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llamaisllama777 · 4 months ago

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"You never owned us."

A TSAMS fanfiction based on today's episode

Moon was clearing out some of him and the family's personal belongs from the daycare Sun's glitter glue collection, some of Solar's tools that he kept in the daycare, Dazzle's drawings, a half-eaten sponge from Jack, and all Sun's old picture of Roxanne... for posterity. Moon picked up the box and began to walk out the dark daycare when he saw the large wooden doors of the daycare open, and three men in suits walked in. Fazbear executives. That's not good.

"Moondrop. We need to talk." *The man in front said, fixing his light blue tie.

"Okay, can this wait?" *Moon said, shifting the box under his arm. "Drop it, Moon." One of the other suits said. Moon looked at them all with distain they were ordering him around like a dog. He did as they said but kept his eyes on them, glaring at them menacingly. Moon leaned against the daycare reception desk and signaled for the executives to speak. The man in front cleared his throat and began to speak in a voice that sounded like he was some royal prince with the keys to the kingdom.

"You are aware you and your family's lives are uploaded to our servers and posted online, right?"

Moon nodded. "I'm aware."

The man in the middle chuckled and continued speaking in that overly cocky voice

"Well, we all at Fazbear HQ saw your... lastest video, and needless to say, we have some concerns." The executive's voice showed he didn't care at all for the mechanical family but clearly far more concerned for his bottom dollar.

"What video?" Moon asked, curious as to what video was uploaded. The executive on the right pulled his phone out of his tux pocket and showed the thumbnail of a video labeled "Sun and Moon are moving out?!"

Moon narrowed his gaze and nodded "Oh, wasn't aware that whole meeting got uploaded."

"Well, it did." The executive in the middle said, sounding a cross between annoyed and mad. "And we at Fazbear Entertainment understand that you and your family may feel concerned or feel like you need to fear for your lives, but you don't." The executive said in an overly cheery tone."If we recall The Creator... um.. Sven? Is dead. B-bloodmoon is gone, as well as Nexus. You and your family are fine and have no reason to leave." The executive said, flashing a smile that didn't show anything genuine, just another business tactic.

Moon stared at the executives and laughed. "Are you serious? Yeah, they're dead, but that doesn't mean something else won't show up!"

"What else could possibly show up?" The executive on the left said.

"Um.. The Astrals, The Dark Astrals, more evil versions of us, another wither storm, Dark Sun, literally anything at this point. I'm honestly surprised we haven't had a zombie apocalypse yet with all the stuff we've been through." Moon said, kinda impressed by Fazbear's obliviousness or lack of care.

"Ye-yes, well, here at Fazbear, don't view those people as threats at the moment. So, you and your family are safe and free to stay here." The executive in the middle said, fixing his tie nervously, trying to win a failing argument.

"No, we're not." Moon said, sounding more stern this time, making his tone clear and point known. "We aren't safe here at all! We have faced the literal end of the world, what could only be described as gods, and a weird blue guy who refuses to leave us alone! We. Aren't. Safe."

"Ca-can't you and your family just.. just install more security?" The executive on the right asked, sounding a bit nervous.

"Oh, like that'll help us! Touch that computer right now. Try to turn it on." Moon said, pointing to one of the computers on the reception desk. The executives looked at each other before trying to turn the computer on, only for nothing to happen. The screen was still black.

"It's not turning on." One of them said. "Exactly!" Moon exclaimed. "If you suits at Fazbear actually watched any of our f[Beep]ing videos, you'd understand why we're leaving! This dimension SSSSUUUUCCCCKKKKSSSS!"

Moon picked up the box of memories and began to walk towards the daycare door. "So, we're leaving. I wanna say it's been an honor, but it hasn't. I'll leave some of my tools here, and you can keep our spare parts." Before Moon made it to the door, the three executives ran to the door and blocked his path.

"Um... get out of my way."

"No." The executive in the middle said.

"No?" Moon said, both confused and angered by these suits' audacity.

"What do you mean?"No?"

"You can't leave." The executive in the middle said, sounding serious now, dropping the facade of care and going straight to business. "You and your family are Fazbear property. We own you."

"First off, you technically don't. Our dad made us and still holds our original blueprints. Two, he never sold you Earth. Three Lunar and Solar were technically made by us, and four f[Beep] off." Moon said, trying to step towards the door only for the head executive to step forward, blocking Moon's path, glaring at the much taller animatronic. The two other executives shared glances of worry and fear as their boss stepped towards the known murderer animatronic.

"We own you. We own your family. We own all of you! You don't have rights! You're machines! Scrap! You can be replaced and rebuilt at the drop of a hat!" The executive said, gritting his teeth at Moon. Moon leaned forward a bit and said with a smug smile. "Then do it."

Moon smiled wide and patted the executive on the head before pushing past him and opening the door, trying to end this peaceful before the executive did something that would make him angrier.

"Then maybe we will." The executive said in a voice that carried. Moon stopped and turned back to face the executive. "What do you mean by that?"

"We'll scrap you and your family and the gator if you leave this universe."

"We'll be out of here, you can't."

"We'll scrap you before then. One call to Fazbear and you, your brothers, your sister, and Monty will be rotting in a junkyard by the next day. Don't do anything you'll regret, Moondrop." The executive said, fixing his tie and slicking back his hair. His voice showed no remorse for what he said or what would become of the family, to him, the family were just machines, toys, scrap, not people, not souls. Just tools for profits and if they weren't making Fazbear money, they didn't deserve to live.

Moon let out a low chuckle. "Okay, I won't." Moon said as he stepped back into the daycare and set the box down next to him. The two executives on the left and right felt something was off as they watched Moondrop lock the daycare doors. The head executive smirked, believing he won the argument.

"See? I knew you'd see it our way. You're a good brother, Mo.." Moon cut off the head executive."Oh, no. I said I won't do anything that "I'LL" regret." Moon said with a sinister smile. He pressed a button on his blue forearm, and the whole daycare went on lockdown, lights turning off completely then flashing back on, but every light was now a deep red color. The roof opened up, and many guns, tazers, and blasters were aimed at the three men. They all had a look of panic on their face while Moon smiled wide, almost like a serial killer would before slaughtering his victims.

"Hey! W-what are you doing?" One of the executives said in fear, looking around the now blood red room. "Let us out!" The second executives said, trying to move out of the way of the gun barrels, but the gun seemed to follow every single movement he made. "Moondrop, let us out! I swear I'll scrap you and your whole family!" The head executive said, stepping closer to Moon, trying to threaten him, believing he still had some control in the situation. Moon grabbed the head executive by the throat and lifted him off the floor. The executive held onto Moon's arm and began to squirm and hit Moon's arm, trying to free himself, but it was useless. Moon was too strong.

"Now, let me make something PERFECTLY clear to you, Fazbear execs..." Moon said, stepping further into the daycare, making the two other executives walk backwards, trying to put some distance between themselves and Moondrop.

"You never owned us." Moon said in a voice that was clear but threatening all at the same time.

"We could have left anytime we wanted. You think it's just the daycare I have rigged? Nah. Every inch of this place has been under my control since..." Moon paused, trying to recall how long he's had full control over the Pizza-plex for "Since 2021. I have had this place completely under my control. All the cams? Mine. All the doors? Mine." Moon pressed a button on his arm to temporarily open the daycare doors. The two executives tried to bolt past Moon and towards the now opened door only for Moon to press the button on his arm again and have the door slam shut on the two attempting to flee executives. "The light?" Moon pressed another button higher up on his wrist and flashed every single light in the daycare on and off rapidly, temporarily blinding the executives. "Mine. Every single thing in this Pizza-plex is mine. You guys at Fazbear may think you own us... but ya, don't. Me and my family could have left at any time we wanted. I stayed for Sun cause he likes being a daycare attendant. Lunar stayed cause... well, he didn't know what else to do with himself after leaving Eclipse. Earth stayed because she liked the kids and wanted to spend time with me and Sun. Heck, Solar doesn't even like working here all that much. He only works here for access to the tools and free movies he gets to watch. None of us actually like working for you. That's no secret. What was a secret, though, is that I had this whole place rigged... and rigged to blow."

The choking executive glanced at Moon with fear in his eyes when he heard Moon say he had the whole Pizza-plex rigged to blow. "Y-you have what?" One of the fearful executives asked.

"Oh, yeah, did I forget to mention.. I rigged this whole place to explode if I ever needed to or if you guys tried anything like... this. I would have blown up the whole Pizza-plex. Heck, I planned on doing it a lot of the time, but then I remembered Sun really likes this job, and if I blew up the Pizza-plex, then where would all the other Glamrocks go? And I-I could just never find the time." Moon squeezed the head executive's neck a bit, cutting off almost all his air supply and carried on the conversation so casually as he did it was like he rehearsed this talk a million times.

"Now... he's what I'm thinking. I can tie all three of you up and rig the whole Pizza-plex to explode when I leave, turning you three and this place into a pile of ash..."

"Please, I have kids!" One of the executives pleaded.

"Or..." Moon paused on the "or" for dramatic affect. "I can let you all go... and we can pretend this never happened. You let me and my family leave. You guys can keep your lives and some of the channels revenue and me and my family get to move on with our lives without any worry of new threats coming for us. Got it?"

The three executives shook their heads up and down rapidly agreeing to Moon's terms.

"Good." Moon said in a sinisterly happy voice that would make the devil from the Bible shiver in fear. Moon threw the head Fazbear executive at his two executive buddies, knocking them all to the ground. Moon smiled, picked his box of stuff back up, and unlocked the door for himself. As the head executive gasped for air, he couldn't just let Moon walk away all victoriously. He had to be the one who came out on top.

"We.. we.. *gasp* have cameras.. we'll... we'll destroy you and your family with that footage. They'll see you a-as dangerous monsters."

"One they already do, and two, all the footage has been altered its just been seeing a loop of me cleaning the daycare this whole time."

The executive looked to a corner of the daycare and saw the camera was down, obviously stuck on a loop of Moon cleaning, just as Moon said. The head executive tried one last attempt to scare Moon into submission. "We'll.. we'll sue you and your family... you'll be scrapped."

Moon snickered and held onto the door

"If I recall you correctly, you said, "we don't have rights." You'd just end up suing yourself. Fazbear takes all the heat for our crimes, not us. Perk of being an animatronic." Moon said, smirking proudly. He began to walk out of the daycare, closing the large oak doors behind him. The head executive tried to speak again, but Moon shut him up with just a few simple numbers and letters. "3415 west avenue street, Hurricane Utah. You live in the blue two story house on the corner of Maple Street, and your wife usually picks you up at ten cause you work late and got your license suspended after a road rage incident even though she much rather be watching Judge Judy with her wine friends and talking about how she wishes she married the quarterback from high-school instead of you." Moon stared at the executive, giving him a look that silently said."Try me."

The head executive finally fell silent, snapping his mouth shut before he said something that really ticked off Moon. Moon took one last look around the daycare to see if any of them wanted to speak again. Once he was sure they were sufficiently scared, he smiled. "Good talk, gentlemen. Good night."

Moon took hold of the door and began to walk out of the daycare before he paused and added, "Oh, and in case any of you get any funny ideas, I also have your phones tapped and have already hacked every camera in Fazbear HQ so if you tell anyone... I'll know." Moon flashed one last sinister smile to the executives and finally left the daycare.

"Night, gentlemen. Been a pleasure working with ya."

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mclalan · 1 year ago

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What art program do you use? sorry if you already answered something like this but im so mesmerized by the techniques you use in your art.

Thank you. No need to apologise; I don't mind answering this question because it's an excuse to walk through my latest image!

The concept for this piece is based on being perceived online through interpretations of posts and artwork, yet how artificial this can be. The relationship the viewer forms is more with the narrative of the work, and any insight into the artist through this feels highly awkward to me, which is precisely what I want to explore with this piece.

In this example, I wanted an attractive sitter to look like someone out of a new romantics music video or like an Enya video, because this genre and era of media is very aesthetically pleasing and nostalgic for me. I hold it as an unobtainable ideal— a hauntology. So, as wonderful as it is, it equally feels shameful and perverse because it's an aesthetic object of desire that I am contriving.

The sitter is holding one of my cartoon characters, Lauren Ipson, the protagonist of my Ersatz world project. A trope in writing is when a character acts as a self-insert of the author, and I'm conscious to try and avoid that with Lauren. I try to write Lauren as dry and sardonic yet also fun, dramatic, and friendly. I don't think of these as personal qualities of my own, but I imagine personal qualities bleeding into fictional characters is inevitable.

Yet Lauren Ipson feels much more alive a character to me compared to any attempt at self-portraiture or self-expression that I've done, which is very little because I'm not interested in constructing a perceivable identity. (I'm aware this text itself can be interpreted as self-expression; however, to me this is just another construct.)

So Is the sitter meant to be me, controlling Lauren? I'm definitely baiting the viewer to think this, and you can interpret it that way if you want, but really I don't think of the sitter as me at all. My intention is to show how it's all a facarde. The sitter is basically just as much a doll, a puppet, a mannequin as Lauren Ipson is, if anything more so.

There's a deliberate irony between Lauren's cartoon rendering and the sitter, who I wanted to render with more detail and evoke a modernist style. I'm inspired by Hans Bellmer and Dorothea Tanning with their work with dolls. However, despite that implied visual hierarchy, the more detailed sitter shares a similar, stilted vector construct to Lauren. They're both born from vector drawing after all. And it's further undermined with the way Lauren the doll looks directly at the viewer, as if she's alive, while the sitter looks to the side with a blank, almost dead-in-the-eyes expression.

Anyway, with that in mind, almost all of my work starts as a thumbnail sketch. Although I often draft digitally and am fine with doing that, I feel more confident doing it freehand on paper. Digital rendering feels more like a refinement process to me. Funnily enough, although I often prefer to sketch with physical materials, I'm anxious of refining or rendering with them.

I like my designs to be very direct and conceivable, so a solid silhouette, pose, negative space etc. I often create a quick digital sketch with this in mind, either by tracing or referencing the thumbnail, although sometimes I skip this step and go straight to the rendered drawing. The aim is to establish a visual guide, dividing the drawing into various shapes for digital airbrush rendering later on.

With this composition, I made a second draft with more attention to details such as the face, hands and feet. Sometimes I'll use photo references if I'm struggling with posing or anatomy. These drafts are often blue because it's easier to render the black linework over a transparent blue sketch.

The chair took some time but was relatively simple to render. It uses the line tool set to magnetic anchor point, following two-point perspective vanishing points. I like two-point perspective because it feels sort of digitally native to me to have these impossibly perfect vertical lines. I also know the horizon line should be at eye level or something, but I just like the idea of the top of the chair to be perfectly horizontal.

Here I'm drawing the final rendered form. I use the stroke tool with it set as smooth as possible. Often I'll redraw lines over and over if it means getting certain curves to look right. Once the lines are drawn, I'll fill them in and remove the stroke, leaving just the solid vector shape. The shade of grey I use is done to simply denote the shape. It does not represent any kind of shading or anything; in fact, when I bring it into Photoshop, all these shapes are set to the same shade, but if I had that here in Animate as I'm drawing, it would be impossible to see what I'm doing. The red background is just for clarity.

Once it's all drawn, I'll make sure every shape is clean, overlapping nicely, and divided into its own layer. A composition can often be comprised of hundreds of separate shapes.

Each shape will be its own layer in Photoshop, which will operate as a clipping mask. The clipping masks act like masking tape or shielded off areas for soft brush opacity rendering, similar to the soft atomised rendering from an airbrush, just done digitally.

I follow very rudimentary painting techniques of simple shading, lighting, and bounce-back highlights. I follow a simplified Grisaille technique, focusing on strong values in greyscale before adding a wash of colour with a color gradient map set to layer style color. Sometimes my values can be a little off, but as long as the values are all consistently acting together, I can correct them with transparent washes or color curves. If the greyscale looks harmonious with all the forms clear, colour will likely work.

Proper digital painters will say this is an amateur process, with results that look mechanical and stiff, as colours in the real world all bounce together off different surfaces, resulting in colour harmonies. However, I don't mind the inharmonious nature of the colours, as I find the values give the composition enough harmony. I'm working digitally, so why go to all the effort to make it not look digital? It's interesting to me to have the red chair look blindingly red, the green skirt look blindingly green.

Colours can look boring without some form of harmony though, so I will add in blue-greens with the darker areas, more turquoise greens towards the highlights.

Skin tones are far more complex, however, as it's something that's more informed by realism. This is why kigurumi dolls with their plastic flesh look so artificial to the eye, because we're familiar with how light passes through flesh and skin and all the subtleties of colour that it picks up. This piece is the first time I've explored flesh tones, as typically I avoid all this by rendering skin as grey porcelain.

I needed to really up the contrast, with shaded areas becoming purples and highlights verging on washed out. Areas with more blood, like feet and cheeks, appear more orange and red. Areas closer to bone and cartilage, like the bridge of the nose, can look almost blue and green. Exploring these colour values and tints in the aim of natural tones was fun to do, and ironic given how blank the face is.

Although in the moment I feel very much like I'm rendering a realistic reality, when I step back, I'm reminded how stylised and unrealistic the painting actually is. It looks kind of insane, like everything is so uniform and overtly saturated. It doesn't feel present in a real space, despite the shadow and form implies one. But I'm not consciously thinking of these things, of style, as I'm working. To me, it's a process of world-building and problem-solving.

#tutorial #mclalan #art #illustration #Adobe animate #adobe Photoshop

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acheronist · 1 year ago

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so i'm on the royal museum greenwich's online collection of polar artifacts looking at the items recovered from the gladman point skeleton site again. as one does.

and like... well perhaps i am crazy but does the brown scratchy part on the right side not seem as though that would be exactly the spot where your thumb would rest, if you were holding the comb (folded up) in your closed hand....... like .... ok can you just go on this walk with me for a second. lets all imagine that

you know that you are going to leave camp and die out on the shale and not come back and you're choosing that option on purpose because the expedition has so badly fallen apart there's nothing else to do

and you decide you are going to die while carrying your semi-recently deceased husband's wallet (containing his notes and diary and poetry and ID papers) above your heart, tucked between your shirt and your waistcoat

but you are not literate and don't even have the means to write something down anyways, so you can't add any notes into henry's wallet for safekeeping

and you knew that he died terrified of being forgotten and would upset with you if you died without letting anyone know who you were, too

and you remember that eventually someone somewhere will search for the expedition, and would check the hms terror muster and see names and occupations

so you get dressed in your steward's uniform and start shoving a steward's tools into your coat pockets. just to really make it clear that you were a steward.

and you leave camp and get separated and eventually become lost

but it takes a fucking while to walk and walk and walk until you drop dead and so you have a while to think about things

and the whole time you're walking out and getting lost and feeling miserable and doomed and heartbroken and antsy, you've got your hands shoved in your pocket to protect against the cold

and you've got one hand wrapped around this stupid folded haircomb and you're scratching your thumbnail into the lacquer case of it over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and ov--

until you fell down and facedown died as you walked along

and the comb stayed like that in your pocket until 125 years later, when someone finally found you and managed to pull it out from between your disarticulated, frozen, sun-bleached bones

that would be soooo fucked up right............. anyways it was probably just rocks and shale scratching it i guess..... maybe an animal gnawed on it a bit........ or like. yknow. the terrain + arctic tundra environment took its toll after the protective layer of Body And Clothes were degraded and destroyed over time etc.....

#dont worry mr. armitage i saw your nervous habits scratched eternally into the side of a comb.....#📜#armitage #peglarmitage

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writingquestionsanswered · 1 year ago

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Hi, do you have any advice for indecisive writers? <3 Anything in general would help, I'd love something specifically for autistic people (whose brains shut down the "decising-making centre") too if possible <3

Tips for Indecisive Writers

My number one tip for indecisive writers is to not be afraid to go "old school" and literally pick something out of a hat or roll some dice. For example, if you're deciding between three different plot ideas, you can write each one on a few folded up pieces of paper, throw them all into a bowl, mix it up, and whatever you draw is the one you go with. Or, you could say 1 and 2 are idea #1, 3 and 4 are idea #2, and 5 and six are idea #3, then roll dice. And, actually, if you type "roll dice" into Google, you can roll digital dice and you can choose up to 20-sided dice or customize your own number of sides. This is particularly helpful if you have a list of items, such as several names you're trying to decide between.

If you Google "online decision maker" you come up with a bunch of different online tools. Easy Decision Maker lets you type in a question... for example, "What should I name my character?" Then you can enter up to 26 options. When you click the "answer" button, it chooses one for you. Picker Wheel lets you put in the various options, then spin a wheel to decide.

The trouble I tend to have is sticking with whatever "fate" decides at that point, but one thing I've learned is that sometimes when my brain plays that game... where I roll a 4 meaning I go with plot idea #2, and then I'm disappointed, I know that is because some part of me knows I want to do either idea #1 or idea #3. So, even though it isn't working exactly as planned, I've still accomplished something... I've eliminated a choice. Now I can roll again, with 1 -3 being idea #1 and 4 - 6 being idea #2, and I know if I'm disappointed again with whatever I get, then the remaining choice is the one I wanted all along. For whatever reason, though, my brain can't just make that decision. It needed to go through that process to get there, and that's okay!

Now, as helpful as decision making tools can be, they're not always helpful in the moment, when you're writing and you're not really stuck between particular choices, but rather you're facing an empty void and aren't sure where to take the story next. For me, this is where pre-writing comes in really handy. I always go into a story with a beginning to end summary at the very least so I know where things are going. There's still often some decision making to be done, but I find it easier to do before I write rather than during.

When it comes to finding things to even decide between... like when you're planning your story and you come up empty on something, I find inspiration sources to be extremely helpful. For example, let's say I want to write a romantasy, and I have no idea what I want the setting to be like. That's the worst kind of indecision, because it's not like I can just type four or five locations into a decision maker and let it pick for me. I don't have a list to even pick from. So, looking at inspiration sources helps. Maybe I saw a travel show about Bavaria which really intrigued me... that could be a great inspiration location for my setting. Or, let's say I'm not sure what I want my character to look like. I might scroll through a list of up and coming actors, through the cast of a random TV show or movie, or think about actors in TV shows or movies I've recently seen. As I scan past thumbnails of head shots, when I see someone who looks like my character, I can stop and note down the name or save the photo. And with any inspiration source, if I find myself unable to decide between multiple inspiration sources... it's back to the ol' decision maker!

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

#wqaadvice

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sgdlr-asdfghjkl · 2 years ago

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Link Click Musical Masterlist 🔍🌟

#音乐剧时光代理人# <- 'Time Agents Musical' main tag, pictures tab - shows majority of stage pictures in chronological order, updates from official Encore Musicals show up here too.

Tips: 1) Visit the OP's profiles! They usually post more than the one photo you can see in a thumbnail. And it's easier to browse & save pics through the profile.

2) Even though you can scroll the pics tab indefinitely, without a weibo account you won't be able to easily access older posts, as they'll get buried under the user's newer posts (there's a roundabout way mentioned in my guide). So I recommend to visit this tag frequently, if you wanna be sure nothing is hidden away 🔍 Daily or once in a 2-3 days will be enough imo, it's not very crowded tag ^^

3) Video tab under main musical tag is no longer accessible due to a weibo update. For videos you can check videos tab under the individual actors' tag. You can scroll these indefinitely.

接着奏乐接着舞Musicals (Encore Musicals) <- official profile of a theatre that runs LC stage, they post the cast schedules, photos/behind the scenes clips, whenever new actor debuts, there's a special guests or a cast member has a birthday. They also report when an actor goes on a health break. Tip: all LC actors can be found in the pinned post (you'd need OCR 'image-text' tool to copy their names from pics though)

Encore Musicals Bilibili account <- theatre's official profile on a major cn video-sharing platform (more bts clips)

校医来啦 <- profile of a chief producer of LC Musical, Chen Xiaoyi

兮兮兮辞_ <- profile of an executive producer of LC musical

Metablue赛博蓝 <- bilibili of a music producer, she did videos about working on LC musical songs

🌟Actors

✨cast visuals promotional photos here✨

their personal weibo profile & actor specific hashtag (supertopic aka 'diamond tag', you find the most stuff here)

actors who graduated from the cast and no longer perform in LC are crossed out

Lu Guang

Wang Minhui - @王敏辉Black 王敏辉

Wu Yihan - @音乐剧演员吴以瀚音乐剧演员吴以瀚

Guo Hongxu - @郭虹旭_GHX 郭虹旭

Du Guangyi - @杜光禕杜光祎

Zhu Hanbin - @Keb_朱涵彬朱涵彬

Yin Haolun - @殷浩倫Monster 殷浩伦

Yang Haoran - @杨浩然hh 杨浩然hr

Li Yuyan - @是李玉言李玉言

Qiu Junyang - @QQ-邱俊阳邱俊阳

Wang Zhiwei - @王智威Aoki 王智威Aoki

Cheng Xiaoshi

Cai Qi - @超级蔡淇超级蔡淇

Shu Rongbo - @舒荣波-Bobi 舒荣波

Ji Xiaokun - @原来是纪晓坤啊纪晓坤

Teng Chunpeng - @滕春鹏tcp 滕春鹏 (heel injury pic is the only post on his profile >< just visit the tag)

Ding Xingchen - @D丁星辰丁星辰

Cao Muzhi - @曺牧之曹牧之

Bai Zhuoming - @丿日亻卓钅名白倬铭

Wang Yifei - @王逸飞_V 王逸飞

Jing Yanqiao - @井彦乔JING_ 井彦乔

Guo Hongxu - yes, he plays both

Chen Kai - @_陈楷陈楷

Zhang Jiahao - @张嘉豪music 演员张嘉豪

Jiang Yizhe - @姜义哲想逃跑音乐剧演员姜义哲

Qiao Ling

Cai Lu - @蔡璐_Katherine 蔡璐

Deng Xianling - @邓贤凌邓阿凌邓贤凌

Wu Hanglu - @吴杭律吴杭律

Feng Xinyao - @冯鑫垚smile 冯鑫垚

Qiang Dongyue - @嘀嗒_强东玥强东玥

Zuo Yiping - @左一平儿左一平

Qian Anqi - @钱安琪麦麦钱安琪

Yan Lehuang - @闫乐湟乐乐闫乐湟

Lu Hongbin/Chen Xiao

Zhang Jiahao - he also has 2 roles

Li Zexi - @李泽熙Zenith 李泽熙

Xu Fangxing - @阿星-许放星许放星

Zhi Bowen - @智小少总是不靠谱智博闻

Zhou Bobo - @就叫我波波好了周波波波波波

Zhang Zhiwei - @张智伟_

Song Yuanming - @教练我zen勒想打球！宋元明

Gaoer Jinbaoyin - @高尔金宝音高尔金宝音

Lin Zhen/Chen Xiao's mom

Hong Guo - @红果其实是洪果音乐剧演员洪果

Liao Jingyuan - @廖婧媛LJY 廖婧媛

Guo Zhenyan - @郭珍艳Miki 郭珍艳

En Yu - @恩妤Ura

Shen Tian - @音乐剧演员沈恬音乐剧演员沈恬

Yu Mengying - @于梦滢yummy 于梦滢

Zhu Jiayan - @朱佳艳Rio 朱佳艳

Zhang Ruishu - @_张睿姝_

Zou Ziyue - @-Zou醉是子月邹子月

A few actors for supporting cast don't have a tag bc they seem to be newbie actors and/or have very small online presence

Tips: 1) Without a weibo account you can scroll through the actor's tag only up to abt 45 most recent posts. The actors perform in multiple plays (duh) so non-LC photos will show up too.

2) Imo the most optimal method, so the limits won't stop you is: go to the main 'LC musical' tag and see what's new. Check schedule for the cast lineup in a recent performance. Go to the actors' tags to see what's new.

3) Sometimes there are 2 performances on a same day, with different actors. So don't be surprised if you find mixed lineups under one date.

4) Mostly QL and Lin Zhen's actresses post behind the scenes photos on their personal profiles. Don't bother looking up the guys accounts, unless it's a holiday or their b-day >< From what I remember, only Wu Yihan posts abt his cat. Zhang Jiahao and Zhou Bobo post selfies sometimes. Ji Xiaokun posts his own photography (he's good!).

5) Google translate, however broken, is enough to translate the captions, so use it for context✨Ppl sometimes give their reviews titled 'repos' from the stage they've seen 🙏

6) You'll find more musical related clips under the actor's tag, than in 'LC musical' main tag. It's usually in an actor's fancam, but not always. Useful when you like an actor or there was a particular moment you want to see from a different angle🌟👌

7) The clips tab (one in the middle) under the actor's tag has no time limited access. You can browse and watch the videos without issues!

______________________________________________________

I'll try to add missing tags when the actors debut 💪 And if you find any mistakes or a broken links, please let me know 🙏

OKAY that's all I have🎉

#link click musical #shiguang dailiren #weibo #link click #there are many links to click actually 🤓#masterlist #niebo brainrot talk #text post

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myokk · 1 month ago

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Hi! Since you are an art teacher, what do you think about how human art and ai can coexist nowadays? I am personally afraid that in some places ai almost replaced human art, even digital art. At my last job we sometimes did commercial posts and banners for the things we were selling, and when I asked to do my own work for it, like my photographs edited and remade, my boss never let me, because she was sure that ai will do it faster and better. So, what do you think about human art's future?

Hi anon!!🫶🫶

I have a LOT of thoughts on AI, its use in fandom, and how people who aren’t artists (like your boss) assume that AI can do just as good of a job as a human.

With how our society is structured right now, it’s a convenience culture. Not an attack on anyone, but when you think about how everything is set up: food and grocery delivery, ordering online, streaming services, subscriptions, even social media algorithms - etc etc etc - we are becoming conditioned to just…expect instant results tailor-made to our tastes. People want things done with the least amount of effort, that is cheap, and have a difficult time feeling uncomfortable.

With art, it’s extremely difficult to become good at it (whatever your metric of good is). When I create a piece - whether it’s realism pencil portraits, oil painting, beautiful landscapes, this fanart, there are years of experience behind every decision I make. I’m constantly thinking about lighting, anatomy, composition, shading…what goes in to make a beautiful, visually interesting piece of art. And the wonderful thing about someone who is actually creating their own art is that there are always going to be little quirks of theirs that helps you tell what THEY do apart from somebody else♥️♥️♥️

Like with these example of art I’ve drawn, even thought they’re all vastly different mediums, techniques, subjects…there is something about them all that I feel is unique to me:

AI is never going to have that human element. I don’t think it’s going anywhere (🥲), but people still haven’t learned to use it as a tool to enhance what they already do (if they choose to use it, which I personally never will). This applies to ChatGPT as well as any ai generated “art”. No matter how good of a prompt you put into it, it still lacks a human element and I feel like with AI it is difficult to adjust these images to your exact specifications. When people like your boss use it, I think it’s because there’s no appreciation for the thought and choices that are behind what a human would create.

I feel like using AI would only work if you used it to get a general idea of what you want, like a composition or whatever. But even in that case, I would prefer doing many small thumbnails myself trying out different colors, compositions, poses, etc. idk. I ENJOY making things by hand, taking my time with them, making mistakes and learning from them…and I feel a lot of pride and satisfaction when I look at how much I’ve grown as an artist since I started taking it seriously. It’s been a slow journey, but it’s something I can say is 100% my own, and I’m not ashamed to be proud of myself. I doubt anyone who really uses ai for their art can feel the same way.

I feel very sad that more and more people are looking to ai to create images for them. Obviously it will be cheaper, but it really takes away something beautiful. All AI art has a similar, strange quality to it that I can’t quite put my finger on. I hate how it looks. I hate how it makes “realistic” portraits. It has weird colors, strange composition, lacks years of experience behind the choices…it can get people close to what they want and they’ll keep using it, but I don’t have to like it🥲

For me, personally, I just don’t engage with anything that I know or suspect is helped/created with AI. It’s turning everything into the same aesthetics, taking away individuality, and I just simply do not want to support it. At this point I don’t care if other people use it, I just move on…but…I doubt I’ll ever use it.

I like using my brain, I like struggling through things, I like trial-and-error and learning what works and doesn’t work. If I used AI to help me create my art, I don’t think my brain would grow at all because I wouldn’t be thinking about any of these elements that go into a beautiful piece of art. It makes me sad that especially companies and advertisements are falling back to AI, and I really hope that real artists can think of ways to integrate it into what they do because unfortunately that might be where things are headed.

Sorry this is rambling and maybe doesn’t even answer your question😭 but I’ve been thinking about it on-and-off since you sent it and here are some of my ai thought🤲

I would be really curious to hear what you all think too if you’ve even read this far!!♥️

#maybe none of this makes sense and if that’s the case I’m sorry #I’ll use the excuse that it’s 35° today therefore my brain melted & ALSO it’s almost midnight😆#also I’m a huge board gamer and the art that these games commissuon is often just breathtaking and beautiful #there have been a few games coming out with ai generated art and it’s AWFUL #and I would never buy or support them either #ask #ai #anti ai #ai art #ai artwork

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that-ari-blogger · 9 months ago

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Part Of Who I Am (More Than Anything)

A duet is a conversation and a contrast. That’s not me being pretentious, that’s literally what is happening. A duet is two characters communicating with each other and with the audience. Sometimes they agree, the vast majority of the time they don’t, but they are talking to each other and presenting their perspectives.

In a musical, the songs tell a story, and duets are a powerful tool to show changing perspectives.

But, there’s more to a song than just the lyrics, especially in a musical, and when all work in tandem to create meaning, you get something like More Than Anything.

Let me explain.

SPOILERS AHEAD: (Hazbin Hotel, The Wild Robot)

First, some framing. This song is told by a father and a daughter, a king and a princess, a protagonist and… that’s actually rather complicated.

As such, there is a generational theme to this song. It’s two times colliding, the past and the present. But it’s also two sensibilities colliding in a truly brutal way.

Lucifer’s objective throughout this whole musical has been to protect his daughter. He has been utterly awful at it, but he hasn’t wavered from that goal.

Case and point, he believed that he was a bad influence on his daughter, so he stayed away. This was, in my most humble of opinions, a bone numbingly stupid decision. Supporting his daughter by not supporting her.

This then got exacerbated by the drive to redeem sinners. Lucifer saw himself in his daughter and saw only his mistakes. He saw his pain and tried to save her from failure by not letting her taste success. Supporting his daughter by not supporting her.

Notice where the spears and arrows all came from. They were the ones aimed at Lucifer in the previous shot. From his perspective, anyone near him is in danger.

His objective is in the right place, and while I’d like to say that Jeremy Jordon carried him in terms of likeability, I have to give credit to the writers and animators for his incredible characterisation. But the execution of his goal was about as flawed as you can get.

“There are times when I still wonder about you. You are someone I have loved, but never known And you'll never see the reasons I had For keeping my claws away when they were close enough to hurt you.”

In 2015, the Crane Wives released an album called Coyote Stories. Now, I am biased by the fact that I love this band to no end. But if you have spent any time browsing the Animated Music Video space online, you will have come across this album.

Most notably is the album’s twelfth song, and the one I just quoted, Never Love an Anchor.

This is a cover by Førest Fincent. They made another but this one had some art I loved for a thumbnail, so I'm recommending it.

The Crane Wives have complex emotions down to an art, but I want to focus on this song because of how it relates to guilt and fear of connection.

It’s a song trying to justify itself. The narrator has convinced herself that, for whatever reason, she is a negative part of someone’s life, and so she positions herself as the anchor in the titular metaphor. You can’t love something that holds you back.

"On some level I think I always understood that a ship can never really love an anchor. So I did the only thing that I could and severed the rope to set you sailing from my harbour."

But that’s not what anchors do. Anchors hold you steady. They keep you safe in a storm. They hold you in the dock and they let you move around without straying too far into danger. But crucially, they come with you. When you need to go somewhere, you can lift the anchor and take it to wherever you are going next.

The song emphasises it’s point with rigidity that it breaks only twice. Throughout the song, there is a delicate rocking rhythm brought about by the guitar and the backup voices. It is mournful, but cyclical. Nothing happens, it’s safe but motionless.

Even the lyrics find a constant rhythm and repeated tune. Except for two places.

On “never see the reason”, the singing rises in pitch to become a plea before sinking back down, swallowed by the rest of the music that hasn’t changed one bit.

It doesn’t matter her reasons, you’ll never understand them, you don’t need to, the song doesn’t care. Instead, the song wraps around itself to present one thing as real:

“I am selfish, I am broken, I am cruel I am all the things they might have said to you Do you ever think of me and my two hands? And wonder why they never soothed your fevers? And wonder why they never tied your shoes? And wonder why they never held you gently? And wonder why they never had the chance to lose you?”

The entire song contorts around this segment, with the guitar hammering out chords like a bare-knuckled boxing match while the bass and drums desperately try to keep a brave face up, only to falter at the end and join in the assault with those final words.

“And wonder why they never had the chance to lose you.”

This was not about you. This was about the singer. This was her protecting herself. It was a selfish desire that no excuse could possibly remedy.

This was never about you.

There are no more lyrics after this, the music just plays a victory lap to gloat over the lyricist. It drew out her weakness and guilt, put it on display.

I kid you not, my favourite trope in all of media is this shot. The door closes and the camera looks back at a person, who drops their happy demeanor just a second too quickly. We see all that joy before hand, then we see it was an act. I love this trope so much.

The reason I talk about this song instead of the one I’m ostensibly analysing is to point out the power of the music itself. In Never Love an Anchor, the lyrics and the music represent different sides of the same person. Her excuses and her true intentions. What she says, and what she means.

It's also the exact same as Lucifer’s worldview. This was not about Charlie at all. Everything I said before was true, but objectives can be sabotaged, and it was exactly this that messed up Lucifer’s relationship with his daughter.

This was never about Charlie for him.

Speaking of whom, Charlie is relentlessly optimistic. She is the child who wants to push boundaries, and yes, she is going to get hurt, but that’s the point.

In a way, she relates to the Spiderman proverb. “With great power comes great responsibility.” Charlie has access to the power of authority, but also that of the king of hell, and she is using it to protect people from extermination.

Charlie is unconditionally good, and her father is the literal devil.

So, music as a vehicle for storytelling.

Well, this song is split into three parts. Charlie’s, her Dad’s and the finale where they both sing together. There’s a bridge, but we’ll get there in a moment.

We start with a guitar.

This is the pattern. It’s floaty, and draws you forwards, before looping back to itself. It’s stable, and nothing happens.

For the record, take a look at the opening of Never Love an Anchor and see if you notice the similarities.

It’s the movement. They both feel like they are rocking, like a lullaby. They both have the high note to draw you forwards but are kept grounded by the base. And they are both fundamentally static.

It also continues throughout Lucifer’s section of the song until we reach his daughter’s section. Nothing changes in the guitaring of Lucifer’s backing music. There is one slight addition, but we will get there in a moment.

Before that, however, look at Charlie's part of the song.

The difference here is multifaceted. First up, the key signature changes from D flat Majour to B Majour, but second, we have a new instrument that needs to be taken into account.

Now we have a drumkit. It’s a simple rhythm, but this is a simple song, and it repeats along with the rest of the tune.

Lucifer's name means "light bringer. It comes from a roman deity of Venus who's Greek counterpoint was named Phosphoros, meaning the same thing, or Heosphoros, which meant "dawn bringer". Our boy is associated with change, and the beginning of a new day. He is the herald of the closing of night, a man who exists to let you know everything is going to be ok. That's going to come back later on in the show.

Suddenly we have a theme. This song is about Charlie taking what her father tried to do and doing it her own way. It’s fundamentally based off of the same thing, but she has shifted things around and added her own flair.

It’s a reframing, and if you look at it, that’s exactly what this song is about. Charlie has tried to convince Lucifer by showing him that the things he says are false, but this isn’t about that. So, she switches track to showing him his own legacy and how the stuff he believes about himself is wrong.

“So in the end, it's the view I had of you That showed me dreams can be worth fighting for”

No sir. You ain’t a bad influence on me at all. You inspired me to do this. You’re a good person ya dingus.

This is best exemplified by the song’s titular motif.

I haven’t really spoken about the piano much yet because it really hasn’t been a big part of the song up until now. It’s been backing up the guitar and playing the same bass note to make that seem louder. But on its own? Not much.

Until now. Every time Lucifer sings the song’s title, he is echoed by this descending melody that once again repeats itself until the final section, which is notably lower. It sounds like descending a scale. When he sings, it rises, and the piano brings him back down to start again.

That final note drop however gives an air of resolution to the piece. It’s his final decision, yes, but it’s not one he has willingly taken. The key signature reenforces how this isn’t something he is happy about, but he feels it’s necessary.

Compare that to when Charlie sings the same section.

It’s the same. It’s shifted down a bit like the rest of the song, but it’s the exact same melody.

So… what gives?

For starters, this is the same thing as before, with Charlie trying to persuade her father that she is doing the same thing as him. She is inspired by him, but giving it her own taste. Most notably, the key signature once again makes this seem hopeful.

Although, there is one more element here that is giving some motion to Charlie’s part of the song, and that is the rest of the piano part.

Is Charlie builds up to the titular motif, the piano starts to build with her, gaining power and emotion as it goes until she says those words and…

It’s the same as her father. That power is held for a moment as the song stores it while Charlie is just plain and open to her father.

“I need to save my people more than anything.”

She’s made the point that she is inspired by her father, but this is what is actually important right now. Heaven is an actual problem worth more than Lucifer’s self-loathing.

Ok, I have questions about Alastor. This shot frames him as reassuring and supportive, and he is. He's a villain, but he is also genuinely supportive. He is the opposite of Lucifer. Where the king of Hell's intentions were good but his actions were terrible, Alastor's intentions seem malevolent, but as far as I can tell, his actions towards Charlie have been, for the most part, positive.

But at the same time, she’s still making that point. This is exactly Lucifer’s motivation at the start. He wanted to make people’s lives better and that’s exactly what Charlie is doing in a very real sense. It is also portraying her as the type of royalty that acts how parents should act. She needs to save her people. It’s not a want, it’s a need, and her father should pick up on that.

“Your life is not negotiable.”

The Wild Robot is a film about parenthood. It is a film about being more than you thought you could be. It is a film about neurodivergence. And it is a movie about how fate and purpose are utter bollocks. This film will mess you up, I would highly recommend it.

But this isn’t a review blog, and instead I would like to point out how it uses programming and the heart as metaphors in conflict.

A key theme in the film is decision making and the causes behind it. With “programming” taking the form of an entirely logical type of rationality.

Roz extends that metaphor towards others as a way of understanding how that part of the brain works, so this doesn’t just apply to robots.

Incidentally, Roz and Brightbill are programmed differently to everyone else. That is the neurodivergent coding.

On the other hand, the idea of the heart is so much more complex and harder to pin down.

“Brightbill was never supposed to get this far. You know that. It is more dangerous for him than anyone else. But he has a chance if, where his wings end, his heart can pay the balance.” “His heart is 48 millimeters.” “From what I’ve seen, Brightbill’s heart is much bigger on the inside than the outside.”

This makes no sense at all, and I love it. The heart is a source of strength, its willpower, but it’s also not framed as something that anyone has control over.

The heart is emotion, it’s fundamentally irrational. Brightbill was not supposed to get this far, but he did. A robot cannot be wild, but Roz is.

The heart is hope, its tenacity, it’s fear and bravery, it’s love and affection. It is everything other than programming.

The final conflict of the film that comes very close to Wall-E and then realises and takes another direction is very clearly a conflict between the Heart and Programming, and the heart wins.

“To survive, we must become more than we were programmed to be.”

This is Charlie’s entire deal in Hazbin Hotel. At face value, she is making the sinners into more than everyone thought they could be. But on further inspection, all of Charlie’s motivation comes from the heart.

I have already talked about her hope in a previous post, but this song drives home how subconscious it is for her. She wants to save Hell, but this is more of a need for her. The sinners’ lives are not negotiable, that’s what she is trying to get her father to see.

Remember earlier, though, when I said that the energy from the piano is stored? Well, here is where that comes crashing back.

That holding out makes the audience wait for a resolution to the rise, and if we combine that with a powerful set of chords, we end up with a real sense of catharsis and triumph.

We have movement, and a pattern that changes. Only slightly, but we’re finding something new for the first time since the drum was added.

Specifically, that movement is upwards. It’s about that hope that Charlie has inspired in her father.

“All that I’m hoping. Now that my eyes are open. Is that we can start again, and not be pulled apart again.”

The final section of the song doesn’t introduce any new elements at all. It’s the first section but with both Lucifer and Charlie singing. The two have started again, but this time they are singing together, and on the same page.

The song is a conversation between two different ideas. But the music itself goes out of its way to show just how similar those ideas are. One was built on optimism that failed, the other on hope that cannot be crushed.

Final Thoughts

I’m back. I had a break for a month and missed Halloween, something I am more than a little miffed about. But there’s nothing like some Jeremy Jordan to bring me back. Jeremy Jordan can do no wrong.

Do I have a crush on this man? No. No I do not. Why do you ask?

In all seriousness, I really like this song and I’m glad it’s one of the most popular in the series. It is, however, really fast paced.

This song would have served the story better if it had an entire episode to back it up, rather than sharing that time with Hell’s Greatest Dad. Both songs are fun, but the difference between them in such little time is jarring.

That is, however, a problem with the management cutting the series to eight episodes and not with the crew. But it is a problem that carries over to the next episode and the next few songs.

I have thoughts on Welcome To Heaven. Lots of thoughts.

Stick around if that interests you.

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mtglore · 10 months ago

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MTGLore.com Is Back Online!

Your patience during the downtime has been appreciated.

Currently, the main search, chronological search, book catalog, and comic catalog are accessible. Searches are the core functionality of the site and that means I can sleep again at night. Enjoy searching 30 years of Magic story again, in one place.

Testing Fixes and Updates

All future features and troubleshooting will be going through staging environments. I want add back timelines and add in other tools, but I'm treating any changes with an abundance of caution. It is a simple site with minimal issues, but I despise downtime.

The minor inconveniences right now:

Menu dropdown icon is missing on mobile.

Thumbnail images for some story results are missing. This has no functional impact on search, however I like visual results. They are being gradually restored.

Featured images in archived articles and campaigns are missing. There are fewer of these, but they are being relinked.

#site update

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sleepy-pigeonn · 1 year ago

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A Look Into My Hades Fan Animatic

I don't know to call this other than a collection of resources and reflections about the process of making the animatic. Hopefully it's interesting or helpful for someone. But feel free to ask questions if you'd like clarification/more info!

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Inspiration (A non-exhaustive list)

It's possible that I've seen/read fan works that may have inspired me unconsciously, so there's no way I can possibly include references to them all. However, the ones I listed here are ones I recall looking back at repeatedly.

The fancomics "First Flight" and "Bonehead Boon" by Liana Sposto

Robbie Elliot Art's animation "Take Tonight"

Toastyglow's animation "Glitter & Gold" and PMV "This Year"

Storyboards posted by Paige Caldwell (@/papernewt) on Instagram

Zag admiring some of these beautiful fanworks.

The following sections are below the cut: References, Songs, Script and Thumbnails, Studies, Drawing, Editing, Random Facts

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References

These were very helpful to creating the animatic!!

In-game references

Hades Wiki

3D Model of Zagreus by @/chunyou_ on Twitter

I also used screenshots I took while playing

General references

"How To Direct A Fight Scene" by Howard Wimshurst

Poses from the photo libraries of The Pose Archives and AdorkaStock

3D Model of Male and Female Heads by William Nguyen

I also just looked stuff up online or took videos of myself acting out some of the movements.

___

Songs

I thought of basing my animatic on any of the following songs:

"Icarus" by Bastille

"Dirty" by grandson

"Underworld" by CYPRSS *

"I'm Still Here (Jim's Theme)" by John Rzeznik

"I'm Gonna Win" by Rob Cantor **

"Could Have Been Me" by the Struts

They all have a varied degree of "Zagreus vibes" but I wanted a song that could be used to show as much of the game as possible. "Could Have Been Me" was the song that I could imagine more things for, so it is the one I ended up using.

* Look at this awesome Zagreus fan art based on this song

** Some of the lyrics for this song are so fitting for Zag but others are pretty ooc.

___

Script and Thumbnails

I've seen other artists annotate the lyrics to the song they are working with and attempted that here. But that process is a little confusing for me, so I kept these descriptions vague. It was helpful in keeping track of ideas, since some of them are faster to write down than draw. Especially for fight sequences.

I used Storyboarder for the thumbnails. I opted for this program because (1) it lets you add an audio file and (2) it has very basic tools. It can be used in a more nuanced way than I did. However, with 3 and a half minutes of frames to work out I needed something that helps me draft down ideas efficiently and without overwhelming me. And this was pretty good program for that.

The script and thumbnails happened in tandem a lot of the time. Think of it as brainstorming, both in vague writing and loose drawings. At this point I am trying to see if these ideas flow with the song, if they are readable, if they achieve what I had in mind.

___

Studies

Okay. So I am happy with my ideas. Now. How do I make sure the drawings are identifiable as taking place in the game?

This is where those in-game references came in handy. I looked back at my thumbnails and made a list of everything I would need. From characters to locations. Once I had these down, I made folders to make sure everything would be nice and organized.

I tend to avoid backgrounds like the plague. However, for some of these shots to work I need to give the viewer a sense of where the action is taking place. I know that I struggle imagining three-dimensional spaces while drawing digitally. So, using my thumbnails and the references I gathered, I did studies of all the locations I thought would be important using good old paper and ink. This also served to fine-tune shot compositions.

___

Drawing

The animatic itself was drawn using Krita. Usually, I worked on all the backgrounds using the studies as a base and then added the characters. My drawings started very rough for a couple of reasons. The main one was that with ~200 frames ahead of me I was afraid of letting my inner perfectionist get me stuck. I kept reminding myself that, being an animatic, the drawings could be rough as long as they are still readable. As I got more comfortable using Krita, I was able to create cleaner backgrounds.

Even so, I hit an art block around the two minute mark where I Could Not Draw. This is where I heavily relied on those References I Keep Talking About. They were my savior and are the main cause for the more "finished" look towards the end of the animatic. I think the best example of this was the shot featuring Thanatos. I was deep in the art block territory by the time I needed to go from thumbnail (top left) to final frame. No matter how much I redrew them, I didn't like how they turned out (top right). To work this out, I found references from The Pose Archives and used them as a guide (bottom left) to get a sketch that I liked (bottom right). I felt this look was more sketchy than I've would like so I ended up cleaning it. I followed a similar process for most of the frames following this one. As a result, the final frames of the video turned out cleaner.

___

Editing

Once I had all my frames ready to go, I imported them into HitFilm Express and made a composite shot where I basically just matched the timing of the frames to the music. Frames that have camera movements (like the very first frame) were made in their own composite shots. I ended up having to delete some frames so some sections didn't feel rushed. In the end, there's like 5 versions of the animatic because I kept making little changes. The biggest was adding Zag's dialogue at the beginning since I felt the video started up too quiet. I don't have any images for this stage. Please have this comparison instead.

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Random Facts ✨

Adding color was a last minute decision, it was mainly because I thought a colorful sunset would be prettier. My original plan was to shift the gray tones of the background into more yellowish tones once Zagreus reaches the surface, but keeping everything monochromatic.

If you pause quickly on the very last frame you'll see I accidentally made Zag's leggings black instead of red. I was on auto pilot at this point. Adding color was worth it overall but so time consuming. My respects to people who do fully colored animatics.

I wish I made Meg a pinker (or blue) hue rather than purple. In my mind I saved purple for characters related to Nyx (hence why Hypnos, Than, Chaos, and Charon have shades of purple). But I guess it is a sweet detail because of how Meg confides in Nyx in the game.

I kept a log of all my progress. Apparently getting the thumbnails done took about five months (August 2023 - January 2024)?? Anyways I leave you with these entries.

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Thank you for reading! I hope it goes without saying but I really appreciate all the support this animatic has received. All the hearts and comments and tags, they mean a lot.

#chbm animatic #art box #hades game #crossing my fingers that all links work

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disruptivevoib · 1 year ago

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hi !! really hoping we haven’t asked this before and forgotten. but how do you sketch bodies / poses :O? your composition is always really nice and in general the way you draw bodies is great fhdjd

Not been asked yet to my recollection!

Bodies are a bit of a... takes time thing! But usually I try to have a pose or idea in mind that I'll thumbnail down somewhere on the canvas. Same with composition. There are a lot of little doodles or pose ideas that I mix and match before kicking a piece into gear.

Though, that being said, sometimes I know exactly what I want to do from the get-go go and it just takes a couple of tries and re-sketching to get it right! Warm-ups are also a big recommendation.

If you can- find pose references online too! I don't do this as often as I should but pose references always help keep anatomy a little bit more in place or "natural" looking (as natural as it can be in my style! Stuff is still exaggerated and more cartoonish after all)

The best way I can describe my sketching phases is kind of like chiseling away at something. I start more with basic form and loose shapes then erase and re-draw over top of it (and select tool edit lol) until I find its the way I want it!

And I do the same thing with color and lineart too! I draw over my lineart and color layers after everything is done in order to reshade or reshape an area I dislike.

Not particularly a tutorial but just a general look on how I draw certain things!

Unfortunately, I don't think I have any thumbnails hanging around. Most of them have been on the Song Pieces and those files have had all their layers deleted and remade for the next song piece over and over and over lmao. But generally, those are small drawings in little boxes that help convey a composition you might want for a piece.

#voidthoughts #voidart #!!! the legs I think are too long on that sketch but fuckem they can have long legs #was surprised I even drew that decently tbh!! its the first thing I've drawn today!#asks #hope this helps

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scamornoreviews · 11 days ago

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AI Media Machine Review - Is AI Media Machine Legit?

Looking to scale your content fast without tech stress? Read this honest AI Media Machine review. Discover how this all-in-one platform helps create videos, ebooks, graphics, and more with ease.

AI Media Machine is revolutionizing how content is created. This all-in-one solution gives users access to 12 AI tools that help produce over 50 professional pieces of content each week—with no technical skills or on-camera appearances required. Here's how it's transforming digital creation forever.

AI Media Machine Review

Introduction: Can One Platform Truly Replace a Whole Creative Team?

In today’s fast-paced digital world, content is king—but creating it? Oh boy, that’s where most people hit a wall. Video editing, ebook writing, voiceovers, graphic design—it's enough to make anyone’s head spin. Now imagine having a team of 12 AI-powered assistants working tirelessly behind the scenes. That’s the promise of AI Media Machine.

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Professional videos

Eye-catching graphics

Full-length ebooks

Natural-sounding voiceovers

Music, logos, and more

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In simple terms? It’s like hiring a team of editors, designers, writers, and producers—without the monthly paychecks.

Why Creators Are Switching to AI Media Machine

Truth be told, traditional content creation is exhausting. It’s slow, pricey, and often requires being on camera. That’s where AI Media Machine comes in, like a breath of fresh air.

Key Benefits at a Glance:

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No Tech Skills Required It’s beginner-friendly and straightforward.

Over 50 Pieces of Content Weekly Work less, create more.

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Affordable Monthly Price Less than a dinner for two—really.

Inside the Toolbox: What You Actually Get

Here’s a peek at the 12 AI tools included in AI Media Machine. Each one is like having a specialist in your back pocket.

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Just type a sentence, and boom—a full video appears with voiceovers, captions, and visuals.

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3. Talking AI Avatar

Create spokesperson-style videos without stepping in front of a camera.

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Get human-like voiceovers in over 50 languages with realistic emotion.

5. AI Ebook Writer

Write and design full ebooks with custom covers in just hours.

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Generate thumbnails that boost clicks without hiring a designer.

7. AI Logo Generator

Design logos in seconds using simple text instructions.

8. AI Music Maker

Compose copyright-free music for videos, podcasts, or products.

9. Content Multiplier

Repurpose content—like turning a video into blog posts or emails.

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Discover hot keywords people are searching for in real-time.

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Locate high-converting affiliate offers to monetize your content...

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12. YouTube Trend Finder

Find trending videos and ride the wave before competitors catch on.

Real-Life Applications: How It Works in Practice

Let’s say Sarah runs a small online store and wants to promote her products. She doesn’t have time to learn video editing or hire help. With AI Media Machine, she:

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Designs eye-catching logos and banners

Writes a quick ebook as a lead magnet

Uses the AI avatar for explainer videos

Finds trending keywords to boost SEO

In just a few days, she has more content than she used to produce in months—and she hasn’t spent a fortune doing it.

The Price vs. The Value: Worth Every Penny?

Here’s where things get really interesting. Buying each of these 12 tools separately would easily cost over $11,000. But AI Media Machine gives you the whole package for:

$1 trial for the first 30 days

$37/month afterward (locked-in rate)

That's a tiny fraction of what people usually pay just for a video editor or designer. And it comes with a 30-day money-back guarantee—so there’s no risk involved.

What People Are Saying: Early Feedback from Users

Let’s hear from a few real beta testers:

“At 62, I didn’t think I could keep up with content creation. This tool changed everything for me.” – James W., Phoenix, AZ “I create TikToks with AI avatars now. No camera, no stress, and they look amazing!” – Barbara T., Austin, TX “Designed my logo, published an ebook, and made my first affiliate sale—without leaving my living room.” – Robert M., Bend, OR

Clearly, AI Media Machine isn’t just for tech pros. It’s built for everyday people with ideas to share.

Frequently Asked Questions (FAQs)

1. Do I need any technical skills to use AI Media Machine?

Not at all! The platform is beginner-friendly. If you can type a sentence, you can use it.

2. Will I need to show my face on camera?

Nope! One of the standout features is the ability to create 100% faceless videos using avatars and voiceovers.

3. Is the content copyright-free?

Yes. Everything you create—music, videos, graphics—is yours to use, sell, or publish.

4. Can I cancel anytime?

Absolutely. There are no contracts or hidden fees. Cancel when you want.

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You’ve got 30 days to try it risk-free. If it’s not for you, just ask for a refund—even your $1 trial is covered...

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