#An Actual Tangible Theme And World Design

[postmakerkiwi]

♨️ Breeze Harbor Highwinds - Airship's Away! ⛵

Ah, feel that wind in your face, and the crackle of fires in your eardrum. This titan's ready for takeoff! Make sure all your things are in order and everyone's accounted for, because our next stop is the meadows of Zephyr!

photos by CatbatQuartet

[gynandromorph]

It's so interesting seeing Legend separately from Jessie as you post more NofNA comics. Was she always this different from Jessie in your head, or did she just diverge as time went on? Also, was there any sort of tangible trigger for Legend's episodes regarding the moon, or is it more to tie her in to Jessie's belief that the world is inherently fictional leading to her ascent to godhood?

These are not questions. But the animals you've drawn for the comics are really appealing! I especially like the baboon and lemur, but I'm biased. Regarding the Wet and Dry seasons comment, I come from east Africa and we literally call the seasons that. Since I lived almost exactly on the equator there were only two seasons, alternating throughout the year, wet and dry (or rainy and dry) and some people spruce it up a bit by saying "cold rainy" or "hot rainy" etc.

thank you, i really appreciate it... I think she was always pretty different, mostly because the omnipotence part of Jessie's powers are a huge part of the themes for Idletry, and NofNA has some inherent restrictions to The Powers that I tried to work with.

i think the biggest divergences were Legend Could Not Be Stupid And Also Develop A Powerful Thesis; Legend would have to ascend to godhood at the end of the story instead of the beginning like in Idletry; Legend would have to fail at gaining power because the issues she would fix are not fixed in chronologically later canonical NofNA stories; Legend would not be able to know that she's in an actual story because NofNA, according to canon, is not a story (e.g. you're supposed to pretend that you are engaging with a real fleshed out scenario); and because she couldn't focus on godhood like Jessie could, Legend would have to compensate by developing the literature theme further.

That ended up being a longer list than i intended, lol.

Currently haven't decided on a tangible trigger for her episode, aside from knowing that it's produced by a significant stressor like the death of someone she knows (leaning into diathesis-stress hypothesis) or being held back for not completing her metanoia in school (leaning into social defeat hypothesis).

The moon, in NofNA's canon (don't know how familiar you are with it, so forgive me if i'm explaining the obvious), the moon is God's eye, and God and the natural world are the same thing. Natural evil, more specifically, is attributed to God's design.

Legend and Jessie's shared through-line is more than anything an inner dissatisfaction because something bad happened and nothing can "undo" it... there is a deeply ingrained unfairness in the world inherent to its existence -- usually, blamed on God -- and they turn to fantasy and fiction to try to get away from it.

SO. the moon was included mmmmostly because of the problem of evil thing, but also because it could liken her story a little more to jessie's. insomnia and the darkness of nighttime are associated with psychosis, but i honestly don't think it would have been a strong enough reason to include as a big theme without the canonical presence of the moon.

[joshhhhhhhhhhhhhhh]

KyoAni groupwatch continues with the Munto series! The studio's first original work, as a fun piece of trivia. Although not one that many people seem to actually know or talk about - the nyaa situation for this one was tragic as well which is fun. The formats this series has taken will of course be covered as we progress further along in this groupwatch, but to begin with, we have this 50 minute OVA. It wasn't very good! We have exposition so heavy-handed that I struggled to retain any of it and thus found myself somewhat unsure of the basic nature of the setting. We've got a human perspective girl character as our supposed lead but whom plays backseat in her own story to her friend's boyfriend and backstory - and even when she is the focus she's refusing the call to action until we're about three quarters through the runtime. We've got fairly random themes that don't seem particularly connected to the actual series of events happening within the OVA. Honestly the only things I particularly liked here were some of the character designs, Gus whom is just constantly fighting and making cool poses, and the fact that there's always a thin layer of rainwater covering the ground, so there's basically always some sort of reflection visible - both an opportunity for KyoAni to flex a little by animating the same thing from two different angles, and symbolic of the whole two worlds dichotomy that's part of the setting. This definitely wasn't bothersomely bad - at worst just boring and without any tangible direction - but I'm certainly not feeling inspired for the rest of the groupwatch to come.

[doktorpeace]

I finished Xenoblade Chronicles: Future Redeemed

All in all absolutely phenomenal experience. Truly a visionary and audacious way to end such a popular series. Thematically resonant through to the end and well earned in the resolution it goes for. Beyond this I'm going to put a read more, under which will contain spoilers for the entire Xeno- franchise. That means Gears, Saga Episodes I-III, Chronicles 1-3, and X. I have a lot of thoughts and plenty more marinating to do, but these are my initial impressions.

Somehow managing to connect all of the Xeno- series not to AUs but canonically the same Prime Earth, which contextually is Our Earth is RIDICULOUS in how he pulled it off. It feels truly organic to all of the stories *AND* doesn't contradict any of them! It even, seemingly, directly ties into the beginning of X with it being 'May 23rd, 2022'. Elma arrived on Earth in the early 2020s and I believe she's that blue dot we see flying onto the Earth at the end of the credits.

Smashing all of those different FTL/Outer Space Colonization projects into a single radio broadcast in the background of just one cutscene is truly remarkable. Just a few lines recontextualizes this man's entire career.

And also, to those in the know, it reveals that all three of them: The Earthlife Colonization Project (Xenogears) The Immigrant Fleet (Xenosaga) and Project Exodus (Xenoblade X)

Occur due to Zohar related experiments gone horrifically wrong. Which we know from each series individually. But knowing that all of them stem from a single post-scarcity, conflict-free, truly equitable and globalized Earth, which nonetheless kept on trying different experiments with these godlike processors and all of them went awry is really interesting.

This game in particular very much focuses on the idea that advancement and power and control for their own sake are meaningless. If you don't have an idea behind it, if you don't want to make things the world tangibly better it's pointless.

Future Redeemed successfully ties every Xeno- game into this theme directly, no matter how subtle they are about it in their own content.

The Chronicles games happened solely because Klaus wanted to play God and make a new universe he would control, using The Zohar.

Gears happened because The Gazel Ministry wanted to create a creature that matched the Biblical God in terms of ability which they could control.

The Saga games happened because people wanted this power for transhumanism, to perfectly control the genes and births of every person, to ignore the realities of death and disease, but in doing so became so entrenched in making literal Designer Babies that it cuts off natural human diversity and reduces the people born to mere products and instruments shilled by different companies with different patents.

And all of these happened from The Zohar, a processor/machine mind that far outstrips anything humanity can believe. A thing which the humans of Earth only discovered by chance. Being meddled with purely out of avarice and hubris. The humans of that Earth didn't need any of those things. They'd already accomplished a perfect, post scarcity world. And that's why Alvis, a machine who's sole purpose is to be the logical arbiter between two other AI, when left to his own devices, decided going back to that would be best, no matter the cost.

He saw all of the tragedies in the three Chronicles settings that occurred solely due to Klaus' hubris and realized none of it would happen if these humans, the ones who've only known strife and difficulty and pain, had access to that post scarcity, conflict free, equitable world and beyond this, Takahashi buries the lede a little bit.

All of those previously mentioned projects to get humans off of earth. They're all cover ups by the Coalition Government of Earth. They're all touted as great advancements for human progress and potential but in actuality they're all just covering up massive, horrific, failures which would each result in the destruction of the Earth and its people. It's just Klaus' mistake had such immediate and tremendous consequences it couldn't be covered up.

Everything was destroyed in an instant. And we see, in Gears and Saga, that those decisions still ultimately do lead to an unimaginable amount of human suffering, just not on Earth. All they've done is ship off that suffering, literally, to some far reach of space.

Underpinning all of this is a distrust in the government and their motivations. A distrust for authority who claims they only want best for you.

Which is why Fei returns to living a quaint life. It's why Shion and Kos-Mos return to their normal. It's why Shulk refuses to become a god. It's why Rex and Pneuma live simple lives. And it's why Noah throws away the Sword of the End.

Each has the chance to become an ultimate authority, to have complete dominion over the lives of countless others, and they all give that up to just be...human. This franchise is truly something special. I cannot wait to see what comes next.

Please, Takahashi. Let us go back to Mira now.

Thank you, truly, @andawarmgeek, for sending me a download code out of the blue for Future Redeemed. This was an experience that I won't soon forget.

[hadesknockedupintheunderworld]

For the unpopular opinion meme, positive edition, can you touch on Forces and Infinite in particular?

Ooooooh okay okay

So starting with Infinite himself, I gotta start with the immediate stuff. His design is cool, his powers are sick, his themes (the vocal track and boss battle themes) make me insane, his English voice is 👌👌

And difficulty aside, the choice of his powers/attacks are actually pretty cool in my opinion. It's pretty wild the way he can change the stage around the player both from a gameplay standpoint and from an in universe standpoint. The fact that his illusions can even affect the environment and deliver physical consequences to those caught in them or attacked by them is something that (from an in universe standpoint) has the potential to really impact and mess with anyone caught up in them during Forces' story. It's a really fun concept to play with, especially if you take it a step further and indlict it on some of our main characters (i.e give them the struggle to determine what exactly is real at this point, even after the events of the story)

With his character too, the different accounts from the game, episode shadow, and the comic prequel make for a fun bout of crafting an interpretation of Infinite as well (no sarcasm here! I actually had a lot of fun drawing all his threads together in my mind and coming up with a reason he's the way he is)

And speaking of the way Infinite is, I can't understate how interested I got in his character just with the simple fact that he doesn't seem driven by his own goals in the base game of Forces

(One of these days I've got to write that essay of him that's part character study/interpretation part extrapolation)

As for the game itself, I actually really like the concepts the game throws at you to start with

"Killing" Sonic off really early, showing tangible changes in the landscape (especially with the desertification of green hill), other characters dealing with Sonic being gone, Tails completely splitting on his own parallel journey to the player, the player character starting out as some nobody Infinite happened to spare, Eggman just taking almost the entire world over after Sonic is removed from the picture, Classic Sonic just showing up because he happened to be with the Phantom Ruby as it began to shift through time and space. There were a lot of initial choices like that that were very interesting to me or surprised me, but compelled me nevertheless.

ㅤ

Thanks so much for the ask, anon! 🥰

If you have any other topics for the reverse unpopular opinion meme or anything else you'd like to ask, feel free to shoot it at me!

Reverse unpopular opinion meme

[satoshi-mochida]

Metaphor: ReFantazio director, character designer, and composer discuss ATLUS’ large-scale fantasy RPG

Gematsu Source

Publisher ATLUS and developer Studio Zero have released a 15-minute “Creator’s Message” video featuring comments from director Katsura Hashino, character designer Shigenori Soejima, and music composer Shoji Meguro on the newly announced fantasy RPG.

The studio has also officially released the multiplatform announcement trailer for the game, following an early release from SEGA Korea last week.

Metaphor: ReFantazio is due out for PlayStation 5, Xbox Series, PlayStation 4, and PC via Steam and Microsoft Store in 2024.

Get the full staff comments video and the multiplatform version of the announcement trailer below. A transcript and archive of today’s “Metaphor: ReFantazio Announce Celebration Live Stream: The Stalker Club Returns!” follow.

Multiplatform Announce Trailer

Japanese

Creator’s Message

English

Japanese

Message From Katsura Hashino

Katsura Hashino, Director: “Although it’s taken quite some time, we’re excited to share something tangible for PROJECT Re FANTASY, a project we announced a while back now. Following the worldwide success of Persona 5, I think many people think of either Shin Megami Tensei or Persona when they think of the two largest RPG franchises by ATLUS. With this game, we wanted to build a third pillar for the studio, by crafting a large-scale, epic fantasy RPG, something we’ve never done before.

“Actually, the reason ATLUS always focused on modern storytelling is because we always felt there were plenty of fantasy RPGs in the world, whereas contemporary RPGs always felt less common. At this time, that was our way of going against mainstream trends, and defining our unique perspective and voice as a studio. Given that, when we revisited the idea of a traditional high fantasy game, we had to rethink how we could make this different from other RPGs out there while still capturing fundamental—and this is the really difficulty part—about what fantasies really mean for all of us. Thinking about these questions and how we can capture them in a game is ultimately what drove the development of Metaphor: ReFantazio.”

What meaning does the word Metaphor signify?

Hashino: “So metaphors are obviously speculative in nature, and the word itself alludes to the hidden meaning of things. We’ve told many contemporary stories in our games until now. There’s plenty of fantasy franchises and RPGs around us, right? When I think about the themes explored in past Shin Megami Tensei or Persona games, the stories always a tie back to how people should live their lives, in the present day, and that was an idea we really wanted to capture here, too. So, rather unabashedly, we decided on Metaphor as the title for this game.”

What does a true fantasy world look like?

Hashino: “So, there was actually a time early on in development when we had to ask ourselves ‘what even are fantasy stories?’ Back then, I had read lots of books that explored these fundamental questions, but one explanation really stood out to me. It said, ‘Fantasy does more than immerse us in empty worlds of fiction. They exist because there’s something about our world we want to change, and they help us reimagine something new.’

“I was really moved by this explanation, and thought maybe with that angle, we can make a fantasy RPG that fits ATLUS’ style. That basic concept helped guide all our decisions, from story, to what characters should appear, what powers they should have, and how should they fight, even things like what the final climax should be. It gave us a lot of clarity, and we tried to capture all of it within the game, too.”

Tell us about the game’s world.

Hashino: “We originally developed the game in a more Western, medieval setting, but quickly realized it was turning into a rather conventional fantasy game. To give it a more unique twist, we thought about the modern world, and elements that we could bring into this fantasy setting, so that there’s an underlying feeling of connection between the two worlds. Whether it’s in the narrative structure, or some of the game’s gimmicks, we tried to incorporate this concept as a key essence and characteristic of the game’s universe.”

What message did you want to convey through this fantasy RPG?

Hashino: “Throughout my time at ATLUS making RPGs, we’ve always thought about the core themes of each game as the foundation of everything, but one key phrase for Metaphor: ReFantazio is ‘facing your fear.’ Ever since we were primates, humans have always grappled with fear as a fundamental part of our shared experience. Depending on the person, fear can either paralyze somebody or maybe even cause their decline, but it can also propel people forward at times, too. It’s a very fundamental emotion we experience as humans, and depending on how we view it, it can push us to somewhere outside of our comfort zones. That’s a key concept we try to explore in Metaphor: ReFantazio.

“‘Fear’ may sound like a simple theme, but because it’s so simple, we hope people don’t walk away thinking, ‘That was a fun, momentary escape. Now back to reality, where nothing has changed.’ Rather, we genuinely want people to feel something about their life, maybe even feel encouraged, or empowered, through playing this game. That way, the experience is rich and meaningful, even as entertainment, and we aren’t compromising ATLUS’ philosophy towards RPGs, and we’re still providing something new and enjoyable to our fans. That was really the end goal for us.”

Message From Shigenori Soejima

Shigenori Soejima, Character Designer: “With this protagonist, there was a feeling of wanting to depict somebody we haven’t been able to in our past games, because of their modern settings. Overall, we wanted an androgynous and heroic protagonist—someone who looks like they’re about to change the world—with a design that emphasizes their firm, resolute gaze.

“Another important character is Gallica, a fairy who accompanies the protagonist. Although she’s classically fantastical in many ways—and that was her core concept during development, too—in terms of actual character design, we gave her a more modern aesthetic. Once we figured out how Gallica looks, it actually informed how all the other characters should look and feel, too. Although we still had to do a lot of exploring, Gallica certainly gave us that initial creative momentum to smoothly continue the design process for all the other characters.”

Establishing a New ATLUS Style

Soejima: “Of course, when it comes to conventional fantasy elements, there was definitive a desire to incorporate as much of those as we can. But we also didn’t want to be beholden to existing design conventions, either. And we realized midway that doing so would only stifle our own creativity. So, during that ideation phase, we really had to reimagine the fantasy genre from the ground up. ‘What feels right and natural to us?’ ‘What has our creative style been in the past?’ Throughout those discussions, I regained a sense of where we wanted to go, and how we wanted to reflect those ideas into the game.

“Even when it comes to what a character is wearing, ‘Rather than recreating a traditional, medieval look, maybe we could incorporate modern elements?’ ‘Perhaps there are some fashion trends from the 60s that could actually blend well into this fantasy world, too?’ ‘And help give it its unique style?’ Those were some of the ideas we experimented with.

“One thing I think that immediately stands out about this game is how the background feels very painterly. The core reason we did this is because we wanted to really capture the fantastical nature of this world. But how do we balance that with these unconventional character designs? That was something we put a lot of thought into, and we hope it shines through in the final work.”

Do you have a message for ATLUS and RPG fans?

Soejima: “‘What core aspects of our games should we safeguard as our creative identity?’ ‘How do we balance that with newer expectations people might have towards us?’ This was a game where I had to think deeply about these questions. In terms of design, I actually feel that our creative identity as ATLUS has already been articulated by our fans, through the Persona series. Things like the stylishness of the user interface menus, as well as our character models—in our past games, our fans have thought highly of these elements, and we definitely wanted to live up to those expectations this time around, too.

“The things that excite our fans when they hear ‘fantasy’ excite us, too, so we’ve tried to incorporate as much of those as we can. As a result, we think the core ATLUS charm is still there, while still meeting any new expectations people might have, and we think all of these are coming together really well in the final game, so please look forward to finding out more!”

Message From Shoji Meguro

Shoji Meguro, Music Composer: “When I was first told about Metaphor: ReFantazio, I was told it would be an epic high fantasy RPG. Immediately, I heard the sound of grand orchestras playing, and thought this might be an opportunity to write songs I’ve never really written before. But there was a feeling of apprehension, too, because I knew simply throwing in an orchestra wouldn’t cut it for ATLUS. But in the end, I’d say my feeling of excitement still won over.”

How did you express this game’s world through music?

Meguro: “The core concept of the scoring is ‘music used in religion.’ How can we fuse that with a traditional RPG? And how can we give that a unique twist that people expect from ATLUS games? ‘A spiritual music style, that also evokes a classical, fantasy feel.’ That was the main concept we tried to experiment with.

“Following this concept of spiritual music, we’ve woven in scores inspired by hymns, as well as Buddhist prayers—not rap, by the way—and we feel all these elements help define ATLUS’ distinct interpretation of what a classic fantasy score could sound like. This was a key concept we tried to push to its limit.”

The Effect and Purpose of Game Music

Meguro: “I’ve always felt that game scores are something that exist somewhere between the player and the world they’re experiencing on the other side of the screen. Although the score has to capture the atmosphere of the story for the user, it’s worth reminding ourselves that this music is not actually playing directly within the world the characters are in. In that sense, I’ve always considered game scores to be similar to user interface elements, constructs that exist solely to service the player. However, speaking with Hashino-san, we thought about how the music playing in the background could also link back to the ‘music’ the characters are experiencing in their minds, within that world. I think some of these interesting thought experiments helped us approach the music composition through a different lens.”

Do you have a message for ATLUS and RPG fans?

Meguro: “Although the game is still in development, and we’re working hard to polish everything we need to, we think this RPG represents the best of ATLUS. We’re working very hard to live up to the faith our fans have in us. To everybody looking forward to experiencing this game, I hope you enjoy the amalgamation of my hard work.”

Closing Message From Hashino

Hashino: “Metaphor: ReFantazio is launching in 2024. As we continue to polish the game, we’ll continue to reveal new information. Please look forward to hearing more from us! Thank you for your time!”

“Metaphor: ReFantazio Announce Celebration Live Stream: The Stalker Club Returns!” Archive 

Metaphor: ReFantazio Announcement Special Live Stream

[michelledrawz]

What Inspires Centralia?

Happy Friday! Excited to announce we're on day 4 of the Centralia VOL 2 Kickstarter less than $300 away from 50% funding!

Folks have asked me about how I created the story of Centralia, so today, I want to talk about the themes and inspirations that make up the world and story.

The Setting

The story takes place in the year 2050; a distant future, but not so distant that it feels alien. Phones are still tangible rectangles, cars still drive on the ground. Modern technology is more deeply-enmeshed with everyday life; what is ground-breaking for us in the present is now mundane, and people live comfortably alongside technologies once thought to be intrusive. In Centralia, sleek skyscrapers loom high over bustling streets packed with strangers, while magnetic elevated SkyRail train tracks weave vein-like throughout. At night, starless skies are flush with the hazy colorful glow of the city, an endless artificial twilight that seeps through the windows of every home. In a society that prizes and caters to the individual, people still yearn for that most basic desire of belonging, of community; and while businesses are happy to offer solutions, they too ring hollow and leave us feeling more lonely than before.

 When it comes to the visual design of Centralia, I take a lot of inspiration from my own experiences living in urban settings. Growing up in the Bay Area, my big city was San Francisco. Since 2016, Los Angeles has been my big city home, and I pull a lot of inspiration from both places!

The Genre: What is Cyberpunk?

Cyberpunk is a subgenre of sci-fi that juxtaposes high-tech urban settings, often with futuristic technological and scientific innovations, with themes of societal collapse, decay, and dystopia. The protagonists of cyberpunk stories are typically marginalized loners living on the fringes of an oppressive society. Popular examples of Cyberpunk stories include Bladerunner, The Matrix, Akira, Ghost in the Shell, and the aptly-named Cyberpunk 77.

To be honest, when I set out to tell the story of Centralia, I didn't start with genre in mind! I think that's what sets Centralia apart from other entries in the realm of cyberpunk, where many creators start with a vast library of cyberpunk media to reference from, and build the world and story from there. While many great works can be inspired by existing media, pulling from the same major popular staples in the genre can cause cyberpunk stories to feel a little... samey. I also couldn't help noticing that the "marginalized protagonist" often did not resemble the actual marginalized people in our society. When the majority of cyberpunk creators are statistically white, male, and straight, the diversity of stories begins to dwindle, and as a female creator who is deeply involved in queer spaces, I find myself repeatedly alienated. The aggressive, solitary and violent nature of subcultures in cyberpunk stories did not reflect my lived experiences in subculture spaces. In Centralia, I wanted to focus on the persistence of community in an oppressive society, not its destruction, which brings me to the comic's core theme...

The Beauty of Human Connection

When I began working on Centralia, I was lonely. Social media was still a fairly new thing-- while it helped me keep in touch with high school friends who'd scattered to the wind, as well as new college friends who I worried might find me too weird, it felt shallow. I don't vibe with hyperbolic depictions of people chained to their tablets, or living in their smart phones like tiny literal prisons; I grew up on the early internet and formed many friendships on obscure message boards and artist hubs like DeviantArt. But the old, weird internet feels increasingly distant, and today's social landscape is dominated by corporate interests that would rather keep us frustrated. Lacking. Wanting. All culminating into a persistent sentiment I see among my friends and strangers both on and off the internet, in statistical reports and think pieces in droves-- we're lonely.

 When Midori arrives in the city of Centralia, she's alone, too. Thrust into a crowd of indifferent strangers, she feels invisible. Desperate for belonging, she sets off in search of a mysterious missing girl who may hold the key to her past, and perhaps to a family waiting for her. But unlike your usual cyberpunk protagonist, Midori is optimistic and friendly. She's fierce and spirited, but she's not cynical. 

Her newfound friend Grey, on the other hand, is fluent in the language of isolation and secrecy that pervades Centralia-- keep your head down, don't make waves. But beneath the carefully-crafted veneer of a black-clad, chain-smoking, motorcycle-riding tough guy, he's as awkward and lost as the rest of us. Completely unaffected by his grumpy demeanor, Midori forms an unlikely friendship that becomes a core piece of Centralia's story.

A cyberpunk story isn't complete without an underground resistance, and Centralia's Switch is yet another example of the power of community. Here, the marginalized members of society gather not only as a rebellion, but as a found family.

 This too is where Centralia is special-- many cyberpunk stories paint the underside of society as grimy, cruel, where it's "every man for himself". But as someone who moves through many subculture and queer communities and is more at home with the weirdos than polite society, I find these stories miss the communal spirit of marginalized spaces. 

Throughout Midori's search for belonging, her developing friendship with Grey, and her involvement with Switch, Centralia 2050 shows us that the warmth of human connection survives even in the stark chill of dystopian society.

The Inspirations

Lots of readers are curious about the inspirations for Centralia. Visually, I'm inspired by a lot of the cyberpunk staples I mention before, as well as my experience living in cities. I'm a huge fan of the works of Satoshi Kon, creator of incredible animated works like Paprika, Tokyo Godfathers, Millenium Actress, Perfect Blue, and Paranoia Agent. Kon's unique style so beautifully captures his character's expressions, both subtle and exaggerated, in a way that feels undeniably human. His stories capture the interpersonal and internal conflicts of characters in a way that feels genuine, and have been a great influence on how I portray the characters of Centralia.

I'm also a huge fan of psychological horror, especially survival horror games of the '90s and 2000's. While Centralia isn't a horror story, surreal moments and otherworldly vibes can't help but sneak in from time to time!

Most of all, I'm inspired by my own experiences and the lives of people around me. I love reading autobiographical novels and comics, listening to people tell their stories on podcasts, and just hearing about, well people! I think that's what helps me give dimension to the characters of Centralia. I'm less inspired by characters from other stories, and more so inspired by the complexity, diversity, cruelty, beauty and indomitable spirit of my fellow humans.

And I think that about covers it for now! For my next Kickstarter blog post, I'll be diving into each of the main characters of Centralia; whether you're a longtime reader or new to the series, it should be a fun read! Until then, I'd love to hear your thoughts about the inspiration and themes behind Centralia, and if you have any topics you'd like me to explore in future blog posts!

Til then,

~Michelle

Get Centralia 2050 VOL 2 on Kickstarter!

[maxusmaximum]

My thoughts on Silent Hill 2 remake

I’ve seen a lot of posts talking about Bloober Team and James himself and the more that I watch the trailers and look at the screenshots, I’ve come to realize that we haven’t even seen some of the other characters yet.

One thing that I think makes Silent Hill 2 so incredibly fascinating is its characters and how they emphasize the theme of the story so well. They go through such mental turmoil and we come to learn a lot about them. In many of the cases, what we learn about these characters is never outright said to us and these implications of these characters is what tells us their stories. These implications not only hammer in the theme of the story, but they also set the atmosphere and tone of the game. Descriptions on items like Angela’s knife and how James doesn’t “plan on using this as a weapon” giving us clues on not only Angela as a character, but James. Specifically his In Water ending.

Eddie’s story having hints throughout the entire game, including how and why he came to Silent Hill in the first place. The van cutscene at the beginning of the game and the van that’s shown in the playable first scene. His vomit scene and then the famous pizza scene in greater context when paired up with his dialogue about his physical appearance. His dialogue alone clues us in on his warped reality and mental state. In fact, Angela also has dialogue that clues us in on how the town of Silent Hill doesn’t look the same for both James and her. Once again, big world building and story implications.

The voice acting differences I don’t think will be too bad? However, of course, I will always prefer the original dream like delivery of lines. In the original, I think the line delivery actually adds more to the atmosphere and story if you like to pick apart every little detail ever, intentional or not. It gives the player even more insight into the characters we’re perceiving. Things like the tone shifts and hesitancy in Angela’s lines and the way that Eddie’s voice gives us the vibe that he’s playing dumb with us at times. James’ own dialogue in the first is a pretty damn good way to hammer in his head space, especially in the beginning and how that changes in the second half of the game. He feels so detached from himself, saying things like “I guess I don’t really care what happens to me”.

My point is, changing something in Silent Hill 2 can negatively affect how the story is perceived. Dialogue changes because of possible sanitization or just forgetting something entirely can negatively effect how nicely wrapped this game is. The interactive experience players have with it and how it effects the ending of their game.

We all know Bloober doesn’t have the greatest credibility when it comes to mental health matters in a video game but on the bright side, there are original members of the Silent Hill team working with them on the game. Plus, this isn’t like they’re making a brand new game with all new story. They are working with something that quite literally gives you all the pieces to recreate a gorgeous remake. I know some others are upset at the lighting and the super detailed graphics because they believe it takes away from the horror of the game, and yeah, I mean to an extent I agree. However I actually really like the intense graphics and it’s realness. It’s fresh, I love seeing how the world is reimagined in this way. It makes me feel like I can really be there, that Silent Hill is even more tangible of a place. I think the scares can still be pulled off in the graphics and polished environments that we’ve seen, and actually in some ways can enhance the terror. Art director and creature designer Masahiro Ito is working closely with the team from what I’ve read! This is amazing! This shows how graphic and even more intentional the designs for these monsters can be now! We’ve seen something really exciting, but pretty small as a detail. The ring indent on James’ finger. With detailed graphics, they’ll actually be able to add details that we weren’t able to get in the original. I’m so beyond excited for this alone!

I’m trying to genuinely have hope with the game because I love it so intensely, I don’t think it’ll be too bad. I love reading what other people have to say about it though, it’s just so interesting. What are your thoughts? Maybe things you’re excited for?

[ultirapid]

10 Prototyping Methods: Turning Ideas into Reality

Summary The journey of new product development is fraught with challenges, and prototyping stands as a crucial step toward success. By transforming abstract concepts into tangible forms, prototyping enables designers and teams to visualize the product and iteratively refine their ideas until dreams become reality.

Prototyping takes many forms, each playing a vital role in the development process, from simple sketches to advanced virtual reality experiences:

Hand-Drawn Sketches and Diagrams: The Seed of Creativity The journey begins with paper and pencil. Hand-drawn sketches and diagrams quickly capture inspiration, making initial ideas tangible. They serve as a communication bridge within teams, helping everyone grasp the design's intent and providing direction for subsequent development.

3D Printing and Rapid Prototyping: From Digital to Physical 3D printing accelerates the prototyping process by swiftly converting digital models into physical objects. This allows designers to observe product details firsthand and identify design flaws early in the process.

Physical Models: Intuitive Representation of Design Physical models, whether simple blocks or intricate crafts, provide a clear visual representation of design contours and proportions. Even without functional parts, they effectively assess design feasibility and support concept validation for larger projects.

Wireframes: The Blueprint for Digital Products Wireframes clearly illustrate the layout and content structure of digital products. They are invaluable tools for UI/UX designers and serve as a universal language for cross-team communication regarding design concepts.

Virtual/Augmented Reality Experiences: Immersive Engagement VR/AR technologies create immersive environments, allowing users to experience unbuilt spaces, such as theme parks. This forward-thinking testing method enhances the authenticity and immediacy of design feedback.

Feasibility Prototypes: Validating Functionality In the later stages of design, feasibility prototypes focus on verifying the practicality of new features. Whether through digital simulations or physical models, they help designers adjust strategies to ensure product functionality aligns with user needs.

Working Models: Testing Operational Performance Working models assess the actual operational performance of designs, especially for mechanical devices or dynamic systems. Real-world testing enables designers to evaluate the feasibility and efficiency of their proposals.

Video Prototypes: Animated Concept Demonstration Video prototypes dynamically illustrate product concepts, processes, or project simulations. They provide an intuitive means to convey design ideas to non-technical audiences, enriching presentation formats and enhancing the persuasive power of design narratives.

Horizontal Prototypes: Testing User Interaction Horizontal prototypes concentrate on user interface design by simulating elements like menus and windows, allowing for the testing of user interactions. This early detection of potential issues in human-computer interaction is crucial.

Vertical Prototypes: Validating Core Software Functions Vertical prototypes focus on verifying database structures and core software functions. By digitally simulating the software environment, they ensure a solid infrastructure and functional capability before formal development begins.

Through these diverse prototyping methods, teams can effectively bridge the gap between concept and reality, ultimately leading to successful product development.

[tomaque]

Miniature Majesty: Reviewing the Mercedes G-Wagon AMG Diecast Car

For automotive enthusiasts and collectors, the Mercedes G-Wagon AMG Diecast Car stands as a remarkable miniature car that perfectly captures the grandeur and elegance of the full-sized SUV. This scale model isn’t just another diecast car; it’s a meticulously crafted representation that brings the spirit of the G-Wagon to life in a compact form.

A Closer Look at the Design

The Mercedes G-Wagon AMG Diecast Car is a masterpiece in miniature car form. Every element of the iconic G-Wagon AMG, from the angular, rugged bodywork to the distinctive grille, is faithfully replicated in this scale model. The precision with which each curve and contour is molded is truly impressive, showcasing the attention to detail that sets this diecast car apart from others.

The model features a high-quality paint finish that mirrors the actual vehicle’s luxurious appeal. The small but striking details, such as the realistic headlights, tail lights, and the AMG badging, further enhance the authenticity of this diecast car. The intricate design elements are a testament to the level of craftsmanship involved in creating such a stunning scale model.

Functionality Meets Artistry

What makes the Mercedes G-Wagon AMG Diecast Car particularly special is its blend of artistry and functionality. Unlike many other scale model, this scale model boasts movable parts—doors, trunk, and even the hood can be opened to reveal the finely detailed interior. From the tiny dashboard controls to the seats and steering wheel, the model offers a comprehensive look at the inside of a G-Wagon AMG.

The wheels of this diecast car are fully functional, allowing it to roll smoothly, just like the real SUV would. This level of interactivity adds a unique touch, making it more than just a static display piece.

The Perfect Addition to Any Collection

Whether you are an avid collector of scale models or just a fan of the Mercedes brand, the Mercedes G-Wagon AMG Diecast Car is a fantastic addition to any collection. The model represents the essence of what makes the G-Wagon so beloved—its mix of luxury, power, and ruggedness—all in a miniature car format.

This diecast car is crafted to meet the highest standards, ensuring it maintains its value and appeal over time. It’s perfect for display on a shelf, in a collector's case, or even as a centerpiece for an automotive-themed room. The model’s impressive attention to detail makes it a conversation starter, a showcase of what diecast model-making can achieve.

Why This Diecast Car Stands Out

The Mercedes G-Wagon AMG Diecast Car is not just another miniature car—it's a symbol of luxury, power, and meticulous craftsmanship. With its accurate proportions, fine detailing, and functional elements, it offers a tangible connection to the real G-Wagon AMG, allowing enthusiasts to appreciate the vehicle's design up close.

Conclusion

In the world of diecast cars, the Mercedes G-Wagon AMG stands tall as a miniature representation of automotive majesty. Its combination of precise craftsmanship, functional features, and stunning details make it a standout among scale models. For anyone who admires the iconic G-Wagon or appreciates finely crafted miniature cars, this diecast model is a must-have addition to their collection.

[rianamblings]

📒Field Notes - Sequence Notes #2

Indecision... ✨

And yet once again my indecisiveness leads me elsewhere, but I feel this iteration serves me better! I'm switching the genre of my initial Field Notes pitch back to fantasy adventure, as it is a genre I'm most comfortable with... and I hold very dear to me. For me, I was able to find my own personal stake in this story and I'm making progress with forming my characters around that! As much as I enjoyed the allegory I was getting at with my 'two scholars argue about who is right', I feel a much stronger connection to this incarnation of it.

To reflect this great change, I'll be referring to it as Project Light for the rest of its drafting process! At its core, it is about protecting the spark in you that dares to keep dreaming, even when the dream you have isn't what it's chalked up to be. To hope for a better future.

Though I don't want it to be dialogue-heavy, I guess that gives even more gravity to the moments words are exchanged.

I hope to get a grander scope with this sequence, alongside having actual tangible actions happen between the two characters. Whether it be physical forces acting on them, or their own choices. Agency, agency, agency... Coupled with intrinsic motivation. But I think I'm finding these characters pretty well!

This story is about discovery! And shedding light to truths you only dreamed to uncover as child... and the consequences of these truths being lackluster. Yet still holding steadfast onto those beliefs.

Less abstractly, it is about two childhood friends reconnecting in their adulthood and gambling it all on one, real adventure. To find that spark for adventure when the world has done everything in its power to snuff it out. To prove something to yourself!

Character & Motivation

My goal for these two is to have their motivations made very very clear. And ideally less through dialogue but how they decide to act! I'm such a dialogue-heavy person, that I neglect the strongest tool in my box is often character acting.

But I have a good feeling about these two, given that they've already started living a life of their own in my head. I find that I'm discovering them, much rather than making them. Cheesy, but I feel that the best characters are found deep somewhere in your heart, clutching a truth known only to you. But I might be getting ahead of myself there.

In terms of more tangible checkpoints of progression I was able to accomplish some very rough design ideas for the characters/setting, a story outline (mood and all!), and most importantly: my own personal stake in the story.

Now in terms of my personal goals by the end of this thing!

✨ Goals with this sequence:

Push the acting and action!

Less talking, more acting.

Make everything thematically resonant. - How do I make my theme shine across every action?

[grayscalehome]

Check Interior Designers in New Jersey

In the diverse and vibrant state of New Jersey, the role of interior designers is indispensable in shaping the aesthetic and functionality of residential and commercial spaces. With their keen eye for design, attention to detail, and commitment to client satisfaction, interior designers in New Jersey play a crucial role in creating environments that are both beautiful and functional. In this comprehensive guide, we'll explore the world of interior designers in New Jersey, their diverse skill sets, the services they offer, and why they're essential in bringing your design dreams to life.

The Craftsmanship of Interior Designers

Interior designers in New Jersey are skilled craftsmen and artists who possess a deep understanding of design principles, spatial dynamics, and architectural elements. They work closely with clients to understand their vision, preferences, and lifestyle, translating them into tangible designs that reflect their personality and style. From concept development to final installation, interior designers bring creativity, expertise, and attention to detail to every project, ensuring a seamless and satisfying experience for their clients.

Tailored Services to Meet Your Needs

Interior designers in New Jersey offer a wide range of services tailored to meet the unique needs and aspirations of their clients. Some of the key services they provide include:

Space Planning: Interior designers meticulously plan and layout spaces to optimize functionality and flow. Whether it's a residential renovation or a commercial project, they ensure every inch of space is utilized efficiently while maintaining a sense of balance and harmony.

Concept Development: From conceptualizing themes and color schemes to selecting furniture and finishes, interior designers work closely with clients to develop a cohesive design concept that reflects their personality and style.

Furniture and Décor Selection: Interior designers curate furniture, lighting fixtures, and décor accessories that complement the overall design aesthetic while aligning with the client's preferences and budget.

Material and Finish Selection: From flooring materials to wall finishes, interior designers assist clients in selecting materials that not only enhance the visual appeal of spaces but also meet their functional requirements and durability needs.

Project Management: Interior designers oversee every aspect of the design process, from procurement and installation to coordinating with contractors and tradespeople. They ensure that projects are executed seamlessly, on time, and within budget, alleviating the stress and hassle for their clients.

The Value of Collaborating with an Interior Designer

Partnering with an interior designer offers numerous benefits, including:

Expertise and Creativity: Interior designers bring a wealth of expertise and creativity to the table, infusing spaces with innovative ideas and unique design solutions that transcend the ordinary.

Personalized Approach: They take a personalized approach to each project, taking the time to understand the client's lifestyle, preferences, and aspirations to create spaces that truly reflect their identity and vision.

Cost-Efficiency: While some may perceive hiring an interior designer as an additional expense, their expertise can actually save clients money in the long run. By avoiding costly design mistakes and ensuring optimal use of resources, interior designers help clients achieve maximum value for their investment.

Access to Resources: Interior designers have access to a vast network of suppliers, vendors, and artisans, allowing them to source high-quality materials and furnishings at competitive prices, while also offering clients access to exclusive products and resources.

Elevating Spaces, Enriching Lives

Grayscale Homes interior designers in New Jersey are the visionary artists who transform ordinary spaces into extraordinary environments that inspire, delight, and enrich lives. Whether you're renovating a historic brownstone, designing your dream home, or transforming a commercial space, collaborating with an interior designer is essential in bringing your design dreams to life. With their creativity, expertise, and dedication to client satisfaction, interior designers in New Jersey continue to shape the landscape of design in the Garden State, leaving their mark on homes, offices, and spaces across New Jersey and beyond.

[creativemorningsvancouver]

October’s global theme is ‘endurance’ and we are excited to welcome local creative consultant, multidisciplinary systems thinker, and B Corp Ambassador Kristy O'Leary.

Kristy is a multi-disciplinary creative whose practice has evolved through direct action and activism, multimedia and installation art, advertising and branding, public confidence and social license campaigning, into the world of impact management consulting. Her passion and purpose have coalesced into Decade, a boutique consulting firm with a focus on supporting companies in taking meaningful, tangible, and radical action on climate and social justice issues. She delights in supporting companies in becoming hope spots and helping people transform the mundane into magic. She believes her contribution to building a livable, equitable future is by trojan-horsing capitalism. Giddy up!

Kristy has developed disruptive, future-focused impact plans for companies internationally. She has transformed NIMBY’s into investors, worked with underdogs to transform public opinion from rejection to acceptance, and performed supply chain impact measurement for disruptive agricultural companies in the jungles of Latin. The team at Decade have supported over 150+ companies in redefining how they can leave the world better than they found it and 60+ companies in achieving B Corp certification.

Every month we like to ask our speaker a handful of probing questions to give us a deeper glimpse into their life and relationship with creativity:

How do you define creativity and apply it in your life and career? Working with companies to identify, pluck, and strengthen the threads that tie products and services to purpose, regeneration, and renewal is how my creativity manifests. This work requires an aptitude for both the darkness and the light; each presenting their own unique creative challenges. Creativity makes it possible for us to scenario plan runaway climate change and cascading systems collapse, and have the wherewithal to imagine, design, and actually build regenerative systems that ensure there will indeed be a future. Creativity is more than art and beauty and all those things; it is the ability to look into the darkness and the endurance to create something beautiful and good and necessary. Creativity is relentlessly loving.

Where do you find your best creative inspiration or energy? People and their stories and infinite possibilities. Right in the centre of those three things. I get these butterfly-in-my-chest-moments when people share the truths they have revealed as they deepen their expertise… it’s in those passion spaces, other people’s passion spaces, that’s where I light up. I’m always moving between the present and future tense for folks. My greatest joy is holding up a mirror to them – “Look at your greatness! Take it in. That’s you! That’s what you’re here to do! Now, let’s get to work.”

What’s one piece of creative advice or a tip you wish you’d known as a young person? That creativity and thinking sideways are superpowers.

Who (living or dead) would you most enjoy hearing speak at CreativeMornings? Carl Sagan

How would you describe what you do in a single sentence to a stranger? I help businesses embed social, environmental, and economic justice in their products and services so that every time they turn a dollar, something is left better than they found it.

If you could interview anyone living or dead, but not a celebrity, who would it be and why? Carl Sagan

What myths about creativity would you like to set straight? That creativity is for artists… I work with entrepreneurs and those folks create a lot of something from nothing and sometimes figure out how to embed justice in capitalism. I’ll take an impact business models are radical creativity.

What books made a difference in your life and why? “The World we Made” – we all need a glimpse of a world made better. “The Council of Animals” – I think humans should eventually be judged by the creatures. “Never Let Me Go” – I don’t want to give anything away. “1984” – Do I need to explain this one? “Hillbilly Elegy” – This story hits dangerously close to home.*

If you could open a door and go anywhere, where would that be? The future… obviously…

What music are you listening to these days? Lana Del Ray, Jose Gonzalez, Sault, Sigur Ros, Beck, Michael Nyman, Max Richter, Carol King, Solange, The Weakerthans.

What was the best advice you were ever given? There are three: 1. Never, ever, get good at anything you don’t love. 2. You’ll have three best friends in your life, make one of them your life partner. 3. When you buy quality, you only wince once.

What is the one movie or book every creative must see/read? First, for those needing some inspiration and magic in their lives, “In and of Itself” – Derrick Delgato. You’re welcome. Second, for those trying to steel themselves for an uncertain future and need a taste of the sublime – “Meloncholia”. I’m sorry.

What keeps you awake at night? Late-stage capitalism, climate chaos, perimenopause…

WATCH RECORDING HERE

[pixenite]

Why Isn’t My Website Converting Leads?

You’ve put in the hard work building your website, but you’re just not seeing the leads and sales you expected. Don’t panic – with some analysis and tweaks, you can turn things around. Here are the most common reasons your website isn’t converting leads, and what to do about it.

So, put on your detective hat, because we’re about to uncover the five most common reasons your website might be falling short, along with actionable tips to get it humming like a lead-generating machine.

Poor Website Speed

Your website speed drastically impacts conversions. If your site loads slowly, visitors will abandon it before filling out forms or hitting purchase buttons. Studies show 40% will leave sites taking over 3 seconds to load. You should aim for load times under 2 seconds.

Start by testing your overall site speed using tools like Pingdom and GTMetrix. Check page-by-page, pinpointing especially slow sections. Common culprits are images, videos, plugins, technical issues. Optimize images, enable caching plugins, upgrade hosting if needed. Every speed gain leads directly to higher lead conversion rates.

Weak Value Proposition

Your website copy must immediately explain your offering’s tangible value and benefit to visitors’ lives. Failing to clearly convey within 5 seconds what problem you solve or how you make life easier means losing visitor attention.

Analyze your headline, subheaders, and opening sentences. Are you directly addressing your customer’s goals and pain points? Clarify your main value with simple language. Use descriptive bullet points of specific benefits. Weave proof sources like testimonials into copy to demonstrate actual value delivered.

No Call To Action Buttons

Without visible and obvious calls to action, few visitors convert because they don’t know the next step you want them to take. Making them hunt around your site looking for paths to conversion severely limits lead gen.

Place highly visible, high contrast CTA buttons both above and below the header fold. Use action verbs like “Get Started Now” that clearly direct visitors. Analyze visitor fall-off rates at the bottom of key pages by placing CTAs front and center in the flow encouraging conversion before they abandon.

Bad Mobile User Experience

With over 50% of site traffic now coming from mobile, failing to optimize for mobile severely restricts conversions. Hard-to-read text size, awkward horizontal scrolling, tiny buttons frustrate mobile visitors.

Conduct comprehensive mobile UX tests on both Android and iOS devices of varying sizes. Ensure a responsive design, simplify page layouts. Increase button sizes for fat finger usage, provide alternate contact avenues like SMS and click-to-call in headers. Better mobile site performance boosts all conversion metrics.

Weak Content

Generic, superficial content will not convince today’s smart website visitors to convert into leads. In a world saturated with marketing messages, visitors have become exceedingly skeptical of claims from brands. They demand evidence, proof, and tangible value before they will convert.

Content that merely states you offer the best quality, great service, industry expertise or a “one-stop-shop” no longer persuades visitors. This surface-level content fails to build trust quickly. Visitors tune it out as unoriginal hype. Dedicate real budget and staff towards high-value content production as a channel to directly drive conversions. Continually test and refine themes and topics to discover what best motivates your visitors to convert. Premium content pays off exponentially by turning cold traffic into warm leads.

Poor Lead Capture Approach

Ineffective lead capture severely limits conversion rates. You need to collect visitor contact info and permission for further marketing to turn them into customers. However, demanding excessive data prematurely or not offering adequate value in return typically backfires.

The solution is finding an optimal balance – minimizing friction by only requesting essential details like name and email address initially while offering something compelling in return like exclusive content access, discounts or tools. This captures visitor information willingly to further nurture them once they receive promised value. As trust builds through email follow-ups and content offers, you can ultimately convert a higher percentage into profitable customers. Tactically, assure visitors of privacy next to forms and only ask for more details once they demonstrate clear interest over time through engagement. The key is balancing conversion optimization with nurturing past leads to sales using a lightweight but staged capture approach.

Weak Follow-Up Sequence

Driving new visitors to your website is only the first step. Failing to continue engaging and nurturing those who show interest leads to countless lost sales opportunities. Without structured follow-up, you do not give visitors enough touchpoints to build familiarity and trust in your business.

Implementing an intentional multi-channel follow-up sequence is proven to dramatically increase conversion rates of warm leads into paying customers. Map out a clear path guiding leads through educational emails, valuable content offers, thoughtful phone calls, text reminders, and direct mail pieces. Leverage marketing automation tools as well to schedule and track each stage so no opportunities slip through the cracks. The most effective sequences typically last 3 to 12 months depending on sales cycle length.

They gradually provide more reasons to buy your product until leads convert or prove they are not currently a fit. Investing in ongoing follow-nurturing beyond the initial website visit is the secret recipe to unlocking significantly more profitable sales.

Conclusive Words

By identifying the weakest points negatively impacting conversions and taking strategic action, you can massively boost your lead gen and sales growth. Review this checklist quarterly to continually optimize performance over time. With consistent refinement, your website will convert at sky-high rates and drive revenue growth.

Article Source - https://www.pixenite.com/why-isnt-my-website-converting-leads/

[soumayergon]

Peter Gabriel’s EVE (Realworld, 1997)

WEEK 5

Real World Experience Park

^^ Link above.

This never happened and I wish it had. The closet this came to fruition was the creation of cd-roms through Real World Studios, “XPLORA1”, 1994 and “EVE”, 1997.

The general concepts from the 90’s are beginning to be true again now; using technology to emerse the guest in a personal and tangible experience. Using the term “experience-design” is also beginning to pop up again. The idea of the audience of a theme park no longer being passve.

It seemed the technology was too cumbersome and expensive twenty years ago. Now that has all changed. Themed environments are beginning to employ “gamification” where the tangible landscape becomes the gaming platform.

I enjoy EVE because the experience is not revolving around an IP (other than Gabriel’s music catalogue). The worlds are their own. The technology is meant to connect on a more personal and emotional level with the manipulation of sounds, creation of art, changing landscapes, reference to cultural icons. As designers we now have all this cool stuff to play with. Let’s just do something meaningful with it. 

Try and explore these three concepts mentioned in the article above:

relationship between man and culture

relationship between culture and nature

relationship between man and nature

Here is another article from the NYtimes, 1994 about the “Real World Experience Park” that would never be:

Mr. Gabriel is also pondering virtual-reality arcade machines that would combine education and entertainment. And from there, it’s a short leap to big interactive clubs and even larger environments. The biggest is a proposed park in Vall d’Hebron in Barcelona; it would be a theme park with a difference. Just what difference remains to be worked out. The Mayor of Barcelona has given Mr. Gabriel and his co-conspirators three years to generate ideas and raise money for the park.

"We’re just trying to get the most interesting minds together," Mr. Gabriel said. "We hope that it will include people who are doing interesting work in architecture, psychology, music, sculpture, film."

Among the people Mr. Gabriel has been talking with lately are Philippe Starck, who designed the Royalton and Paramount hotels in New York; Emilio Ambasz, the architect and theorist; Laurie Anderson, the performance artist, and Terry Gilliam, the film director, who was a member of Monty Python’s Flying Circus. One “experience-design” project has actually been constructed: a carnival ride based on flight-simulation technology, complete with a video screen and seats that dance to the music of Mr. Gabriel’s song “Kiss That Frog.”

"If we grab technology and adapt it and make it work for us, it will work in one way, whereas if we just leave it, it will stay in the hands of big corporations and governments, who have other agendas," he said.

His own agenda? “What I love about this technology is that it gives the little guy an equal right to broadcast,” Mr. Gabriel said. “The more the information is decentralized, the greater the focus on diversity and the greater the chance of protecting and preserving and invigorating our traditional cultures.”

He believes that for musicians, artists and film makers, all connections will eventually lead to the information highway. “But it’s really an information ocean, not a highway,” he said. “If you think of it as an ocean, then you have to consider the kind of navigation tools that are used, who builds the boats, who designs them and whether you’re surfing or diving. If you have a message in a bottle, how do you actually get the bottle to the people who need it?”

[dungeonclan]

DungeonClan: What it is and Why it is

Part One: How it Started

DungeonClan is a warrior cats oc story (story? narrative? campaign? idk.) that I’m working on! It is set in a dnd universe with all the standard fantasy trappings like magic, monsters, dungeons, dragons, gelatinous cubes, whatever! Before I explain more specifics about what “dnd warrior cats” will mean I want to give some background on what inspired me to write this story in the first place.

It didn’t start with dnd or even warrior cats. What inspired it was 2010 deviantart oc nostalgia. Back when I was younger I used to collect ocs from those massive adoptable sheets you’d see on deviantart. Random sparkle dogs and cats that were sold for pennies. I would collect a bunch of these characters and come up with little stories for them. I didn’t care if the designs looked good together or followed any particular theme. I would just choose a pink heart wolf and a green acid one and go “Yep, these two are dating now.”

That’s the sort of energy I’m trying to rekindle with this project. I just wanted to collect a bunch of random, discordant designs and make a story for them. I did decide early on to limit it to cat designs because a warriors story was what I was most interested in making. I thought it would be fun to stick them all together and go “This is a clan now.” 

I considered buying a bunch of adoptables to populate the characters for this project like I did in the past. Thankfully though people have gotten a lot smarter about pricing their work since I was a kid. Now on average adoptables sell for an actual tangible amount of money as opposed to the lint at the bottom of someone’s pocket they sold for back then on deviantart. I’m happy about this development but at the same time, I can’t justify dropping hundreds of dollars buying tons of designs all at once. Besides, hand-picking the designs I wanted to buy might give me too much creative control. So instead I turned to art trades. I would go to my twitter followers and offer my art in exchange for some random warrior cats designs. 

This was when I had to sit down and come up with a few guidelines for what kind of kitty designs I wanted people to give me. I wanted to give them creative control but I didn’t want to leave them with absolutely nothing to go off of. Warrior cats traditionally have more natural-looking characters, but since the original inspiration for this project was literal sparkle cats I really didn’t want to limit it to just normal cats. If I was going to allow fantasy elements in the character designs, it wasn’t a far leap for me to decide to make this a dnd world. Dnd is already something I’m interested in and it’s also the perfect format to use if you’re trying to bring random oddball characters into one unified story. (Isn’t that what most dnd parties are anyway?) It also allows for weird magical fur colors and perhaps some fantasy dna to be added to the cats. 

I ultimately decided that I still wanted magic and unnatural features to be rare in my characters. At least at first,  so I could start with a more standard-feeling warriors world and then ease into the fantasy stuff. The instructions I gave my art trade victims were to “lean on the side of making a normal-looking warrior cat, but you can also add some weird and fantasy elements”. I still gave them creative freedom though and it was possible that everyone would give me a bright neon green fire breathing angel cat. I would have rolled with it if that had happened, but this would’ve turned into a different kind of story if so. Thankfully though my instructions worked as I intended and I ended up with a ratio of fantasy to non-fantasy elements that I’m super happy with. 

I did ten art trades to start with. The designs I received from these trades would play a significant role in shaping the story that was forming in my mind. With each character I received I began to think of new ideas and things I wanted to add to my world. It began going from a basic “dnd + warrior cats” idea to a real story. These are those first ten designs:

Designer credits are on my toyhouse

And here is a lineup of all of them I drew in my style:

Havendown, Sunsong, Magnus, Wildthorn, Dragonflytail, Orioleflight, Willowmist, Pinepaw, Poppypaw, Batpaw

I’ll do a proper introduction to all these characters later. By the way, If the concept of designing a character for this project intrigues you then fear not! I will need more characters as the story goes on. Some I might need sooner rather than later because though I’ve already started fleshing out the story I’ve been thinking I need more background characters to work with before I start writing. So stay tuned and I’ll be opening up more art trades to add more characters, and maybe other things as well such as designs for monsters and non-cat creatures.

This has been part one, in part two of this introduction I’ll go a bit deeper into explaining my world and exactly what I mean by “dnd warrior cats”.