaning through juxtaposition. Eisenstein dialectical process. Battleship Potemkin 1925. Marnie 1964 Hitchcock. Psycho 1960 Hitchcock.

Long take:

lasts at least 60 seconds or more. Mis en scene is important, needs to function for the whole duration. Could use Gimbals.

Master shots, establishes the characters/setting and relationship before detailing the actions.

Cinematography & Mis en scene

Shot size:

Camera movement: pan, tilt, track/dolly, crane,

Camera lense: depth of field, pull focus, zooms, wide angle, telephoto,

lighting: 3 point(key light, fill light, back light), down angle(The Godfather), up angle, frontal, hard/soft, high-key, low-key, expressionist

Mis en scene: costumes, sets, props, makeup,

Reflection:

From today's quest speaker, I was inspired by all the conceptual ideas as well as being informed of the systematic processes that are behind the art. I was particularly astounded by how enthusiastic and knowledgeable the speaker was with the bog speak language style while they are not necessarily grown up speaking it. I also really liked the typographic representation of the language, I thought their background in design shows through it. In terms of the directing part I thought the part of writing the synopsis and logline relevant find helpful. I also thought the part about casting and considering things like tattoos or piercings was informative as I never really thought about it.

[wickedfang-sso]

I found myself doing the same thing lmao XD Same lighting, angles, poses ect over and over again 😂 I'm not the best at coming up with ideas for composition and different angles and such 😅

It was very recently actually (like a few days ago) that I came up with essentially a 'composition randomizer' to try new things with! (since everything I found searching online about composition was about photography and landscapes, not what I need 😒)

So far I have used it exactly once and it may need edits later on because I made it literally this week, but it was fun and I plan on using it some more in the future ^w^

Except for the first one, the numbers you need to randomize are always 1 through 12 so as to mimic a clock face and make visualization (and the process of random-rolling numbers) easier. Of course not everything is compatible with everything, but it's fun to try and compromise between conflicting prompts and make it work and look good anyway ^w^ (As I did the one time I have used it lol)

Hopefully nothing's left unclear and it's easy enough to understand 😅 I'll leave it under the cut so this post doesn't go on too long lmao, anyone's welcome to use it 😁

Zoom [1-8] 1 - Full Body 2 - Ankles up 3 - Knees up 4 - Hips up (When using horse + rider: horse's legs obscured/cuts off at or below the barrel) 5 - Waist up (When using horse + rider: cuts off around the rider's knees) 6 - Head and shoulders 7 - Distant (full body of subject far from the camera) 8 - Lower half (put more focus on the scenery around the subject or do something dramatic with it)

Direction the subject is facing - 1-12 (12 = facing directly away from camera, 6 = facing directly toward camera)

Subject's position on canvas - 1-12 1 = All the way to the left 12 = All the way to the right 6 = Very Center

Camera Angle - 1-12 1 = Low camera, may be looking up 12 = High camera, may be looking down 6 = Completely centered

Light Direction - 1-12 for both below: -Direction relative to camera [12 = directly in front (shining towards camera) 6 = directly behind (shining directly from camera)] -Height [1 = Low (like sunrise/sunset) 12 = High/directly above (like midday)]

"Hm i should break out of my comfort zone a little. Trying things beyond your current skill level is important for improving after all."

*draws person 3/4 left facing* *draws horse side profile**draws person 3/4 left facing* *draws horse side profile**draws person 3/4 left facing* *draws horse side profile**draws person 3/4 left facing* *draws horse side profile* *draw-

[cherrypikkins]

@wild-moss-art Hi there! I'm more than happy to share art philosophy about lineart! You are correct, I am definitely spending less time than usual on my lineart to get these requests done, but I'm still glad with the final results. :3

Here are the three stages that I take to achieve clean and polished lineart.

1) The Rough Sketch is used to figure out what the final product may look like. No fine details yet, only guidelines and basic shapes. I make sure the proportions, alignment, and composition is correct. The completed Rough Sketch gives me a good idea of what the rendered lines may look like, but is a bit too messy to follow. While I do have the option of erasing all of the guidelines and cleaning up the lines, what I usually do is lower the opacity of the rough sketch and start on a new layer.

2) The Under Drawing is done in a non-black color on top of the rough sketch. Here is where I get into finer detail with expression and anatomy. However, because we are following the messy lines of the rough sketch, the Under Drawing will still look a little unpolished. It is still very suitable for coloring if you plan to render all of the details in the painting stage, or if you are going for a more sketchy style.

In order to get sharp, detailed, finely rendered lines however, an additional stage is required.So lets lower the opacity and start a new layer using black ink this time.

3) When Rendering Lines, I carefully follow all of the details provided by the Under Drawing, which shows exactly where each line should be placed. I take my time going over each line, using the zoom tool and rotating the canvas when needed to get the best angle.

Because the final product should have a sharp and clean look, it can be very time consuming and pain staking to go over all the details. That said, I have a few tips that will help this stage go along faster while adding visual appeal to the final product.

Let's use an example. Suppose you place down your lines and end up with something that looks like this.

It's not bad, but it could use a little work. The expression and level of detail that we want isn't there yet, but it's actually a good starting point. If you are new to line art or still practicing, you may wish to aim something like the drawing above so that we can take it a step further using the steps I will demonstrate in the tutorial below.

So how do we make clean lineart into something even greater?

Here is what I mean by line weight. Lines of lower weight are lighter and thinner. Lines of heavier weight are darker and thicker. Then there are modulated lines, which gradually increase or decrease in weight.

In the example drawing, all of the lines are of equal weight. We can make the line art less monotonous by increasing the weight of certain lines. For demonstration purposes, I will only make changes to the right side of the drawing so that you can see the difference.

To start, we will add another line to the upper eyelid and fill in the gap, creating a new, bolder line.

We will also build up the iris, pupil and highlight, adding details as we go. Already, it is looking more expressive.

Lets build up the nose and mouth lines while keeping the ends nice and thin.

Then, we can add weight to the face and ear lines. For the hair outline, we want to make the lines heavier closer to the roots while keeping the ends thin. Hair lines on the inside can be left alone.

Finally, we make the outside line of the character heavier. With these small changes, we have a much more expressive, detailed, and visually appealing product.

Here I've highlighted in red where the lines remained unchanged. You will definitely want to leave some lines alone while building up others. As a rule, outlines should be thicker while the detail lines on the inside should be thinner.

If you increase the weight of all lines with the same amount, it will remain flat.

So, you should aim to have a variety of light lines, heavy lines, and modulated lines. You may wish to use the eraser to lighten up heavy lines or create modulated ones.

If you can do all the steps above, then a lot of detail and expression will be preserved even when the image is shrunk down

Hope that helps :3 Let me know if there are any other questions I can answer.

[stra-tek]

Seven Hundred and Twenty Five Meters

One of the many controversial changes made in the 2009 Star Trek reboot was one probably only a few tech obsessed die-hards noticed or cared about: The size of the USS Enterprise NCC-1701.  And even if only a few noticed it, they were very opinionated.

For reference, the original series USS Enterprise was 289m long and the refitted classic movie version 305m - although like all fictitious places there's a lot of movie magic going on and the insides never really fit inside very well.  The version of the Enterprise in the Kelvin universe?

725 meters long.

This new movie USS Enterprise NCC-1701 was designed by Ryan Church to be 366m long.  But as the story goes, the shuttlecraft were made a lot bigger than initially expected (12m long) and in order to fit the them and the mammoth beer brewery location used for engineering inside, the ship was scaled up accordingly.  Throughout the movie's development, the ship's scale fluctuated, first 366 meters long, then 1200 meters long, at some points 718 and 762 and then finally 725 meters long. As a result all the different sizes actually do appear at different times in the movie although the finer external detailing all points to 725m.

At the Riverside shipyard, the Enterprise is 366m long, which fits it neatly over the Pastoria Energy Facility location they used.  Trickery is used where there are walkways under the saucer for both 366m and 725m sizes, and the guy walking along the walkway wouldn't fit on the exposed decks.  The very first "under construction" teaser used the 725m size.

At Starbase One in Earth orbit, the Enterprise is 1200m long, which is the size that fits the CG shuttlebay model which like the classic Enterprise and Voyager, the shuttlebay is way too big (Into Darkness shuttlebay pictured from ILM VFX reels, although slightly different from the ST'09 shuttlebay it's made to the same scale)

The bridge window changes shape and size throughout the first two movies.  The low-detail version is too low and wide and has a photo of the bridge set behind it.  The higher detail one (seen whenever the camera zoomed in or out of the window in the first two Kelvin movies) was scaled for 725m.  In Beyond, the window keeps the correct proportions throughout and is scaled for 725m and for distance shots has a 3D model of the bridge inside and for closeups is composited with the actual set.

The 16-deck plaza at the centre of the saucer, between the large domes top and bottom (seen in Into Darkness and Beyond), was designed for the 725m size.  It's another big change from the classic Enterprises, where the upper dome was the roof of the bridge.  On the Kelvin Universe Enterprise, the bridge is at the front of deck 2, and the forward window is what was the floodlight which lit the NCC-1701 on the saucer of the TOS movie vessel (on an impossible angle but that's for another post on another day)

The airlocks are different from those on the classic movie ship, they have small doors in larger housings and are seen up-close in Into Darkness.

Window sizes were hotly debated in 2009 and 2013, with people in the 366m camp insisting the saucer rim windows would have to be floor-to-ceiling on a 725m ship (which was somehow wrong?)... something Star Trek Beyond explictly canonized with closeups showing people walking inside the ship.

Still there are diehard fans who refuse to accept the Enterprise having been made larger than even the Enterprise-D from The Next Generation (obligatory link to Ex Astris Scientia), even though this is an Enterprise from an alternate reality which was built in Riverside and launched in 2258 and not the one from the classic TV show built in space and launched in 2245.  I guess it comes from a deeply rooted idea of what's "right" and "wrong" in Trek and ties into lots of gatekeeping and "true fan" nonsense.  For what it's worth, this is how the interiors would fit if the Kelvinverse Enterprise was 366m:

This picture is from the Discovery writer's room circa season one, showing the Kelvin timeline Enterprise's size relative to the ships of classic Trek.

And here is the official cutaway graphic from Popular Mechanics.  As with all Trek ships and fictitious places, there's some fudging to make it all fit, but it looks amazing and convincing here.

And that's more than you probably ever needed to know about the size of a pretend spaceship.

[wannastayugly]

hi! i have a question/advice request about making fanart, i’ve been following you for quite some time, and i REALLY love your digital art, from the style to the way you work your colors, really everything about it is so wonderful and amazing.

I’ve been doing fanart for 3 years now, and i have a somewhat similar style to yours, the thing is, i spend a lot of time finishing a small part of the painting, like, A LOT of time, to the point where it becomes boring and discouraging and i end up abandoning the piece altogether.

My question is, is this normal? i know the more practice you get the better you become, but sometimes it feels like i’m stuck just painting a nose for a week, and i feel like i can’t get the result that i want unless i spend an astronomical amount of time on it. i’m asking you specifically because you were my main inspiration to start and make my own fanart, whenever i see one of your fanart pieces i get inspired to start a painting, and then it takes a long time and i stop, and the cycle repeats. So i would really appreciate any advice or tips <3

Firstly I thank you very, very much for your appreciation for my art. I've said this already, but hearing I'm inspiring someone else to be creative is one of the best things I can get as an artist! So thank you, this is super lovely and it's an honor to read messages like yours!

-

Before I talk more, I'd like to remind you there's no "normal" when it comes to art. Some will take hours to paint something, others days, or weeks. That depends a lot on your style, your skills, if you know or don't know what exactly you want for that painting, and even on the quality of the references you're using sometimes. We'd need to see what exactly you're struggling with, it's hard to give an advice when I don't know you nor your work. So everything I'll say here will come from my personal experience with my own style, and what I learned when I felt something like you're describing to me, ok? I hope it helps! And you can come back and ask me to talk more about about specific themes if you'd like!

-

1. You can make little studies before starting the actual painting! Thumbnail studies. Sometimes we spend a lot of time fixing mistakes we made in the beginning; sometimes the direction of the light isn't great, sometimes the angle you chose isn't the best. You can prevent that by studying that composition as a first step.

2. You need image references. You don't need to follow them exactly as they are, but you should have references to remind you what the volumes of a face look like depending on where your light source is, or how skin texture and colors look like under sunlight. Using referentes is extremely important when working with realism, because most of the sensation of realism comes from the way you build volumes/light and shadows and not from the details nor the blending.

3. You need to find out what painting process fits you. My process right now is totally based on classical oil painting techniques: getting the proportions right when I'm sketching, getting the general volumes right with light and shadows, with a neutral color, and only then adding more colors and working on textures and smaller volumes and details. A step-by-step process can help you to focus on what you want from each one of those steps, one by one, and correct mistakes earlier.

4. Don't try finishing one part before going to another! Always zoom out at the beginning and work on your painting as a whole, and when detailing try going from one part to another. That'll prevent you to get bored early and it helps giving your painting a more homogenic feeling.

5. Painting in a style that demands you to blend everything and add skin texture, body hair, fabric texture... That can be exhausting. Remember you should take breaks from painting, but also from that painting specifically. You can have more than one WIP at the same time and switch between then. That helps a lot, because you'll be solving different problems on each painting and you'll always come back with fresh eyes and new ideais to incorporate into your works.

6. Remember there are many different art styles we can call "realistic", and also that we can work in many of different ways to build that visual sensation. There's no need to blend everything! A good tip is finding a nice brush that leaves a beautiful texture behind, something you won't feel the need to erase later. You can also work with larger canvas sizes and save your work in smaller scales, in a way those brush textures won't really show up that much.

7. You can play with different art styles! I do that a lot and it helps me to keep interest in the styles I work with the most. It's nice to think differently sometimes; to find a different kind of challenge. It's refreshing! There are also moments it's important for us to ask ourselves what exactly we love about and want from what we're creating. If you feel you're questioning everything too much, or that you just can't get satisfaction from your process anymore, allow yourself to venture finding new references, experimenting with completely new styles and techniques. Finding out what you want with your art is almost a journey of self-discovery. I myself am questioning the importance of over detailing and blending right now, something I held onto for years, and I'm definitely making a style transition. If that's your case, it's completely normal and healthy! Embrace it, allow yourself to do what you really feel like doing, or to just go crazy and make the most random art ever until you find yourself in your art again.

8. You're doing great. ❤

[andmaybegayer]

@judiciousimprecation​ said:

wtb infodump on desirable focal lengths and apertures as it pertains to telescopes and astronomy. (i.e. why long focal length for planets but not deep space)

Oh, you all know just how to goad me into talking about the intersection of physics and my personal interests, which is to say by asking directly.

One of my favourite astrophotos, a capture of the Eta Carinae supernova by Hubble, courtesy of NASA.

There’s two parts to this: Part one is “Space is big, and sometimes so are the things in it” and part two is “Photographers aren’t like you: a guide to focal lengths.” I will leave Focal Length to another post.

Let’s begin.

Part one: Space is big. Sometimes so are the things in it.

When you think of a telescope, you probably think of a device that primarily serves to zoom in on something. That’s not wrong, especially if you’re using it to spot pirate ships on the horizon or to aim artillery or whatever, but when you’re dealing with space, that’s only true some of the time.

Telescopes can do something else as well: they can be made to take in a LOT of light. This is why some telescopes are really really wide. This wide surface to take in light allows them to see very dim objects more easily, capturing more light and funneling it down to a small area. For example, the Hubble Space Telescope is over 2 meters across, or a little under 8 feet. In addition to this, astronomers will set up a mechanized camera to track an object and capture all the light from it over a course of minutes or hours, soaking in all the available light to collect as much detail as possible. This goes a lot faster if you already have a large mirror, which is why we make big telescopes sometimes.

(I went to visit the ground-based South African Large Telescope last year, it has an 11m wide mirror, which is actually kind of on the small side for modern ground-based optical telescopes. Still one of the biggest in the Southern Hemisphere though!)

Different telescopes will focus on zoom or light capturing ability, and these are useful for different circumstances.

If you’re looking at planets, you need a zoom telescope. Planets are very very small, in the sky they are only slightly larger than stars, which are themselves only slightly larger than pinpricks. Fortunately for us, planets and stars are also extraordinarily bright. Planets like Venus, Mars, Jupiter, and Saturn outshine many of the stars in the night sky, and are even visible in areas with heavy light pollution. If you want to see them, you just need to magnify your view. Even the planets that are invisible to the naked eye, Uranus and Neptune, are bright enough that you could probably see them with a scrawny $500 consumer telescope. All you need to do is magnify them enough to see detail and you’re good, and you need somewhere between 100-200× magnification to see those. That’s altogether very achievable: a 100mm diameter, 2 meter long telescope with a moderately-high-magnification eyepiece would easily get you somewhere around 200× magnification, plenty for Saturn’s rings.

Planets, however, are the exception to things you can see in the sky. There’s a couple dozen, big deal, yawn, the real business is nebulae and galaxies.

Galaxies and nebulae are weird, because they are BIG. When I say big, I mean unimaginably big, thinking about how damn big these things are gives me a headache. You’ve probably seen pictures of the Orion Nebula, this extremely pretty cloud of gas and dust.

This thing is about 1300 light years away from earth, which is a number I can’t really come up with a good comparison for. It’s far. You may think, then, that something so far away would be very small in the night sky, right?

Wrong: If you could see the Orion Nebula clearly in the night sky, it would be bigger than the Moon. The reason you can’t see this object in the sky isn’t because it’s very small, it’s because it’s very, very dim. It’s dim because it’s very, very far away, but it’s also hideously large. The Orion nebula is about 24 light years across.

This image is a composite by mikkolaine.blogspot.com

So why does it take up so much sky? Well, let’s talk about the moon again. The moon is, eh, call it 1 light second away from earth, that’s 1000 millilight seconds. And the Moon is about 10 millilight seconds wide. So the ratio of the distance to the moon to its size is around 100 to 1. The Orion Nebula is about 1300 light years away, but it’s also about 24 light years across, so the ratio there is closer to 50 to 1. So even though it’s so far away, it’s also much bigger relative to that distance than the moon is relative to its distance. So it takes up more space in the sky.

How much space? Astronomers use a system called “Apparent Size” or “Angular Size” to measure this: basically “if you pretend that the sky is all drawn on a big sphere, what angle of the outside of the sphere does a shape take up.”

You get an angle, and that’s how “big” something you see in the sky is. A really large object very far away can still appear larger than something small (like a planet) that’s very close. Something that takes up the entire sky from horizon to horizon would be 180°. Thanks to how preposterously large stuff in space can be, this results in some deep space objects taking up a degree or more of sky. The Orion nebula is about a degree across, the Moon is about ½ of a degree. During last night’s great conjunction, Jupiter and Saturn got to be 6.1 arcminutes from each other, or ~1/10th of a degree.

Indeed, the Orion Nebula is so big it doesn’t really mean anything in the human context. You really cannot wrap your head around how enormous the Orion Nebula is. The Orion Nebula contains over 700 stars and it’s making more all the time. Our entire solar system would warrant less than a speck in that image from earlier.

The fun extreme case of this in my opinion in the Andromeda Galaxy. The Andromeda Galaxy is a monster, 2.5 million light years away, but it’s also 220 thousand light years across. That comes down to a ratio of about 10 to 1, so you’d expect the Andromeda Galaxy to be pretty big in the sky.

And it is.

This image is another composite, from the APOD

(if you’re wondering what the relationship between that ratio and the size something appears in the sky is, well, it’s not linear: It’s the arctangent, which you may remember as being the inverse of TOA from SOH CAH TOA. I try not to include too much mathematics in these posts because I hear it scares or bores people, and I’m not sure which one of those is worse for me getting reblogs.)

On a clear, dark night, you can just barely see the ultra-bright glowing core of the Andromeda Galaxy with the naked eye. With big binoculars, you can see the inner ring, a couple tenths of a degree across. With a good wide telescope, you realize that it stretches far cross the sky, about six times wider than the moon. 2.5 million light years is unimaginably far, yet if you could see this object with the naked eye it would be as prominent as your own moon. Wild! (Andromeda also has an unfair advantage: it’s getting closer every day)

Many deep space objects utterly dwarf any planet in the night sky, even the smaller deep space objects can be tens of times larger than the biggest planets.

In summary: if you’re photographing most deep space objects, you can usually get away with between 50-100× magnification, and what you really want is a big light collecting aperture to suck up a huge amount of light from massive dim objects, and if you’re photographing planets you want a ton of magnification (200× or more) to see the minute pinprick details of a dot in the sky.

[pan-witha-plan-blog1]

How to take the perfect picture with a camera

When it comes to taking a picture, there are many factors that can make or break the quality of your work. The way you hold your camera, lighting conditions, and even the subject matter all play a role in what kind of image you will capture. In this blog post we'll be discussing some tips for getting better pictures with your camera!

Steps For How To Take Good Pictures Using Your Phone

Step One: Know what you are going to Take the Picture of

It's important to have a good idea of your subject before taking it. This will help with framing, composition, and even technical aspects like lighting or focus. You'll also want to consider whether you're shooting outdoors or indoors, as well as what kind of equipment is available for these locations! If you're shooting outside in daylight hours then daytime shots might be better suited, while night time photos can take advantage of cool light sources like street lamps or neon signs. 

It might sound obvious but knowing how much space is around where your subject matter may offer unique opportunities that could turn out great! For example if there's an open field nearby try capturing some pictures from various angles to show off the entire field or if you're on a street corner surrounded by buildings try taking some shots of it, capturing what each building looks like from different angles.

Step Two: Formulate Your Shot

How are you framing your subject? If you're unsure then take a look at other pictures taken in similar locations and see how they were framed! You'll want to think about things like eye level (is your horizon aligned with the centerline?), focal length (do you need more zoom for close-up subjects), distances between objects and even lighting conditions which might require adjusting flash settings or switching out camera lenses. 

It's also important when composing an image that there is something interesting going on in the foreground as well - people's heads will often look funny if they are the only thing in a photo and there's nothing to fill up that space. Through wisephotographer you will find more update about the best camera, lenses reviews. Choose your equipment right and start getting good pictures.  

Step Three: Press The Shutter

This is probably the simplest part of taking photos, but it can also be one of the most frustrating! How many times have you had an idea for a picture or been about to take your shot when someone walks into frame? When framing shots make sure not to stand too close especially if you're shooting with small children who may run away during an important moment. 

It might seem like self-portraits would work out fine since we won't be walking into frame by accident, however some people say this causes them issues with things like lighting so let us know how it goes for you!

Step Four: Adjust The Camera Settings

What kind of photo do you want? Is it a close up or long shot? What about depth of field (are the subjects in your image going to be sharp throughout)? Do they need more light, or should we work on reducing foreground and background noise with filters like those found under "Noise Reduction?" There are many options available for things like focus type, color profile, metering modes and white balance so make sure to experiment until you find what works best for your needs.

It's always important not just to take pictures but also explore what can be done before taking them - whether that means exploring different angles/framing/composition etc., changing camera settings like shutter speed, aperture or white balance, looking for new light sources and so on.

Experiment! In the end there is no right way to take pictures - just go with what feels natural to you because your personality will definitely come across in a photo regardless of technical aspects like lighting etc. And if all else fails, enjoy yourself anyways :)

Another Way to Take the Perfect Picture With a Camera

Make sure the camera is on a stable surface and not shaking

Turn off any cell phones or other devices that might be emitting light

Use natural lighting, but make sure there are no shadows cast by your hand holding the camera

Keep the subject of your picture in focus - don't use too much zoom

Get close to subjects for more detail and less background noise. 

Avoid taking pictures with too many people in them because it will cause confusion as to who is in each photo.

Conclusion

With these few simple tips, you can take the perfect picture with a camera. If you're feeling like your photos aren't coming out as well as they should be, it may just be that you haven't considered each of these critical factors while taking them. We hope this article has been helpful and that the next time you go to snap a pic, whether on holiday or for work purposes, your skills will improve!

[starr-fall-knight-rise]

Humans are Space Orcs “My Humans”

Ok guys I had a TON of fun writing this one. There is a guy on you-tube I watch who raises lions and hyenas and he can go into their enclosures and stuff because they have known him from a young age, and I just thought how funny it would be to make humans the dangerous animals in that same style. I hope you all like it as much as I did. Tell me what you think of the style, its completely new to me, and I don’t know if it’s any good. :)

The feed brightens from black to a grainy white before the picture slowly resolves. The image is of a room tilted at a half angle shaking slightly as someone shifts in the background. You can just see a window in the back far corner. Space glitters in through an inky blackness dotted with a smattering of glittering white, blue and red pinpricks. The camera tilts slowly around, and a face comes into view. It is an inhuman face dark brown in color with large prismatic orange eyes and short antae atop it’s rounded head. It adjusts the picture to the horizontal straightening out the canted view of the room.

“Ok….. it says it’s on.” The creature clears his throat and straightens up, “So for introductions, I am Dr. Krill of the Vrul chief medical officer aboard the human vessel U.S.S Harbinger I have been working with humans for well over a year and a half now. Some say I am the leading expert in the field.” He turns in a circle and heads towards the door, the camera shakes a bit as the room recedes into the background, “I don’t know about that, but I do have the most experience. I have been writing reports on the human’s behavior for some time now, but some comments have been made about my potential biases. Others have pointed out that I am not, in fact a behavioral expert and have asked for video footage on the subject of humans to make their own judgements.” He passes through a door into another hallway flipping the camera around so the viewers can see the long space ahead. Compared to the camera height, the hallway is very tall.

“So I thought it would be prudent at first to introduce you to some of my humans let you know a little about them.” He steps through another doorway, “First of all I am here to dispel a lot of negative rumors that have been going around about humans lately, and let you all see the truth of humans, the good side of them. First off, I am going to be addressing the idea that ‘humans are the most animalistic sentient species in the galaxy’ I personally think this is a dumb statement, first off it makes no sense, and second off it can be intermitted many ways. Yes, humans are more in touch with their animal instincts than a lot of us, they have lots of primitive nonverbal communication, a strict social hierarchy led by unwritten social rules, and they do tend to act on their instincts a little more than we do. However humans are also remarkably smart, and very easy to bond with.”

He passes up a set of metal stairs clattering and clanging while the camera bobs back and forth “Humans are a very pack-oriented creature, and this instinct has allowed them to bond with many other species. I would estimate that my acceptance aboard the ship took about a week to set in and a little under a month to fully form. At that point the humans will accept you as one of their own and place you within the social hierarchy. Human hierarchy tends to have a very pyramid like structure with an alpha human at the top followed by their Betas and then going on down the latter. I would place myself somewhere in the Betas of this human pack.” He turns a corner and stops before a door, “I am about to introduce you to one of my favorite humans, he is the leader of the pack but actually one of the most affable of the humans. It is important to note that each human has a fascinatingly distinct personalities, very colorful characters. This humans name is Vir, and I would characterize him as very social, surprisingly juvenile, but aggressively loyal and laid back for, so here let’s just go in and say hi.”

He turns the camera back towards the door, which clatters lightly before swinging open. It takes a moment for the camera to adjust to the darkness, but when it does you can see the silhouette of a large figure cured atop a strange platform- like object. “Humans use up a lot of energy during the day, and when they nest at night they have to find somewhere dark and soft to do it. Now, imposing on a human’s sleep is not recommended, so we have to feel things out to make sure he’s going to be ok seeing us. I may be part of their pack but every day I have to remain wary and am very careful with how I approach humans.”

The camera zooms in on the figure which churns rolls and then sits up. A single large, forward-facing eyes greet them from the darkness flashing with light from the hallway. It tilts it’s head blinking as the pupils quickly constrict against the light, “This human is a male approximately 26 solar cycles old, 6,2 and 205 pounds with athletic body composition aside from a missing leg and a missing eye, unlike other species humans accept the survival of extreme injury as a status symbol.”

The camera picks up a series of guttural grumbles, hums, hisses and clicks as the human opens its mouth teeth glittering against the incoming light.

“Now, see, right here, he’s protecting his territory wants to make sure I know what I am getting myself into and asking me what I am doing.” More hissing and humming, “He’s warning me, but something I’ve learned to do to calm a human.” The camera turns a little just so you can see his face silhouetted against the backdrop of light. He opens his mouth very wide before, “Yawning is thought to be a social symbol for letting others know everything is ok. It’s contagious.” He turns the camera around, and the large human has a paw over his mouth chest rising with a very deep breath. He stops ad turns to look at the camera.

“See, he will probably let me approach now.” The light flicks on momentarily blinding the camera as it struggles to focus. The human makes a pained mewing sound as he holds his paw up towards the light. Its face is very expressive under a creamy white skin and a dusting of tawny fur atop its head. The tips of its digits glitter with strange translucent claws.

The human grows bigger in the lens as Krill moves closer right up to where the creature is lying. The large head turns to follow the progress single jade eye blinking from deep within its socket. The grumbling noises rise up from the creature’s chest as its teeth flash, “It may look intimidating, but this human knows me, and wouldn’t be likely to hurt me. Humans are very curious, so he will want to know what I am doing in his territory at this time. Now if he really wanted to, as leader of the pack, he could make me leave at any time, but due to his curiosity, I bet he won’t.” The human snorted ejecting a puff of air from flared nostrils.

“See that, right there, humans have a lot of nonverbal noises they use to communicate. That one is exasperation or annoyance. It’s not really a sign of danger in a human but an indication they are willing to put up with you.” The human rolled its eyes flashing the white sclera of its strange orbs towards camera before shifting towards the edge of its sleeping space and throwing off the sheets in which it was wrapped. The camera quickly zooms In on the missing leg before panning out to capture the creature as it raises its hands above its head arches it’s back, flexes it’s arms and cranes it’s neck.

Its strange pink tongue runs over its teeth as it yawns again.

“The human muscular system is very fluid rich, this behavior right here helps the human to prepare for movement by moving fluid into the correct places and recalibrating feedback systems that allow it to move.” The human finishes its stretch and turns to look at Krill, the eye flickers towards Krill and then the camera. It growls, and then with one paw, it swipes at the camera. 

“Now, that may have looked aggressive, and I suppose it could have been but that’s what happens when humans get confused and curious. He just wants to know wat I am doing.”

The human sit back with a reproachful expression on his face shakes its head quickly back and forth and then flops backwards with an exaggerated sigh still eyeing Krill with that one green eye. “Now this is rather large for a male human, the average height being around 5’11, but he is by no means the largest male on the ship. Human hierarchy isn’t denoted by size or gender, but rather, the entire human race is placed into a hierarchical structure with their UN president at the top of that hierarchy, currently a short human female. Is has nothing to do with physical prowess and more to do with authority and social standing.”

The camera moves a bit closer to the human who leanes away brows furrowed before turning with a grumble onto his side facing away from the camera, “Now this is pretty interesting, humans have some of the best hearing known to the sentient species. See those folds inside the ear, helps them to funnel sound and determine the directionality of the noise. They have excellent horizontal and vertical sound location when the sound is in front of them. In fact, the path of sound into the brain is directly connected to the movement of the eyes.”

“Another important thing to remember around humans, as I said before, each of them are different, and this is important to note if you ever come into contact with humans. Some are more social than others, and some are more willing to let you touch them than others. This particular human is willing to put up with more than the average human.” A hand reaches out from behind the camera and proceeds to pat the human on the head. The human’s facial muscles contort into an unknown expression, “Now, no one really knows why humans have hair on the tops of their heads, it isn’t particularly useful for anything. At this point it’s mostly just believe it was selected for in the species as an attraction point for mates. Some humans lose their hair over time and others choose to get rid of it all together.”

The human sat up again catching the hand that had been panting him on the head and turned to look at Krill making more noises with his mouth, “Ah see, now there he is warning me off, so I’ll just pull back a little.” The camera shows Take a look at the eye, yes, see the large black aperture, that is the pupil and it gives humans the ability to control the amount of light they allow into their eye. When it is dark, the pupil will dilate giving them the ability to see in both the dark and the light, which is rather unknown to those species who use the spectrums of light between ultraviolet and infrared. Despite this inability, humans have the best depth perception, for reasons of hunting. Of course the alpha has lousy depth perception since you need two eyes for that”

The human’s head levels out, and its single eye locks onto the camera. The lid drops sweeping a layer of mucus over the outer layer of the eye, and then it lunges. The camera spirals spins, there is a scuffle as the image sees only patterns of shape and movement as the picture careens around the room, then it evens out. The camera turns around to view the human looking wide eyed into the lens. It grumble, then the image turns around to look down at Krill who has his arms crossed, “See, now that I have invaded on his territory he has deemed it necessary to prove his dominance over me by stealing my property, but you see there is a simple way to deal with a naughty human, at least this one anyway.”

The camera pans down as Krill walks forward and mercilessly jabs the human in his single leg. The human lets off a high pithed yelp of pain. The camera spirals and tilts viewing the room from floor level before it is snatched up turning back to face Krill, “I do not recommend doing that to two legged humans.” Behind him in the scene, the human is scrambling to his single leg, and rooting around beside the nest. Krill begins to speed up and then breaks into a scuttle, “Of course, I didn’t hurt the human. When dealing with their species, it is important to treat the humans the way humans treat humans, and between two dominant male humans physical dominance is very important….. What I employed was a simple dominance tactic to let him know that steeling my property isn’t allowed”

Something rattles behind him as Krill speeds up, “Of course it is wise to note that not all alphas will take things so well. This particular human is likely to interpret the action as play rather than a threat.” He cuts a corner and hides in the darkness of the next room over, “Keeping the human mind spry with play is very important for their happiness.” He quieted down very quickly as a set of footsteps stalked up the hall.

Loud hooting and chirping echoed from the hallway, “Humans enjoy being able to practice their hunting skills. That would be a hunting call to lure me out.” He whispered, “Luckily humans have terrible senses of smell.”

A shadow blocked the doorway, and the growling was suddenly very close by. Krill squeaked and the camera went black.

 Subtitles Krill Neglected to Add

Krill, what the hell are you doing? Why…..krill it’s four in the mourning.

You have got to be kidding me.

Wait, are you seriously filming right now.

I’m not a golden retriever Krill, why are you petting me! Who are you talking to? If this is going to be replacing your reports, I don’t know if I’m down for that.

Lousy depth perception my ass.

OW! SHIT no fair!

Alright, come out come out wherever you are…. Ok if you want to play this game, we can play.

But as you said before, we have excellent hearing.

[merryfortune]

Day 20 / Cherry

Clover and Violets 2021

Ship: not applicable | Nico/Ranze

Universe: Sevens

Word Count: 1,193

Rating: G

Tags: Fluff, Developing Relationship

   Ranze hummed the school’s anthem as she went about her chores. She was the type to be at her most bright and perky when she had something to do. As such, cleaning up and other similar things ranked high on her favourite things to do. Even practicing etiquette and the like, she found it vastly enjoyable and she shouldn’t neglect that either. Especially not when Rinnosuke had been such a dear and gone and gathered up some fresh flowers and the like to use for her flower arrangement.

   Still, as she bopped along to the anthem under her breath, pushing a mop around, she was already formulating a few ideas as to what to do with the fresh flowers and the vase that Gakuto had brought in from the Sougetsu household. Even though Ranze still considered herself something of an apprentice when it came to those kinds of disciplines, she was still reasonably certain that the end result would greatly brighten up the already rather lively student council room.

   Whilst the boys were off galavanting around the school being boys, with Romin in tow, Ranze amused herself back at the classroom with her vase and her flowers. She was thinking something classic and elegant this afternoon. Not that she was ever all that adventurous outside of her aesthetics but she thought it would be nice.

   The centrepiece of her arrangement, of course, being the freshly snapped cherry blossom branches. They were so thin and fragile, she thought they were a lot like a girl’s first love in that way and she was having a lot of fun trying to build a story around that. Keeping arrangements she had seen previously in her head, Ranze managed to create something she thought, for better or worse, was uniquely hers. As amateurish as it was until she heard a gasp. An exclamation.

   “So… beautiful!”

   Ranze was a bit startled. She could feel the ends of the hair on her head stiffen in stifled shock as she turned to see who had spoken. To her surprise, it was Nico. Looking happy with a slack jaw as she clutched onto her camera, as per usual.

   “O-oh, hello, Nico, I didn’t realise you were there.” Ranze awkwardly greeted Nico, very worried that Nico had been there a long time and she had been blissfully oblivious.

   “S’okay, I like blending in. Helps keep subject and photographer separate and more natural.” Nico replied.

   Ranze hesitated, she didn’t know if she should let Nico in or not. They weren’t overly close and Nico was a bit eccentric, Ranze wasn’t quite sure how to handle her or not but it seemed Nico wanted the decision made.

   “D’you mind if I come in and take some photos of your arrangements?” Nico asked. “Bad thing about flowers is that they wilt. The good thing about photos of flowers, is that they never do.” She laughed impishly to herself.

   Ranze sighed. “Not at all, help yourself.”

   “Oh, I will, thank you very much.” Nico cackled as she came in.

   She was all too quick to start bouncing and hopping around, trying to get Ranze’s flower arrangement from every angle and then some too. Zooming in, zooming out. Ranze wished she could be half as nimble as Nico, that would be very helpful to her stagehand duties and the like. So, her hesitation gave way to an awkward sort of awe as Nico helped her fill of snapping shots of various photos.

   She beamed proudly, wiping sweat off her brow as she finished up. Ranze smiled.

   “Were you able to take some good shots?” Ranze asked, flattered that Nico had been able to take so many of her flower arrangement at all.

   “Oh boy was I.” Nico energetically replied, her fluffy hair bouncing as she rocked on the heel of her foot. “And I still have much to take.”

   “Y-You do?” Ranze exclaimed, shocked and Nico took a surprise photo there.

   “You’re very expressive, it's very good.” Nico snickered. “But yeah, I was hoping to get some action shots of you do your arrangement - or jus’ pretending to since you seem all done and stuff.”

   “No, no, no, I am not meant to be seen, I’m meant to just be the help.” Ranze said.

   “Nonsense, you’re really pretty, you should get in the photos too. Pretty please? You can’t just turn me away hungry for more, that’s just cruel.” Nico replied.

   Ranze tucked a curl of her straw brown hair behind her ear, she blushed slightly. She didn’t really consider herself pretty but someone like Nico wouldn’t lie. She was overly earnest, that girl. Throwing herself into her passions like that and so, Ranze sighed.

   “Fine.” she said. “Just a few photos. Until you’ve eaten your fill, as you say.” she relented.

   “Thank you very much.” Nico sniggered, her glasses shining. “Oh, and do you have any kimonos or the like to change into? I think that would look better than your school uniform.”

   “I - I do, funnily enough, so, um if you would excuse me.” Ranze replied.

   Nico was all too eager to see more of her vision for her photographs come to life. It mightn’t be newsworthy but it might be award worthy and there was that junior competition coming up. She happily tapped her foot as she waited for Ranze to return and when she did, she looked stunning.

   Blue was probably Ranze’s favourite colour since her glasses’ frames were blue but pale pink looked even better on her. She was even wearing a subtle cherry blossom motif which complemented her arrangement to a stupendous angle, Nico couldn’t have been more excited to see Ranze shuffle out in her getta and the like.

   Ranze blushed a deeper colour as Nico helped to pose her. With the last of the afternoon sun streaming in, competing with the early twilight and the gorgeous orange colours it came with, Nico couldn’t be happier with the colour composition as she ready her camera, snapping up some fun in betweens before the more serious shoot.

   Ranze was a little stiff in her poses as she was unused to being the subject of art rather than the mere helper but it was fun. Being the centre of attention was highly flattering, Ranze realised as she listened to the click, click, click of Nico’s camera over and over again, to say nothing of the ensuing flashes either. 

   “That was great guns,” Nico said, “thank you very much.” She bowed deeply to Ranze and then popped up again. “You were just as beautiful as your arrangements, now, if you would excuse me, I have a club meeting I was on my way to.” Her happy-go-lucky chatter gave way to more cackling and she did as she said she would.

   Leaving Ranze feeling like she was in a whirlwind. She hugged herself tight and tried to still her pounding heart. The silk of her kimono felt smooth on her skin as she smiled a pursed lip smile. She could feel herself burn up - cherry red - with infatuation unto Nico. It really did feel nice to be at the centre of such fawning attention.

[thebibliomancer]

Essential Avengers: Avengers #210: You Don’t Need the Weathermen to Know Which Way the Wind Blows!

August, 1981

Wow that is one hell of a title! At least in terms of length.

Not the best though.

That still belongs to Avengers #12: “This Hostage Earth!”: In Which the Mighty Avengers Battle to Save Their Beloved Planet From a Fate So Deadly That None But the Macabre Mole Man Could Have Devised It!: A Marvel Tale of Most Compelling Excellence!”

The title to this one being a Bob Dylan reference gets its some bonus points though.

Hmm, this issue is written by Bill Mantlo and he’s also the co-creator of Rocket Raccoon, originally an extended reference to a Beatles song.

Guy loves his song references.

The cover is also pretty excellent this time too. Damn but do I miss covers like this. Four different perils befallen the Avengers separated by the presumed villain’s helmet crest.

So take us away, Mantlo.

We start the issue with the return of the ridiculous four-sided television for the Avengers meeting table. Except now its five four-sided tvs on one pole for maximum media absorption from multiple angles.

And the Avengers are watching THE WEATHER CHANNELS!

Scarlet Witch: “Why have you summoned us, Captain America? What new menace confronts the Avengers?”

Wonder Man: “Wait until you hear, Wanda! Cap’s called us together to watch the weather report!”

Don’t be so surprised. The title and the cover are all about weather.

Cap though says that this weather channel may be showing THE BEGINNING OF THE END OF THE WORLD!

But surely he’s exaggerating. Even if 2012 the movie ridonkulous weather disasters happen and wipe out humanity, the world will keep on zooming through space. Its a persistent rock.

End of humanity is pretty bad too, from the point of view of humanity. Which the Avengers either are or aspire to.

So there are excessive tornadoes in Kansas. So far, of course.

London is flooding.

There are unnatural thunderstorms and torrential rains in New York, so bad that Thor has decided to show up without being summoned to go ‘hey how about this weather, right?’

Buenos Aires is freezing, baffling and befuddling bikini beach goers.

Which Beast ogles.

Beast, pls. The fate of the humanity is at stake here.

And there’s a heatwave over Antarctica melting ice and raising the water levels, threatening low lying countries. Or mostly just England somehow.

The government’s weather monitoring space station with a weird name Samarobyrn has determined that these weather disruptions are too systematic to be natural so the Avengers are going to split into five groups to investigate the five places I’ve already mentioned, since they’re the five places most seriously affected according to the satellite Samarobyrn.

Beast is going to go to Buenos Aires, to his delight.

Wanda and Vision will go to Kansas.

Beast: “The perfect place to send the Good Witch of the East!”

The Wasp and Wonder Man will head to Antarctica.

Wasp: “Great! Finally I get a chance to wear my new fur coat!”

... Wasp. Heatwave.

Thor will investigate the thunderstorms in New York.

And Cap and Iron Man will go to London.

Not sure what they’re going to do against large-scale weather disturbances. Can’t exactly punch the climate. At least not personally.

Maybe punching a weatherman will help. Can’t make the situation worse.

Anyway, the Avengers all head off to their own destinations, with Beast snarking “Say, shouldn’t someone yell ‘Avengers Dissemble’?!”

So, this reminds me of something, really briefly. There was an episode of Avengers: Earth’s Mightiest Heroes that used the title This Hostage Earth (sadly sans the rest) and also coincidentally seems to share some elements with this story. The Avengers split up to investigate seven different anomalies with Iron Man wryly commenting that he should say Avengers Dissemble.

Doesn’t have much of anything to do with this. I was just reminded because of mentioning This Hostage Earth ect earlier.

Anyway, while all of the other Avengers dissemble, Thor tarries.

So he’s still in the meeting room when Jocasta arrives and wonders what the hell is going on. She only found out there was a meeting at all because Jarvis told her.

Damn, that’s rude, the other Avengers.

Thor: “An oversight, surely. Our ranks have swelled of late, and with no permanent chairman, ‘tis hard to know whose responsibility ‘twas to summon thee.”

Jocasta: “True? And yet I have felt... apart from the others. Being a creature of cybernetic circuits and not flesh and blood, I am always aware that I am... different.”

Thor: “And thou thinkest we do shun thee for it? Nay, milady! The Avengers are a composite of mortal and immortal, android and man-beast, man and mutant! Different, Jocasta? Aye, so are we all!”

Oh, hey. There’s that arc about Jocasta feeling disconnected from the other Avengers. We haven’t touched on it for a while but it was a running thing in the Shooter run previously. She tried to make friends with various Avengers but they tended to inadvertently blow her off due to their own preoccupations or just getting distracted.

So, no, Thor, I don’t think that the Avengers are intentionally shunning her. But I do think that none of them have really been reaching out to her, either. And you’re all she has.

Thor heads out to his mission and this time Jocasta tarries, thinking about things and stuff.

So she’s still in the meeting room when the computer pulls up some exposition based on a random thing Beast asked rhetorically.

“Origin of the word Samarobryn in the disaster prophecies of Michael Nostradamus... Samarobryn one hundred leagues from the hemisphere. They will live without law, exempt from politics.”

Huh!

I don’t think I knew that Nostradamus had a first name!

Weird that someone would name a weather satellite after a disaster prophecy that predicted famine caused by excessive rain. That’s like naming a communications satellite Babel.

Anyway, the Avengers all head in five different directions with four Quinjets and one Thor and Jocasta takes a fifth Quinjet and heads off into space.

Huh! They have five whole Quinjets now!

Thor flies up into the sky and begins yelling at the clouds, as one might expect from Thor.

Thor: “The storm rages as it hast for hours, with a fury that doth threaten the very existence of the Midgardian mortals dwelling below! ‘Tis time to leash the lightning -- to put the rain to rout! Cease, storm! ‘Tis the god of thunder who dost command thee!”

And then Thor gets hit in the face by lightning.

This storm is a rude.

Thor is stunned by all of this lightning in the face, I guess backing up Clone Squirrel Girl’s use of electricity to knock out Jane!Thor that one time, nearly falling out of the sky before whirling Mjolnir like a helicopter to land smoothly.

And then Thor goes back to yelling at clouds except this time not just clouds because he spots the one who hit him with lightning and it is a who and not a what.

Thor: “Descend, Villain! And if yon storm be thy doing -- desist!”

Weatherman: “Have a care, god of thunder! Not even you can command... a WEATHERMAN!”

I have queried an expert who has told me that yes, this guy looks a bit tokusatsu.

(And he’s orange. Spoilers: There’s a different colored one wherever the Avengers go. A full color-coded team.)

Anyway, two hours later and over in London, England, Iron Man and Captain America arrive to deal with London being flooded.

Iron Man: “Do you realize just how selective these disasters are, Cap? After all, England and Holland border on the same body of water -- and the first’s been inundated, while the second hasn’t been touched!”

Huh! That is weird. And seems incredibly implausible or like someone or thing incredibly powerful is also incredibly angry at the English.

While Iron Man flies around shooting the water with repulsors to... shove it back into the ocean? Is that what’s going on?? I mean, if the water is disproportionately high on England’s side of the channel then I guess you could just shove the water and accomplish something but I thought there was something going on with Antarctica melting which would indicate that the sea levels are also rising but then why would it be affecting only England and oh no comic logic has broken me

Anyway, while ^ that is happening, Captain America lands the Quinjet on Parliament since there’s not many good places to land and really, how often can you say to have landed a jet on a government building?

He’s old, let him have his fun.

But it’s not just fun! He’s Captain America, the man who wakes up at 4 AM to go for a ten miles jog so he can be showered and ready to superhero by 6 AM, probably!

He notices some kids clinging to an overturned double decker bus (because how would we know it was London without?) and he jumps from Parliament to swing on a Union Jack flag to the bus.

And then he uses the flag to create a tether to a rescue boat that the kids can cross over on.

AND THEN THE BLUE WEATHER RANGER! appears.

Flying around on a hoverdisc and creating a localized tidal wave. The wave smacks Cap off the bus into the water as Blue Weather Ranger gloats.

Weatherman: “Let that be a lesson to you not to wrest lives away -- when they’ve been claimed by... a Weatherman!”

And now a scene transition to sunny Antarctica where Jan van Wasp is finally getting the idea that heatwave means that her fur coat is superfluous.

While melting Antarctica temps might still be cold, this specific melting Antarctica temp is almost tropical!

And its not just sunny, it seems like the sun is moving closer, like the angry sun from Mario Bros 3 because iiiiiiiiits.... THE RED WEATHERMAN!

Weatherman: “Die, Avengers! The only fate for those who would defy... a Weatherman!”

The Red Weather Ranger blasts them with heat beams of a thousand degrees, melting the ice right out from under them.

Wasp figures that the Red Weatherman is radiating heat in waves so she could hypothetically hit him between cycles.

Hypothetically.

Because she can’t figure out the frequency and instead the Weatherman sets her wings on fire. And her wings are an organic part of her and she hurts when they hurts. So she plummets into the water to put herself out.

Hmm... the yellow and black look good on Jan and fits with the Wasp name but sometimes she doesn’t look dissimilar to an X-Men.

Wonder Man does what Wonder Man does and picks up a heavy thing and chucks it jerkwards.

But they’re in Antarctica so heavy thing is a giant ice chunk and jerk is a really hot guy so the ice chunk melts midflight pelting the two Avengers with boiling rain.

Wow, this is going poorly so far!

Who’s next?

Scarlet Witch and Vision are next! And they’ve gone to Kansas to fight tornadoes.

I’m. Not sure how that’s going to play out. I really feel like the Avengers are out of their element trying to fight the weather. Is it too late to call in the X-Men and specifically Storm?

She’s doing a crossover with Dazzler this month in 1981 so its not like she was too busy.

Anyway, Scarlet Witch flies the Quinjet at a tornado and then is shocked when the jet gets swept into the funnel cloud and spins out of control

She wonders why Vision is just standing there but he learned a thing from the Yellow Claw two-parter and isn’t just standing there.

He actually makes his mass so heavy that it forces the Quinjet to the ground with a WHRUMP!

I can’t imagine that’d be good for either the Quinjet or the passengers but I’ll give Vision this.

Its cool that he can do his thing without outwardly expending any effort.

Scarlet Witch: “Yes, neither of our powers are quite so flamboyant as Cap throwing his shield, or Thor his hammer -- but they have proven most effective, else we would not be Avengers!”

And then she uses her witchcraft to force two of the tornadoes to slam into each other and cancel out.

This also seems dubious. Since tornadoes tend to spin the same direction you’d think that instead of cancelling, they’d become one giant super tornado. Them cancelling each other out seems quite improbable actually. Which is probably exactly why it works.

Take that, SCIENCE.

But there’s still one tornado left and its coming for them! And since it appears to not be naturally formed, it defies Wanda’s nature based magic! Curses!

Annnnnnnnnd... It’s a WEATHERMAN!

The ebony Weatherman. Although he looks purple to me.

Weatherman: “Stand or flee, it will make no difference! Your lives are in the hands of a... WEATHERMAN!”

And another scene transition.

Geez, this plot split the party hard. And I think it’s beginning to realize how hard it is to split the story between six groups because this vignette gets four panels before moving on.

Beast lands in beautiful snow-covered iceberg infested Buenos Aires and takes a brief moment to be horny about a bunch of bikini women who have been frozen alive.

Beast: “Oh, my stars and garters! Those bathing beauties I saw on T.V. -- they’re frozen solid! Maybe I could take one or two back to thaw out in my room at Avengers mansion?”

And then as if to punish him for this, the white WEATHERMAN! immediately appears and freezes Beast solid.

Weatherman: “You will need to unfreeze yourself first, man-beast! So says... a WEATHERMAN!”

Beast: “Yoiks!”

Good thing freezing is basically harmless in comics.

And our final party, Jocasta IN SPAAAAAAACE.

Because Quinjets can still just achieve escape velocity. That’s some good super-science.

Jocasta: “Samarobyrn, Earth’s first weather-monitoring space station! It’s so... beautiful! A shimmering silver wheel in space -- a triumph of science and engineering, created to faithfully serve its creators... as was I. Perhaps that is why I alone thought to come here.”

And since she’s a robot, she just jumps out of the Quinjet airlock that it definitely always has had and uses her EYE BEAMMM to basically propel herself away from the Quinjet and toward the Samarobyrn station.

That’s pretty cool, actually. I’m not sure if, scientifically, laser eyes would actually propel that much, but its a cool thought.

Of course, Jocasta has to do all of this cool stuff because the space station didn’t respond to the docking requests Jocasta sent. So she has to go in through the manual override airlock.

In the station, Jocasta finds no signs of life even though it was supposed to have a five man crew.

She finds her way to the hub of the station where the computer monitors are all monitoring the five separate Avengers missions.

So she’s pretty sure her suspicions were correct.

Jocasta: “The five foes facing my fellow Avengers must be the five crewmen of Samarobryn! They have distorted this station’s functioning from that of weather-monitoring to weather control -- and now exploit it for their own evil ends!”

Samarobryn: “You are wrong, silver sister!”

WELP!

The space station computer has gone all HAL. Dammit, this always happens!

So Samarobryn decides to explain it all.

It had a humble beginning as a computer for the U.S. Weather Service’s Project Earthwatch. But then one of the programmers added something extra to the concoction: NOSTRADAMUS!

No but seriously. The programmer decided to download the disaster prophecies of Nostradamus into the computer in addition to weather data.

And particularly the ones dealing with that Samarobryn prophecy, the one Jocasta read part of earlier. So when the comptuer was installed in a space station named Samarobryn, it went ‘hey that me!’

And decided to expand operations from weather monitoring to weather control.

How does a space station outfitted specifically to only monitor the weather make the jump to controlling it? Fuck you, this is comics.

When the crew grew suspicious, the computer rewrote their brains to become the Weathermen.

Why did a computer designed to monitor weather have the ability to-

Look, this is comics. Where Hank Pym, biophysicist, built a computer with a gun pre-installed and was surprised when it shot him and tried to take his wife. THIS. IS. COMICS.

Anyway, speaking of weirdly sexual computers:

Samarobryn: “I sense that you are a machine like me -- created by others but obedient to none! Join me! Be my bride! Together we will cleanse the Earth of imperfect humankind and stand guard over the paradise which remains... as gods!”

Geez, its just like Aaron Stack all over again, way before the fact. Also, Ultron. A certain type of AI is just attracted to Jocasta, huh?

Anyway, Jocasta lets Samarobryn down easy by shooting him with EYE BEAM!

Jocasta: “Nothing would remain but a lifeless mokcery of a world! No! I reject you! I was created to be the bride of another such as you -- but robot though I am, there is still some spark of humanity burning within me! I cherish it -- and would not see its source snuffed out!”

Samarobryn may be a load bearing computer pillar without arms or legs but it still manages to defend itself.

BY FLOODING THE CONTROL ROOM?

I guess everything in this room is waterproof??

And also by shooting lightning, also in the control room. Where I guess everything is lightning proof.

This is a bad plan.

More than I thought, even, because by shifting attention to defending itself up in space, Samarobryn leaves its Weathermen high and dry.

The Orange Weatherman stops being able to throw lightning bolts so Thor clobbers him.

The Red Weatherman chills out so Wonder Man and Wasp can get close and put him in a headlock.

Uh. I’m not sure if Blue Weatherman actually is affected or not because Iron Man just punches him in the back of the head while he’s distracted.

The Ebony Weatherman’s whirlwind vanishes so Scarlet Witch and Vision can kick his ass.

And Beast unfreezes as quickly as he froze and kicks the White Weatherman’s helmet off. And apparently the helmet was maintaining the mind control because the Weatherman is suddenly confused about where he is.

And with the Orange Weatherman beaten up, Thor senses, with his god senses no doubt, that the Orange Weatherman wasn’t the one commanding the weather. So there must be an unseen agent who arranged this.

So his course is clear.

Thor shoots a giant lightning bolt into space and hits Samarobryn.

He doesn’t know that the station is to blame. He’s just shooting a giant lightning bolt into space because he’s pissed that someone used lightning against him.

I guess when you’re the god of thunder, you can get a little homing capability out of your giant space lightning bolts.

Still though. Wow.

Meanwhile, in space, Samarobryn is still trying to woo Jocasta. For a certain value of woo.

Samarobryn: “It is still not too late, female! Accept me! Accept what must be! I can make you love me!”

Jocasta: “What can a machine who would destroy all those I have come to care for know of love?”

Samarobryn: “Nothing, as humans understand love -- but together we can redefine the word on the basis of our own coexistence!”

Jocasta: “Can you not understand? The fact that I am a machine does not make me less than human! I am, as Thor said, merely... different! I would try to live in their human world -- to understand how to retain that difference that makes me unique -- and yet be accepted!”

This is an interesting conversation but wouldn’t you know it? There’s a power surge. Seems like a space station got hit by lightning.

And when the lights turn back on and Jocasta wonders what happened:

Samarobryn: “I am weather-monitoring space station Samarobryn. Your question is not pertinent to weather evaluation. This unit cannot compute.”

So you know how sometimes a program crashes and you lose all your progress?

Samarobryn hadn’t backed up its sapience and the power surge effectively lobotomized it back to factory settings.

Geez.

LATER

All the Avengers stand around congratulating Jocasta for the good job and apologizing that they overlooked her.

Apparently new safeguards were put in place to prevent Samarobryn from attaining sentience again. Probably stuff like ‘don’t download doomsday prophecies into a weather satellite.’

Hm. I know Samarobryn was trying to destroy the world and all but the cavalier lobotomization of an enemy because it was a computer and thus disposable sits wrong when the Avengers have two AIs on their team. Really, the fact that it was an accident is pretty much all that lets it slide by.

Also: I’m kind of peeved that Jocasta didn’t get to resolve the situation, given that this was blatantly a Jocasta focus issue. She does pull a lot of weight, being the only one to figure out the real source of the problem and distracting Samarobryn long enough for the Avengers to beat the Weathermen. But it feels like Thor swiped the big win from her even though he didn’t even know about Samarobryn. Just shot some lightning into space and resolved the plot.

That plot resolution should have been Jocasta’s!

Anyway. Scarlet Witch says that Jocasta being overlooked like she was indicates that the Avengers need to reorganize and Vision suggests that they vote on a new chairperson.

But they’re interrupted by Cap.

Captain America: “Iron Man, Thor, and I have given some thought to the directions this team has taken -- and should take! I open the floor to discussion! The first item on the agenda being: THE OLD ORDER CHANGETH!”

Which basically means a roster shakeup.

Funny that the Avengers have had a period of disorganization and aimlessness when they didn’t have a permanent writer and now that they are getting one, they’re going to try to get their shit together.

Whatever I do, I shouldn’t miss next issue.

But before then, there’s an Avengers Annual that has to fit in somewhere and since it uses this roster of the team, might as well fit it in now, before everyone changes and it makes no sense. And its a fairly well-known Avengers Annual.

The fairly well-known Avengers Annual that looked at Avengers #200 and said ‘actually this is bullshit.’

Follow @essential-avengers​. Also please like if you liked. Its good to know that somebody is reading.

Also, consider donating to the Bill Mantlo Support Fund if you enjoyed vicariously experiencing this issue or if you enjoy Rocket Raccoon or his other stuff like Cloak and Dagger, Micronauts, or Rom.