#Architectural visualization Trends

[letsjonebenblog]

In the ever-evolving world of architecture, staying up-to-date with the latest Architectural visualization Trends and technologies is essential. a crucial aspect of the design process, has witnessed significant advancements in recent years. As we step into 2023 and look ahead to 2024, it’s vital for architects, designers, and enthusiasts to be aware of the emerging trends that are shaping the field. This blog will explore key trends in architectural visualization that will dominate the industry in 2023-24. 

[chicsyntheticsai]

[prototechsolutionsblog]

Unveiling the Power of 3D Visualization: Revolutionizing Engineering Applications

In the world of engineering, complex concepts and intricate designs often require effective means of communication to convey ideas, identify potential issues, and foster innovation. 3D visualization has emerged as a powerful tool that not only aids in comprehending intricate engineering concepts but also fuels creativity and enhances collaboration among multidisciplinary teams. This blog dives deep into the realm of 3D visualization for engineering applications, exploring its benefits, applications, and the technologies driving its evolution.

 The Power of 3D Visualization

1. Enhanced Understanding: Traditional 2D drawings and diagrams can sometimes fall short in capturing the full complexity of engineering designs. 3D visualization empowers engineers, architects, and designers to create realistic and immersive representations of their ideas. This level of detail allows stakeholders to grasp concepts more easily and make informed decisions.

2. Identification of Design Flaws: One of the primary advantages of 3D visualization is its ability to identify potential design flaws before physical prototyping begins. Engineers can simulate real-world conditions, test stress points, and analyze the behavior of components in various scenarios. This process saves both time and resources that would have been wasted on rectifying issues post-construction.

3. Efficient Communication: When working on multidisciplinary projects, effective communication is essential. 3D visualization simplifies the sharing of ideas by presenting a clear visual representation of the design. This reduces the chances of misinterpretation and encourages productive discussions among team members from diverse backgrounds.

4. Innovation and Creativity: 3D visualization fosters creativity by enabling engineers to experiment with different design variations quickly. This flexibility encourages out-of-the-box thinking and exploration of unconventional ideas, leading to innovative solutions that might not have been considered otherwise.

5. Client Engagement: For projects involving clients or stakeholders who might not have technical expertise, 3D visualization serves as a bridge between complex engineering concepts and layman understanding. Clients can visualize the final product, making it easier to align their expectations with the project's goals.

 Applications of 3D Visualization in Engineering

1. Architectural Visualization: In architectural engineering, 3D visualization brings blueprints to life, allowing architects to present realistic walkthroughs of structures before construction. This helps clients visualize the final appearance and make informed decisions about design elements.

2. Product Design and Prototyping: Engineers can use 3D visualization to create virtual prototypes of products, enabling them to analyze the functionality, ergonomics, and aesthetics. This process accelerates the design iteration phase and reduces the number of physical prototypes required.

3. Mechanical Engineering: For mechanical systems, 3D visualization aids in simulating motion, stress analysis, and assembly processes. Engineers can identify interferences, optimize part arrangements, and predict system behavior under different conditions.

4. Civil Engineering and Infrastructure Projects: From bridges to roadways, 3D visualization facilitates the planning and execution of large-scale infrastructure projects. Engineers can simulate traffic flow, assess environmental impacts, and optimize structural design for safety and efficiency.

5. Aerospace and Automotive Engineering: In these industries, intricate designs and high-performance requirements demand rigorous testing. 3D visualization allows engineers to simulate aerodynamics, structural integrity, and other critical factors before manufacturing.

 Technologies Driving 3D Visualization

1. Computer-Aided Design (CAD): CAD software forms the foundation of 3D visualization. It enables engineers to create detailed digital models of components and systems. Modern CAD tools offer parametric design, enabling quick modifications and iterative design processes.

2. Virtual Reality (VR) and Augmented Reality (AR): VR and AR technologies enhance the immersive experience of 3D visualization. VR headsets enable users to step into a digital environment, while AR overlays digital content onto the real world, making it ideal for on-site inspections and maintenance tasks.

3. Simulation Software: Simulation tools allow engineers to analyze how a design will behave under various conditions. Finite element analysis (FEA) and computational fluid dynamics (CFD) simulations help predict stress, heat transfer, and fluid flow, enabling design optimization.

4. Rendering Engines: Rendering engines create photorealistic images from 3D models, enhancing visualization quality. These engines simulate lighting, materials, and textures, providing a lifelike representation of the design.

 Future Trends and Challenges

As technology evolves, so will the field of 3D visualization for engineering applications. Here are some anticipated trends and challenges:

1. Real-time Collaboration: With the rise of cloud-based tools, engineers worldwide can collaborate on 3D models in real time. This facilitates global teamwork and accelerates project timelines.

2. Artificial Intelligence (AI) Integration: AI could enhance 3D visualization by automating design tasks, predicting failure points, and generating design alternatives based on predefined criteria.

3. Data Integration: Integrating real-time data from sensors and IoT devices into 3D models will enable engineers to monitor performance, identify anomalies, and implement preventive maintenance strategies.

4. Ethical Considerations: As 3D visualization tools become more sophisticated, ethical concerns might arise regarding the potential misuse of manipulated visualizations to deceive stakeholders or obscure design flaws.

In conclusion, 3D visualization is transforming the engineering landscape by enhancing understanding, fostering collaboration, and driving innovation. From architectural marvels to cutting-edge technological advancements, 3D visualization empowers engineers to push the boundaries of what is possible. As technology continues to advance, the future of engineering will undoubtedly be shaped by the dynamic capabilities of 3D visualization.

[weaselandfriends]

Kill la Kill (anime)

So, twelve years on, did Trigger save anime?

Existing in the present will invariably inundate one with lifeless, disposable, trend-chasing pop media, no matter the medium. Not only do moneymen like to imitate whatever made money before, but artists like to imitate the art they enjoy. The current moment will always seem bloated by dreck, while the past, filtered via the sieve of time, will always seem to contain only gleamingly original works of greatness. Were the 1980s not a golden age of blockbuster cinema, with Aliens and Indiana Jones and Ghostbusters? Please ignore the 1,000 shoddy E.T. knockoffs, thank you, or the million formulaic action hero flicks aping the Schwarzenegger formula.

Anime in 2013, when Kill la Kill began airing, was no different. The past two years had seen Puella Magi Madoka Magica, Hunter x Hunter, Fate/Zero, Stein's;Gate, Kuroko no Basket, Nichijou, Nisemonogatari, Psycho-Pass, and Attack on Titan, all popular and well-regarded shows both when they released and today. So the memetic idea in the anime community that Trigger was "saving anime" with Kill la Kill is patently ridiculous. (If you don't believe how widespread this idea was, two of the three top reviews for the show on MyAnimeList, written the same day the show finished airing, allude to it.)

It's easy to see how the idea became so popular, though. Trigger was a brand new studio formed primarily by staff from debt-stricken Gainax, the legendary studio that in 1995 revolutionized anime with Neon Genesis Evangelion. Eva's main creative figure, auteur director Hideaki Anno, wasn't with Trigger, but many of the people behind Gainax's other popular shows like Gurren Lagann and Panty & Stocking were, so the studio had a new-look fresh-start feel while drawing on a proven lineage of success.

At the same time, Kill la Kill itself promotes its revolutionary nature. Its plot revolves around a lone rulebreaking badass taking on an entrenched system defined explicitly by its aesthetic uniformity. It's not a difficult leap to read this storyline metaphorically, Trigger battling the waves of copy-paste seasonal anime.

However, what is most striking, most obviously eye-catching and unique about Kill la Kill, what hits the viewer with the immediate sense that this show is something different, something new, something like nothing you have seen before, is that it looks like nothing you have seen before. Kill la Kill is brimming with unique and memorable images, from the gigantic red block text used to introduce every new character and concept, to the bizarre ship-like architecture of Honnouji Academy, to the blend of fluid sakuga with choppy PowerPoint animation for comedic effect, to smaller iconic moments like Satsuki clicking her heel. It's always in-your-face about it, too. The opening scene sets the tone when a dry history lecture gets interrupted by Gamagoori squeezing through a door like a behemoth, utterly ignoring any rules regarding on-model consistency.

It's this devotion to the unique image that sets Kill la Kill apart from most of the other 2011-2013 shows I listed previously, shows that, while they might have a consistent aesthetic sensibility (such as Stein's;Gate's washed-outness or Fate/Zero's glimmering post-processing effects), are often conforming at their core to ideas of what anime "should" look like in terms of character design, setting, and animation. (The two Shaft shows I listed are an exception, but by this point Shaft's Akiyuki Shinbo had been doing his idiosyncratic visual style for over a decade, and wasn't exactly a fresh face.) Trigger's staff previously created Panty & Stocking, a show imitating the look and feel of western cartoons; Kill la Kill advances that idea into a wholly unique fusion of western and Japanese animation traditions, allowing it to break free of the insular anime landscape and its expected visual signifiers.

Obviously the counterpoint lurking beneath this preamble is that, under the unique visuals and tone, Kill la Kill isn't all that innovative at all, even painfully standard at times. Battles are decided by the power of friendship or the power of staying true to oneself (Don't Lose Your Way!), the hero is mind controlled and her friends call out to her until she breaks free, the one-dimensionally evil villain has a big end-the-world plot that everyone teams up to defeat. Even within the parameters the story establishes for itself, Ryuko proceeds linearly, starting out by fighting small fry club captains, then the Elite Four student council, then Satsuki the student council president, and finally Satsuki's mother who owns the school, with only a few speed bumps along the way.

But Kill la Kill makes the argument that aesthetics are too intimately interwoven with content to be disentangled that way. It's the crux of the conceit of the show, which is founded on a series of puns. "Fascism" sounds like "fashion," so in the world of Kill la Kill those concepts are now entwined. "School uniform" ("seifuku") and "conquest" ("seifuku") are homophones, so uniforms are the method by which Satsuki exerts her intra-Japanese imperialism. (Early on, Satsuki delivers a monologue in which she remarks on how Japanese school uniforms are aesthetically modeled on military uniforms, making it natural for her to militarize her school.) The title is itself a tripartite pun, combining words for "kill," "cut," and "wear." (Notably, this is a pun that blends the English and Japanese languages, much like the blended animation style.) Despite the visual, slapstick nature of Kill la Kill's humor, puns abound throughout. Some are obvious even in translation, such as the "Naturals Election" used to choose the new student council, while others can be difficult to catch. Nui, for instance, apes Dio Brando's catchphrase of "muda, muda, muda" (useless, useless, useless); later, when her arms are cut off, she screams "ude, ude, ude" (arms, arms, arms).

The core idea of most of these puns is that superficial similarity indicates similarity of content. Sometimes, this is an insightful observation, such as with the pun between fashion and fascism. Fascism is notoriously difficult to define rigidly in relation to other forms of dictatorship, but what is easy to define about it is its aesthetics, to the point that films like Star Wars are able to use aesthetic signifiers of fascism to define the politics of its villains even when withholding any actual explanation of those politics. Star Wars never has to show what the day-to-day rule of the Empire is like, because its army looks like the Nazis, so the audience gets the idea. Fascism as a political ideology and fascism as an aesthetic are, effectively, the same thing.

And if aesthetics are equivalent to meaning, then doesn't that mean that Kill la Kill looking new in fact makes it new? That its plot, generic in dry summary, is elevated by the distinctive way it's depicted? One pun, delivered upon the revelation that parasitic alien clothes have influenced humanity's evolution for the purpose of harvesting them for food (a story beat itself derivative of Puella Magi Madoka Magica), is that "the clothes make the mankind." The common refrain of Satsuki and Ragyo that people are "pigs in human clothing" hammers the point home: Aesthetics are everything. There is no meaning without aesthetics, just as people without clothes are unevolved animals.

Ultimately, though, Kill la Kill rejects this statement. Clothes are the enemy, literally, and the heroic organization fighting against them is Nudist Beach, whose members fight naked. At the end of the show, all clothes are destroyed, and the final image before the credits is of the entire cast in a giant, naked, triumphant huddle, an assertion of the inherent value of humanity even without aesthetic adornment. Isn't that the point behind all those power-of-friendship, power-of-believing-in-yourself speeches that Ryuko, Mako, and Senketsu use to turn the tables and win the battle? An appeal to a hidden inner nature that one must remain true to (Don't Lose Your Way!!!), that can overpower superficial displays of strength? Ryuko's mind control arc depicts this idea most overtly. She is controlled by having clothes sewn to her skin -- having an aesthetic forced onto her -- but Mako manages to dive into Ryuko's inner world to bring her back to her "true self."

This kind of undermines Kill la Kill as a work, though. What does a "nudist" Kill la Kill look like, stripped of its unique visual language? Certainly not something that would stand out from the waves of high school battle shounen that have been a fixture in the anime landscape since time immemorial. Kill la Kill's thesis might assert that there's a reason these power-of-friendship cliches endure (a sort of, if you'll allow me to become a parody of myself for a moment, post-postmodern reclamation of a narrative mode tarnished by irony and cynicism), but it contradicts the unique visual style that Kill la Kill developed to convey that idea.

In some ways, Kill la Kill does strip down to a nude, or at least semi-nude, state by the end. Many of its earlier concepts, including the connection between fashion and fascism, vanish as the story progresses. Satsuki and her fascist system are revealed to have been a deception while she secretly worked to betray her mother (playing on Ragyo's mistaken belief that aesthetics mean everything by Satsuki looking compliant while not actually being so), and once the twist occurs, the entire fascism plotline goes out the window. It's never really mentioned again; even when Ryuko gets on Satsuki's case for her past misdeeds, she only calls her out for "Looking down on people from on high," a general and ideologically-agnostic call against elitism. The 1-episode OVA set after the series briefly touches on the fascist system Satsuki enforced, with the episode's villain accusing Satsuki and the Elite Four of generating real, actual terror and abuse despite their ultimately pure motives (an assertion, once more, that aesthetics mean everything, that looking fascist makes you fascist no matter your true beliefs), but Mako quickly dismisses the claim with another power-of-friendship speech. Satsuki and the Elite Four have grown as people, she says. They're no longer bad like they used to be!

Kill la Kill also gets stripped down tonally by its end. The show's opening scene depicts a disobedient student being whipped, seemingly to death; later, his nude corpse(?) is displayed over the school gates. Combined with the title "Kill la Kill," it sets a dark, violent tone that lends weight to the otherwise cartoonish animation style. By the end, though, this dark tone is revealed as a false aesthetic; there is remarkably little killing in Kill la Kill. Stripped of real narrative stakes, the climactic battles diminish to flashy lightshows, action figures bouncing against each other. Worst of all, the blend of "fluid sakuga with choppy PowerPoint animation" I mentioned earlier increasingly tilts toward the latter. This is largely due to the prominence of Nui as an antagonist, since her cartoonishness is part of her character, but given Gainax's track record of running out of money and/or time by the end of its shows and phoning in parts of them, I wonder whether the habit transferred over to Trigger.

In short, as Kill la Kill strips down, it becomes a weaker show. In doing so, it not only undermines its own theme, but undermines itself as a truly new and innovative work, exposing its reliance on superficial aesthetic. The notion that Trigger "saved anime" would depend not only on Kill la Kill's individual success, but on its influence; twelve years out, and the only other notable shows like Kill la Kill were also made by Trigger. Perhaps you can see some influence on Masaaki Yuasa, who also blends high-quality sakuga with deliberately cheaper animation for comedic or stylistic effect, but he had already established himself in 2010 with Tatami Galaxy. Another show with a distinctive "Trigger" feel, Flip Flappers, was a flop flopper that caused its studio to immediately pivot to generic seasonal stuff.

My friend Lurina, when I asked her whether Trigger really had any influence over the larger anime landscape, suggested that Trigger sparked a general desire for more high-quality animation, which can be seen today in shows like Chainsaw Man or Dandandan. I would counter that those shows, while well-made, lack the distinctive blend of high and low, east and west that defines Trigger; if anything, the notion of the high-quality seasonal shounen adaptation comes from My Hero Academia, where Bones eschewed the traditional 500-episode weekly low-effort adaptation style of Naruto, Bleach, and One Piece and set the blueprint for shows like Demon Slayer, Jujutsu Kaisen, and so on, which adapt their source material in 12-episode chunks with lavish production values.

At the same time, I question whether Trigger even saved itself. Kill la Kill would be the studio's peak, and much of its subsequent output is a pale shadow of the show. (Its only other megahit, Darling in the Franxx, had an even more disastrous ending.) This culminated in BNA, a show that takes Kill la Kill's themes and iconography but does them cheaply and lazily. Since then, Trigger has rebounded -- but not by being "Trigger." Cyberpunk Edgerunners and Dungeon Meshi were both popular and well-regarded shows, but they were adaptations where Trigger had minimal control over the storytelling or aesthetic; Dungeon Meshi, other than a few sparse sakuga moments, doesn't even look distinctively like a Trigger show. It feels like any competent studio could have turned Dungeon Meshi into a hit. Trigger still exists, and in its partnership with Netflix is possibly stronger than ever, but it is losing its unique identity, becoming more standard, more similar to the crowd. Another conformer. Maybe the upcoming Panty & Stocking sequel can turn it around, but who can say.

Either way, Kill la Kill's moment has passed, without the cataclysmic ripple on the anime industry fans at the time expected or craved. Honestly, though, despite how I opened this essay, I can't blame them for their desire to see anime "saved." After all, the biggest anime of 2012, the year before Kill la Kill aired, did cause a cataclysmic ripple, one undoubtedly felt to this day. Unlike Kill la Kill, the biggest anime of 2012 spawned countless imitators, an endless flood of imitators, imitators that have themselves spawned imitators and imitators of imitators. That anime of 2012 has even extended its reach past anime, coating the current webfic scene; one could say that the site RoyalRoad would not exist if not for it. In face of such an oppressive, daunting influence, perhaps those fans of 2013 were right to clamor for something, anything, that would reveal a new direction, a way out. In such a context, one might even see it as tragic that Kill la Kill failed to deliver, that at the last moment it came up short. If Kill la Kill was the fork in the road leading to sunnier pastures, this anime led the industry into a deep, dark forest.

The name of that anime?

Sword Art Online.

[edvin74]

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[conceptionsofconciousness]

Chitra Nakshatra "The Star of Brilliance"

People born under Chitra Nakshatra are often recognized for their remarkable ability to create intricate and innovative designs. This nakshatra, ruled by the planet Mars, inspires individuals to explore various facets of creativity. Whether in technology, architecture, or the arts, those from Chitra Nakshatra showcase a unique talent for transforming abstract ideas into tangible masterpieces. Their skill lies not only in innovation but also in their ability to cohesively connect diverse elements, resulting in artworks that are both complex and aesthetically pleasing.

The capacity of Chitra Nakshatra individuals to refine and enhance existing concepts positions them as significant contributors in their respective fields. By deeply understanding the essence of current designs, they can identify gaps and areas for improvement. This analytical approach enables them to build upon established ideas, blending tradition with modernity to create new paradigms. Their expertise often leads to groundbreaking advancements in creative industries, where they leverage both their artistic vision and technical skills to push the boundaries of design.

Furthermore, individuals born under Chitra Nakshatra possess a strong drive for continuous learning, which fuels their innovative spirit. Their eagerness to acquire knowledge about emerging trends and techniques helps them stay ahead in their fields. Their attention to detail, combined with persistent curiosity, ensures that every project they undertake is filled with depth and quality. Ultimately, those born under this nakshatra not only create visually stunning works but also contribute to a broader dialogue in design, highlighting the importance of creativity in shaping the future.

Return to Basic Stories of the 27 Nakshatras Masterpost

[burningcheese-merchant]

DRAGON UPDATE DRAGON UPDATE DRAGON UPDAAAAAAAATE (FOAMS AT THE MOUTH AND FALLS OVER) WHAT ARE WE LOOKING FORWARD TO BESTIES?? GINGERBRAVE GOING SUPER SAIYAN AND SOLOING LONGAN? LET'S FUCKING GOOOOOO

DRAGON UPDATE DRAGON UPDATE DRAGON UPDATE DRAGON UPDATE DRAGON UPDATE DRAGON UPDATE DRAGON UPDATE DRAGON UPDATE-

I waited 3000 years for this moment... Never kill yourself

I will say I'm disappointed that they're using the same Title Event style as usual. BUT! I appreciate that they tried to spice it up by adding a Hard Mode with new maps included. Plus, next update will see a return to rhe Labyrinth style event (like in Dessert Paradise), which will be such a relief. I miss the fuck out of the old main events, man. They were all so fun and unique. I genuinely don't know why they changed it to the exact same boring coin collecting shit. But at least they're trying to listen to player feedback this time, I suppose. Hopefully the trend continues

But that new Breakout episode looks FIRE. Running on Longan's back? It's peak, I'm afraid. And speaking of peak

OUGH MY HEART THEY'RE SO BEAUTIFUL AAAAAGJVKSGAKEAHWHDHSKANAHEH I don't know which costume I like more, honestly. Ovenbreak art team killing it once again (I do like Longan's lobby a bit more than Lychee's though. I'm a big sucker for Asian-inspired architecture and visuals)

As for what I want to happen in the story... My big bad wish has always been this: I want Longan Dragon to surrender. I've wanted this for ages. I think it would be a lot more thematically powerful if Longan chose to stand down and cease his machinations of his own accord. Not because he's suddenly gained any love or empathy for mortals, but because he can't bring himself to destroy the other dragons. Those 4 are his family. They are the only ones who ever meant anything to him. You can tell, underneath his cold personality, that Longan genuinely does care about them, in his own way. It would be more meaningful if Longan decided to put them and their wants first, like family is supposed to do for one another, and let them win. There's no change of heart, there's no sudden realization of the value of life or acceptance of change or anything. Longan just can't (or he can, but he won't) get rid of his family in order to achieve his goal. They're all he has left. In the end, he's doing all of this for them; because he thinks it's what they need most (and because he's a stone-faced tyrant with a disdain for any life that exists outside the sphere of his absolute control, of course). He thinks he's doing them a favor. A service. Just this one time, I want Longan to place THEIR wishes above his own. Maybe it's a silly idea but idk. I like themes about family and sacrifice. It's certainly more interesting than just "everyone bands together and defeats Longan with the power of friendship" lol

Also Gingerbrave better not actually do anything. I'm honestly tired of him being there lol. I'm tired of him being everywhere tbh. He somehow pops up in every story even though it has nothing to do with him really. Go away kid, not everything is about you

[canmom]

analogistically

or, the adventure of canmom on lysergic acid diethylamide

Epistemic status: jam session

Two months ago I dropped acid for the first time, which surely explains a lot about recent posting trends on canmom dot tumblr dot edu. It was exactly as extraordinary as you would hope your first time on psychedelics would be. Among other things, LSD kind of acts like an intense reverb filter on your thoughts, boosting the intensity of sensory perceptions in various ways (for e.g. touch, music, colour, edges) and putting your capacity to form associations into overdrive. I did a lot of classic 'on drugs things' like staring very intensely at my hands or a piece of flatbread trying to map my perception into some kind of visual effects filters I might be able to recreate later... my best description is something akin to motion extraction as the primary effect, causing all sorts of little surface details to pop out very vividly as I moved an object.

This, however, is not a trip report; just an attempt to explain some ideas and connections that were formulated while on acid, in a state where my eyes were full of interesting fractals and I couldn't remember the world 'analogously'.

Here's some music to start us off - one of the first things that I listened to during the trip and something which probably informed the very geometric path I went down...

This is a music track that can be interpreted simultaneously as music and, when used to control an oscilloscope trace, as imagery. The whole function that generates it fits on a floppy. The beat of this music basically stayed with me throughout the whole trip, and for a while afterwards.

One of the curious experiences I had during the trip was what the (sadly no longer actively updated) psychonaut wiki calls perceived exposure to the inner mechanics of consciousness. Although it's not listed as a common effect of LSD, and said to be associated with a higher degree of visual effects than I reached, the description does resonate:

Perceived exposure to inner mechanics of consciousness can be described the experience of being exposed to an array of complex, autonomously-generated, cognitive sensations and conceptual thoughts which contain detailed sets of innately readable information. The information within these sensations is felt to convey the organization, structure, architecture, framework and inner mechanics of the underlying programming behind all conscious and subconscious psychological processes. Those who undergo this effect commonly interpret the experience as suddenly having perceivable access to the inner workings of either the universe, reality, or consciousness itself. (...) These specific pieces of information are often felt and understood to be a profound unveiling of an undeniable truth at the time. Afterward, they are usually realized to be ineffable due to the limitations of human language and cognition, or simply nonsensical, and delusional due to the impairment caused by of other accompanying cognitive effects.

Here, it felt like a kind of separating out of processes within my brain: a separation of sensory processing, conceptual thinking, and the word stream operating with a slight delay between them.

I imagined these different elements of me kind of floating in some kind of space, that each one possessed its own space of meaning, and that thoughts were being mapped between the different parts. I imagined that they were all working in concert to make 'Bryn' happen, so much so that I didn't perceive the different parts most of the time, and that they seemed happy with this arrangement. I also hit on a very striking metaphor of thoughts as oscillations and the resonant modes of the brain.

Afterwards, I wondered how much of this was driven simply by inputs - elaboration on stuff I'd been learning about recently, which we'll get into in a bit. I find it hard to be confident that what I perceived was actual 'direct' introspection, rather than a narrative conjured on the fly by my brain when prompted to generate a 'look inside'.

However, even if it was not the direct observation of some kind of 'brain telescope', it certainly gave me a lot of rich connections to think about. So the purpose of this post is to flesh out and record what came to me very intuitively at the time. Although my direct memory has faded a bit, my brain is still oscillating intently (upcoming metaphor) with thoughts inspired by what I explored there.

We're mostly talking about human brains here, but I will be talking about AI stuff as well, largely as a provocative counterexample.

Prior to the trip I had recently watched 3Blue1Brown's video on how LLMs encode meaning with high-dimensional vector embeddings and the 'attention' mechanism:

To try and summarise briefly, the meaning of a token inside an LLM (and various other types of machine learning system) is an incredibly high-dimensional vector of associations. By combining information from elsewhere in its inputs, the LLM is able to alter its encoding to take into account which specific nuances of a word are relevant here, its grammatical role in a sentence, etc.

How exactly a concept is encoded is essentially entirely relative: a vector can be said to encode a concept because it activates other nodes in the network that correspond to that concept (insofar as, by the time that it percolates through the LLM into its final output, it generates tokens that a human will associate with that concept). It can also come in degrees, rather than being purely binary. The correspondence of individual nodes with concepts can be identified using techniques like sparse autoencoder dictionary learning, which let you find neurons strongly connected to a certain concept which can be 'pinned' to force the LLM to behave in a certain way. And they can also be in a 'superposition' of corresponding to multiple concepts that would be relevant to humans.

Crucially, the 'space' of concepts that a given LLM understands is entirely specific to that model. You can't tale a vector inside Claude and directly convert it into a vector that works for DeepSeek. You have to figure out a mapping between the two spaces.

So let's talk about spaces, and then we'll talk about language.

Spaces & thought-oscillations

Perhaps not surprising as creatures who spend our lives navigating 3D environments, one of the most versatile recurring metaphors in maths and physics is an abstract space.

In physics: you have regular physical space where particles might live; you have phase space, the high-dimensional space of all parameter values and velocities accessible to a system; you have Hilbert space, which is the infinite-dimensional space of all states of the quantum wavefunction; you have Minkowski spacetime of special relativity and various curved spacetime manifolds of general relativity which can be parameterised in multiple ways; you have frequency space accessed by a Fourier transform... Other fields have their own spaces; biology has its own phase space describing populations for example.

In my current field of computer graphics, spaces abound just as much. In rasterisation, you define your verticex positions in object space, then map them to world space, and project them into clip space before the projective-geometry perspective divide finally maps them into screen space (where various further algorithms can take place). But we are far from done! We must also keep track of the UV space over the surface of an object, and the tangent space defining directions along the surface for certain kinds of anisotropic effect. A lot of graphics calculations involve mapping points in one space into another space. It's linear algebra all the way down, baby. Even more abstract spaces like all the different colour spaces are there.

One interesting area where spaces come up is the study of oscillations. For many oscillating structures, from something simple like a string on a violin to something complicated like a building, you can decompose the motion into a combination of pure, sinusoidal vibrations known as normal modes. You do this by turning the system's equations of motion into a matrix and finding its eigenvalues and eigenvectors. Remarkably, these form a basis, meaning that you can break down the system into a sum of eigenvectors, evolve them independently, and then add it back up.

Now, let's return to machine learning, and its feature spaces. In an LLM, the feature-encoding vectors evolve in discrete steps passing through layers of the LLM. High-dimensional vector spaces also show up in neuroscience, for example when using electrode arrays to monitor the activity of neurons.

However, inside a brain, the whole system is temporal in nature, and you have all kinds of feedback effects, which means you could imagine these 'feature vectors' not as static things but as oscillations.

I imagined a thought as something like a spiky little blob oscillating with various overlapping modes. Well, I'm a 3D artist, let me make a picture of that for you. Let's make it a demo even. Let's go to Switzerland and spend a weekend trying to make a visual representation of something I saw on LSD. That's a cool thing to do.

This is a superposition of spherical harmonics, all given different frequencies. The (infinite) set of spherical harmonics forms an orthnormal basis for functions on a sphere, so if you took each component of one of those ultra high dimensional vectors as the coefficient of a spherical harmonic, you would get a unique bumpy shape.

Funnily enough, I was inspired by code that was written for displaying data from MRI imaging, although that is pretty much entirely a coincidence because there it represents something quite different, the diffusion of water molecules.

With this metaphor in hand, we can imagine recurring patterns of thought (ranging from comfortable turns of phrase to traumatic flashbacks) as something like the resonant modes of a system. They are easily excited by random impulses, and slow to die out. Conversely, other types of thought might be heavily damped. Much like a violin bow provides a whole bunch of noisy excitations which ultimately end up exciting a string's resonant modes, the noisy sensory input would get distilled down into oscillations.

The idea of considering the movement of neurons through some kind of phase space is not so outlandish. In fact, recent research has been investigating the topology of 'subspaces' explored by neurons in the brains of mice, as discussed in this video (yes I've been watching a lot of Arsem's videos lately...)

However, the exact meaning of any of these hypothetical 'modes' is entirely contextual. We might be able to say 'this mode is stimulated when you receive sensory input with the colour red' for any given brain, or even section of one brain.

But to map the oscillations in one space into another space, we need to have some kind of common interface. Perhaps for adjacent regions of the brain, we could go 'directly', with one functional unit of neurons wired up to excite corresponding oscillations in another.

But what about brains that are only connected by whatever you can pass through the physical world inbetween them? Sound, images, etc.? How can you create a correspondence there?

Language

Writing has been described as a kind of telepathy: we encode our internal world into a series of symbols (either as images or sound), which are then decoded to generate a thought in someone else's brain - one that is notionally equivalent.

But what is the nature of that equivalence? It isn't that it will make the exact same pattern of neuron firing in your brain that it did in mine. After all, you have a completely different neural network that has learned different inputs. So there is some kind of mapping from one space to another: the pattern of activity in my brain and the pattern of activity in your brain are related in some way.

We all know that the meaning of sounds in language is pretty much arbitrary. It's built by associations: you have learned that the symbol-sequence 'red' corresponds to this colour's internal representation [assuming your monitor is not calibrated in a really weird way].

And insofar as we have broadly similar sensory and bodily experiences, it is possible to build up this mapping of associations between words, sensations, and whatever other internal representation exists in our brains. It's also a feedback process, spawning all sorts of social constructs by giving them names and acting as if they exist.

However, language does more for us than this.

A moment of introspection: I personally experience an ongoing verbal 'stream of consciousness' most of the time. How this manifests more concretely is that words come to me rapidly from 'somewhere inside'; if I am speaking, I might consider briefly whether they are the 'right' words before saying them.

Internally, I might consider a thought that occurs to me and decide that I do not agree with it, or just think about a sentence I have thought as a kind of 'object', as if I am perceiving it from a different vantage point. It seems to be impossible to consider a thought 'as I am thinking it'; only after it has entered into memory can I 'observe' it.

When I was on LSD, I perceived a kind of 'separating out' of the 'inner', nonverbal process of thought and the linguistic stream. There would be a delay in which the linguistic stream would be waiting for input, and would have to kind of 'spin its wheels' and fill space as it waited for something concrete to encode. This separation was quite delightful, since I am not used to perceiving it in such a way. Other times when I was on LSD I had a vague sense of multiple thought streams occurring in parallel, of switching tracks to bring one or another into salience (something covered here on the psychonaut wiki). I'm not entirely sure if these 'seemed verbal'.

This suggests to me some kind of feedback cycle, of thoughts bouncing between the 'language space' and the broader 'conceptual space' of the rest of the brain. Speculatively: my brain might encode something into language in order to store it while it thinks about something else, for certain more 'sequential' forms of thought, or to activate resonances with linguistically-encoded things. By bouncing thoughts in and out of 'language-space' it might be able to perform different kinds of thinking/computation.

Expanding the space

One of the more intense images that occurred to me while I was jamming with all these ideas of spaces and oscillations was the thought of how new ideas get encoded into the space as I encounter new things and learn. I had recently made two friends, and I had the idea of new dimensions appearing: first a direction that was associated with my friends as a pair, and a secondary dimension that encoded the differences between them.

Each of these 'dimensions' would be associated with other concepts by the dynamics of the neural network.

Visually, I imagined a line extending out from (something that represented the space), and then dividing into another line. I think this is kind of what is meant when the psychonaut wiki speaks of 'intrinsically understandable' geometric representations: I knew exactly what this line was supposed to mean, but it would hardly be clear if I drew you a picture.

Exactly what that 'adding of dimensions' would mean on a physical level I can't tell you. I don't think it's like my brain was literally growing an extra neuron that would specifically be stimulated by thoughts of my friends, like the now-famous 'golden gate bridge' neuron in Claude. Internally, it all presumably exists in some nebulous state of superposition with all sorts of other ideas. Maybe you could extract a vector associated with that concept by some kind of statistical bullshit if you had somehow access to the states of all the neurons, but we don't. Do we?

...well, I thought we don't. Actually we pretty much do have access to individual neurons in mice. We can do all sorts of crazy shit like make their brains transparent and attach glowing proteins to specific neurons that are activated when a specific memory is stimulated. That is fucking insane. We are literally living in an age. Here's Arsem again:

The idea of 'engrams' as the physical correspondents to memory is nearly a century old, but now we can actually physically observe them.

So, you develop a new concept-association, and a certain subset of neurons get tagged to that concept and excited when it comes up. We mentioned these 'subspaces' up above: presumably that is what could be said to grow an extra dimension. If I have a conceptual dimension that is 'associated with my friend M.', presumably there is a set of neurons that correspond to her, and another set of neurons linking them to various concepts that I associate with her, my memories of what she looks like, etc. etc.

I get a strong sense that the more things that I encounter, the larger my internal 'space' of concepts becomes. But these feature dimensions don't seem to be 'independent'. I suppose what I'm approaching obliquely and fuzzily here is the idea of covariance, and the covariance matrix seen in techniques like principal component analysis. Or something to do with the subspaces mentioned above.

The role of prediction and roleplaying

The thing language models optimise for is to generate something that is contextually appropriate and consistent. This results in a curious behaviour akin to 'roleplaying', where the model will respond as if it's 'in character', according to a premise set up in a prompt.

I previously talked about the 'free energy' model in neuroscience, in which the brain is constantly attempting to predict the next sensory input. There, the main point was in the creation of art: that a lot of the interest we have in artworks comes from its delicate balance of predictability/unpredictability.

However, I think the brain is also predicting something even more significant: itself!

Viewed in another light, an LLM generates a variety of contextually plausible tokens that it might continue along, and then it selects one. The form of its selection is to pick one at random. However, what if it was not random? What if there is some process that views the prediction output and goes 'yes, that one?'

When I am talking, ideas of things to say will come into my head. I will have just a moment to decide whether to let them come out my mouth or not. Or, I will think a thought in my internal 'stream of consciousness', and then conclude that 'yes, that is good' or 'no, this appals me, I won't say this'. We could say that the process that is generating the stream of language is attempting to predict whether I will find it agreeable, or interesting, or relevant or some such thing.

In other words, I am continually engaged in an elaborate performance of 'Bryn'.

On LSD, I had the curious sense of how all these functional elements I was dimly sensing within my brain were acting in concert to produce 'Bryn'. I had the strange and honestly very comforting sense that they were all happy to play a role in generating this persona. I don't know how much credence to lend to this idea.

When I enter a new social context where the rules are unfamiliar (such as a kink scene, c.f. everything is roleplaying except roleplaying which is improv), I become temporarily compromised in my ability to perform the contextually appropriate character. I need to get a sense of the dynamics of this new space - in other words, my brain must develop its prediction-model. It is, in other words, very much like learning to play a new game. (I'll read you eventually, Wittgenstein.)

Depending on context, depending on which set of dynamics you are attempting to predict, different memories will become more or less able to be drawn up through the associative links. Feedbacks are possible; hence 'flashbacks', emotional and literal, where the memory becomes so furiously excited that it shuts out everything else for a while. But this also shapes what sort of person the brain predicts you will be (and thus gives you the option to be) in a given moment.

Compression

Prediction, game-playing, and performance are all facets of this constant process of updating my internal representations - in other words, adjusting the resonances and dynamics of those neuron-interaction spaces. The brain 'wants' - generally tends - to simplify and abstract. In other words, it wants to compress - to discern underlying patterns so it can store its information and generate predictions more efficiently.

So it will try to relate unfamiliar new things to familiar types, and then, where necessary (e.g. because of an extended interaction with a person or a thing), flesh them out with additional details - which is to say building out a subspace for that thing to vary within.

When I was first transitioning my gender, I had a pathetic tendency to view all these interesting new women I was meeting as instances of the same type. It made me embarassing; I was viewing people as a category, not as individuals. Now many many years later, probably the subspace for thinking about all the different trans women I know is one of the larger ones in here. Perhaps other information has been forgotten (dissolved into noise) to make room for it.

The more time I spend with someone, the more specific associations I can build with them.

The more I can get a sense of the dynamics of their inner meaning-spaces.

Initiate feedback loop

So we encode high-dimensional oscillating thoughts into a stream of language-associations in order to excite analogous thoughts in the brain of another person. But of course, that person will have their own associations. Different memories and ideas will be excited by that word. I can only dimly predict how my words will be perceived.

But communication is not hopeless. Because we can ask for clarification. We can pass messages back and forth. Clarify the shapes of each of our thoughts.

The specific ideas I use for introspection, whether or not I'm under the influence of a powerful substance like LSD, are all influenced by the history and the models my brain has built. I like physical science metaphors, obviously. I am a creature who can't help but think in the language of dynamical systems, feedback loops, networks of interacting elements, fluids (hehehe), component parts, parallel processes, games, and of course abstract spaces...

Perhaps it is a worldview that is proper to this moment in the story of the superorganism!

This post represents the most complete effort I've made so far to encode the 'working model' I have of the shape of thinking into language. But the things I am talking about are very abstract, and the direct experiences I refer to are only really available to me - I can only hope that my words excite something analogous in your mysterious meaning-space.

Listen to me banging on about oscillations though. Might as well go full hippie and call it vibes. You can take the girl out of Glastonbury, but...

Postscript

The other image I had while I was on that LSD trip was of each brain existing somewhere in a void: each a constellation of connected parts, which only occasionally get so lucky as to brush up against another such structure and glimpse another mind. Each one trying desperately to roleplay itself in the face of chaotic input and its own inscrutable behaviour. As many people do when they take this stuff, I felt a sort of empathy for everyone, even - especially - the people who had annoyed or troubled me. A glow that lingered long after.

I do not think I am anywhere near done with this quest to understand what the hell I am, or what any of us are for that matter. It's impossible, isn't it? To somehow find a model of the universe and all within it so elegant that it can fit inside here and so rich it captures all that complexity. Authors to read, conversations to have (hii), sensory and emotional experiences to flesh out the spaces.

But before all that... or running through all that... is of course, well, other people. You lot. Endlessly mysterious creatures who continue to fill this hungry, vibrating brain with strange oscillations. Have you considered yourself as the nucleus of the fractal patterns evolving within the ~800,000,000,000,000,000,000 human neurons, and all that we accumulate around us? I don't know, is that a silly metaphor? Do you like it?

"The net is vast and infinite".

That's all we've got for tonight, folks. We've been canmom - love you all, thanks for listening!

[movingthisblogcelestialtarot11]

Hi lovey! I wanted to ask your opinion on what placements in someone’s chart could support them being an architect?

Hey lovey! 🤍🥺 that nickname I love it.

Placements that indicate someone being an architect:

Venus 10h, Venus 4h, Venus 1h— attracted to visual arts and aesthetics. Venus 4h loves to design interior and exteriors for the home they want to live in which amplifies their eye for details. They want to create the home they wish to have which is why their architecture might lean towards studying renaissance architecture, greek styles, and gothic architecture(though not limited to)

I can also see saturn dom being interested in gothic style architecture, engineering, though not limited to.

Venus 10h, Saturn 10h may prefer stroking the masses trends to create their architecture. Smart individuals, they study micro trends and the market to predict what the mass with lean towards in terms of architecture. They have an extensive knowledge on the history of how architecture evolved. Saturn 10h is more likely to incorporate less of a traditional style and modernist approaches to their architecture.

Moon as well as strongly aspected venus (conj. Trine & sextile) can also indicate architectural interest. The moon & venus help with refinement of ones skills and adds grace to their details.

Saturn 1h, and 4h can also make a native more inclined to architecture. Studying less of aesthetic, and more so the logicalities, like engineering again! Electrical engineering, etc.

Mars 5h can also denote a strong case for architecture, since the 5h is all about our passions, fun and creativity. If mars is exalted this is highlighted even more. But mars can denote engineering as well!

Aspects to the 10h as well denote architectural interest. Saturn aspecting the 10h, Venus, Moon and Mars.

[chicsyntheticsai]

[theterribletenno]

Aight I'm about to do something.

I'm going to define the generations of Warframe based on broad design principles and trends and I bet a bunch of people are gonna get their panties in a bunch over minutiae. I guess to prevent unnecessary "um actually"-ism in the notes I'll preface with

A. This is based on personal opinion and is not meant to be interpreted as provable or disprovable fact. B. There will be outliers in every generation that buck trends and you don't need to point them all out.

G1 the Classic warframes. Being functionally prototypes of an un-finished and un-proven game the first generation of warframes had a lot to prove and not a lot to lean on. Generation one has rather limited mechanics and setups (some of which have been remedied post-release with reworks). Most generation one frames were very formulaic and laid the foundation for future warframe design;

First ability: Basic damage "bolt" attack. Second ability: An escalation of the basic bolt, usually with higher damage and wider range. (May be replaced by a second special tactics ability) Third ability: Special tactics ability, often for defense or support, has the most variety of functions. Fourth ability: Global nuke (or exalted weapon if you're fancy).

G1.5 the Iteration warframes. Generation 1.5 was more varied than the originals, with some frames being continuations of the original formula but almost all of them adding novel mechanics to the game.

G2 the Exploration warframes. More consistent and bolder exploration of new mechanics and playstyles than the previous frames, going beyond iterating on formula and incorporating novel elements to more than just one or two abilities, the first generation of true experimentation.

G3 the Complete warframes. What sets this era of warframe design apart form others is the "completeness" of their kits, by which I mean no skill is divisible from the whole, they all work in conjunction to create a wholly unique playstyle. These interconnected and self-contained ability sets make these warframes exceptional in both the short and long term. Excalibur Umbra is something of an outlier in this generation and sort of belongs in his own category separate from both original and prime frames.

G4 the Style warframes. These warframes were mechanically a step backwards from the third generation, due to having overall shallower and less interconnected abilities. This is not to say that these warframes are bad or insufficient. While some of these frames prioritized aesthetic over performance they are overall successful and some manage to incorporate new novel mechanics and tools which were either not previously conceived or otherwise possible with old architecture.

G5 the Saturation warframes. This most recent generation is rather perplexing, seeming to run hot and cold. Lessons from all previous generations seem to be present, although not all are equally successful. With members that imitate the classics, dabble in iteration and experimentation, and attempt to capture both completeness and style in their visual and mechanical design. What can be said about this generation, unfortunately, is that while it attempts to tread new ground most of its members cannot avoid being compared to older warframes occupying the same niche and may be ultimately redundant. This may be in part due to the game's age and not necessarily a condemnation of the new frames' design.

[eurothug4000]

INTERVIEW WITH TOMM HULETT - SENIOR ASSOCIATE PRODUCER ON SILENT HILL DOWNPOUR

As part of my video on Silent Hill Downpour, Tomm kindly agreed to be interviewed! A big thank you to him for providing insight on the making of this title :)

Q1 - What led to deciding that open world aspects would be included in Downpour? Was it the trend of games at the time or was there something else that influenced this?

I had several aspects of the original SH games that I kept championing for the new ones, and one aspect was how much of SH1 was exploring the town itself. It was (relatively) huge! SH2 had a smaller more focused set of “town” areas, and then SH3 reused those. Origins brought it back to a degree but there wasn’t very much to do beyond the main quest.

Another thing I loved was how the notes in the original games would often mention characters or side stories that were not part of the main quest but definitely contributed to the atmosphere and creepiness. Lastly, as you said, open world games like GTA3 were cropping up all over. So these three factors all coalesced to become Downpour’s big explorable town filled with optional side quests that told little mini stories. But to be clear – we were not asked “can you put in something modern like Open World?” It’s more like what we wanted to accomplish with the town and sidequests made sense in an open world context, and then that created an exciting bullet point for marketing organically.

Q2 - Was there ever supposed to be a UFO ending? If yes, was there a rough outline for it?

We were not planning a specific “UFO” ending and I don’t actually recall why. We did plan for a joke ending, which turned into the happy birthday surprise. Or, it’s possible we planned for a UFO ending but someone came up with that instead and we just went with it, due to the nice escaping prison aspect of it.

I do know we wanted a wide variety of ending types, like the original games had, which is how we ended up with cool twists like the Anne/Murphy prison swap, etc.

Q3 - How did you get Korn on board for the theme?

When we got the unfortunate news we could not involve Akira Yamaoka, we knew that finding a worthy replacement for the game’s score was job # 1, and we were fortunate enough to be connected with Daniel Licht who did an amazing job matching the mood of Silent Hill with his own style.

But another big aspect of the SH music is the attract mode video, along with a rock song. Of course Yamaoka-san had always handled this as well, along with Mary Elizabeth McGlynn. Since this was kind of up in the air, our licensing department wanted to find a good licensing partner that might extend the awareness of Silent Hill beyond its core audience, but still sounded brand-appropriate.

A lot of different artists were discussed, but in the end, Korn made the most sense due to a variety of factors I can’t really get into. However one key factor was tailoring the lyrics to Silent Hill Downpour, rather than just being given an unreleased B-side as-is.

Q4 - The architecture (more so interior) style in Downpour feels very unique compared to the other SH games. Slightly gothic, almost like fancy buildings in New York - especially those apartments and office buildings! Although once I learned that the development team was based in the Czech Republic, I felt like maybe that was a big influence. What was the thought process behind going for this different style of environment?

I think a lot of this is, as you said, the Czech influence. Western Europe and North America have enough common threads I think it’s probably more similar than we realize if that is our whole sphere of reference. And obviously game players are familiar with Japan through games (Yakuza and Persona of course, among others) but Eastern Europe is far less represented. I think that Vatra “making what they know” had a positive effect on the games visuals and ambiance. It is the most unique and interesting of the Western SH games.

I think it’s generally accepted that as a whole, western gamers prefer the original SH games, made in Japan. And it turns out, there are a lot of Japanese fans who love the Western games most (going so far as to import Homecoming!), which was an interesting thing to discover. It tells me that an important part of Silent Hill’s creepiness is that sense that something is just OFF that you can’t put your finger on, and maybe it’s a result of unconscious cultural influences creeping into the design of the town itself, then being perceived through a different cultural lens.

Q5 - What were some of the most difficult parts of developing Downpour?

A minor challenge was the fact that fear is so subjective. Between two people sure, but let alone 2 teams in different cultures. So at times there was a lot of heated discussion about what the important parts of a scare or intense moment were, and what the audience would respond to.

The biggest difficulty though was external, just knowing the feelings and expectations of the fanbase at the time. The other Western Silent Hills had their fans of course, but nothing had made a huge splash like Silent Hill 2 (which itself wasn’t popular immediately but that’s a different story entirely!) We were very proud of Shattered Memories, but that was an unconventional entry and we just really wanted Downpour to be the “HD Silent Hill” that fans deserved. We all put a lot of pressure on ourselves. However even taking a quick peek at any forum there was so much cynicism it made the work challenging. And then at some point during the final year or so of development, an infamous series of videos released and sucked up a lot of air in the room as it were.

It also ended a lot of the spirited debate that Silent Hill fans enjoyed, as there were a lot of declarations of the “true” canon or “here’s what the game is REALLY about”. Those debates were always what kept the fanbase alive and vibrant, and it was rough seeing that go away. I don’t really feel like Downpour was given its fair shake in the indepth analysis department, which I was really looking forward to seeing, during development!

Q6 - What were some of the reasons behind the enemy designs of the game? Are their appearances all stemming from Murphy’s mind and experiences? Or Anne’s too? The prisoner types felt like they could be both, but the Dolls in particular made me wonder since they feel more related to her backstory!

It is kept purposefully vague. Obviously at first you’re supposed to assume this is Murphy’s Silent Hill, and the enemies need to support that. But then when you realize this is perhaps Anne’s story that Murphy is caught up in, they can’t betray that idea either. Fortunately the two characters have a lot in common. Murphy is a father willing to do anything to avenge his child. Anne is a child willing to do anything to avenge her father. Both have failed marriages because of their trauma, and so on.

Honestly this is one of the things I was hoping to see more debate about among the fanbase!

Q7 - For the Anne’s Story comics, was that originally supposed to be the basis for DLC for the game? I saw a mention of this online but wasn’t sure how true it was! Were there plans for other DLCs too?

In the very beginning, Anne and Murphy were conceived to be a 2-player experience, so each player could see situations from a different perspective, and we could play with that idea a lot. However after a very short time we realized that idea was a bit ahead of its time, and we focused on making a solid single-player horror game, but the overall story themes remained – but obviously you see less of what Anne is actually doing moment to moment.

As we were wrapping up the game for release, there were conversations about DLC and what form that might take, and Devin and I knew instantly it would be Anne’s side of the story. I wrote up a general structure of it for internal discussions. DJ Ricks had also had a more detailed story originally, so I tried to get some of those details back in as well (when this DLC fell through, I added his story in the Book of Memories DLC – if anybody still has a Vita and wants to delve into that!)

Right around the time I was leaving Konami, there were early discussions with IDW to release a companion comic to Downpour, since Tom Waltz was their SH guy (and has gone on to write their TMNT books and many other great things. Congrats Tom!) and had also written Downpour for us. I gave him a breakdown of my ideas for key moments in Anne’s story; things like Murphy and Anne operating in different chronologies (Murphy sees Anne in the clocktower otherworld BEFORE seeing Ricks, but Anne traverses that otherworld AFTERWARD), or a drowning Anne desperately reaching out for Ricks’s hand, only to find it’s a severed hand tied to his boat.

It took a few years for that deal to come together with the right artist, but thankfully it did! It’s a great companion piece to the game – there are some new details in there that weren’t in my treatment, but it was no longer my story to tell – I experienced it as a fan.

Q8 - What is something you’ve seen players rarely notice in the game which you think is a cool detail? Can be found in the world, story, gameplay or anything!

A tangible detail might be the road signs. I spent a long time figuring out where the other districts of Silent Hill would be, as well as Ashfield, and made sure they were properly charted on the large road signs. I made a map and measured distance and everything.

Story wise, I think Murphy’s role in the story is a bit misunderstood. Many players see it as a standard tale of the town punishing our protagonist but it’s a lot more nuanced than that. Anne, I feel, is being punished, because she is out for revenge right now. Murphy already got his revenge, and dealt with the consequences, and ���did his time” as it were. Yes, he has to deal with the consequences of his actions – but those are consequences caused by Sewell, and they were already in motion outside of Silent Hill.

Murphy’s journey is more akin to “Born from a Wish”, or even Eileen’s role in SH4. While most of Walter’s victims did something wrong, Eileen was marked because she was kind to him. It’s basically circumstantial. The Orphanage level is meant to be something different from a standard Silent Hill construct. The town is almost rewarding Murphy for passing a test. It gives him a key that says “Freedom" and everything we weren’t being subtle. And if you watch during the boat scene, there are clear skies ahead of Murphy (and dark storm behind Anne).

And then of course the Silent Hill ambiguity – we all know the only thing on the other side of Toluca Lake is more Silent Hill, so that’s up for debate. Again I was really excited to see how the fans dissected our story and there was never a big discourse about it.

Q9 - There’s a big stretched face with a monocle at the end of the rollercoaster section in Devil’s Pit, I couldn’t wrap my head around it (ha) but who is that/what’s their backstory? I saw somewhere mention it was supposed to be a boss which appeared in a trailer (https://www.youtube.com/watch?v=ZSSoIWJPL-4) but wanted to confirm what the deal was!

Originally there was a boss encounter with JP Sater which took the form of this hideous train man creature. The goal was to have characters such as Howard and Sater, who have both accepted their places in Silent Hill, but with drastically different results.  This would be something for players to ponder and explore.

For various reasons we needed to cut this encounter, and it isn’t exactly key to the story, but we didn’t want to waste the creepy model. So we extended the mine train sequence so it could end with the reveal and taunting by Sater. I guess Murphy can be thankful that he wasn’t part of Sater’s story, so he didn’t have to overcome an enormous steamengine behemoth.

Q10 - Always love hearing about any strong memories you have working on the game, feel free to share anything that comes to mind!

Devin and I both spent a lot of time in the Czech Republic during development, both together and alone. I think a lot "clicked" for both of us early on, when Andy Pang (Producer) took us on a trip to some of the sights around Brno, which included the Punkva Caverns – the inspiration behind the Devil’s Pit.

At the bottom of the caves is a river, and your group of maybe 20 tourists board a small boat and a guide navigates you through these dimly-lit caverns. The guide was discussing that this journey changes based on rainfall, as the water level in the caves may be too high to be safe, and as he said this, we noticed the ceiling was coming AWFULLY low. Especially on the left side of the boat, where we were. In fact, we had to lean over on our neighbors to avoid it. In fact, we scraped our shoulders a bit on the rock.

Afterward we both noted that in America, they would NEVER have sailed at that water level. In fact, there would be signs and barriers preventing you from touching the rock, and the boat might even be on a track or guide of some kind, to ensure maximum safety.

We understood a lot more about Downpour’s Silent Hill after that excursion.

[ccmagazine]

SAN MYSHUNO FASHION WEEK: THE ART OF DRESSING IN MOTION

Opening picture: Slouchy, undone, yet impossibly chic. The kind of layering that makes an impact without trying too hard. Left: Suit and shoes by @sentate, bag by @seoulsoul-sims. Right: cardigan by @ashwwa, pants by @its-adrienpastel.

Not all runways have spotlights. In San Myshuno, the real spectacle unfolds between crosswalks and cobblestone alleys, where style is unchoreographed, raw, and instinctive. This season, the streets breathed a new kind of elegance—one that rejects effortlessness as a trend and instead embraces fashion as a deliberate act. Tailored coats sliced through the wind like architecture in motion, while bold injections of color fractured the city's muted palette, reminding us that dressing is, above all, an expression of control.

CONTINUE READING

The dialogue between structure and fluidity played out in every silhouette. Power suiting, dissected and reimagined, became a study in balance—oversized yet restrained, sharp yet undone. Texture ruled the streets, from quilted puffers swollen with intention to knitted layers that felt less like clothing and more like second skin. Accessories weren’t whispers but declarations: metallic nails that caught the light like polished chrome, sculptural handbags that defied function, shoes that played with contrast, rhythm, and rebellion.

Here, fashion is not dictated. It is lived, challenged, and reconstructed in real time. The city itself is a collaborator, shaping movement, mood, and meaning. What remains is not just a collection of garments, but a visual language—spoken fluently by those who understand that dressing is never just dressing. It’s a statement, a disruption, a frame in an ever-evolving film. These are the looks that defined the moment.

Power dressing, redefined. Oversized yet cinched, and always in control. Suit by @charonlee, scarf by @serenity-cc, hair by @twisted-cat. Sunglasses by @ruchellsims.

Structured outerwear, a sculptural bag—this look is proof that the classics never fail. Coat by @sentate, bag by @rimings, boots by @sentate x @arethabee.

Rich neutrals and sculptural silhouettes redefine monochrome dressing with a modern edge. Left: sweater and bag by @seoulsoul-sims. Hair by @pralinesims Right: jacket by @arethabee.

Sporty, sleek, and undeniably fresh. The future of casualwear is here. Jacket by @tina-sims, shorts by @yuyulie, bag by @fukkiemon, glasses by @madlensims, earrings by @joliebean, hair by @gegesimmer.

A bold two-piece in the perfect shade of envy—suited up, but make it street. Pants by @serenity-cc, cap by @pralinesims, boots by @jius-sims.

Layering done right—oversized outerwear meets effortless street cool in a look that feels both intentional and untouchable. Beanie by @dorkmocha-cc, coat by @serenity-cc, jeans by @aladdin-the-simmer, sunglasses by @gorillax3-cc.

High shine, high impact. A statement piece that turns an everyday stroll into a fashion moment. Dress and shoes by @sentate, puffer jacket by @bluerose-sims, hair by @daylifesims.

Soft meets structured—this contrast of textures and prints is a masterclass in styling. Hair by @simstrouble, shirt by @caio-cc, bag by @lumysims, boots by @sentate x @arethabee, sunglasses by @sentate.

If confidence had a colour, this would be it. Retro-inspired but refreshingly modern. Blazer and scarf by @gorillax3-cc, pants by @trillyke, hat by @aharris00britney, glasses by @sentate.

Unexpected colour clashes that feel so wrong, they’re right. Shoes by @bergdorfverse, bag by @tommyandsean.

A microtrend moment: metallic claws that scream high-fashion rebellion. Nails and rings by @ashwwa.

Playful, textured, and impossible to ignore. A burst of colour in a sea of neutrals. Glasses by @ashwwa, jacket by @sentate, skirt by @serenity-cc, bag by @lumysims, shoes by @jius-sims.

[ultimate-worldbuilding]

[🔗Building a Diverse Culture] [🔗Elements of culture] [🔗Cultural Iceberg]

🗺️Geographic Distribution

Why knowing where your culture is important:

Enviroment ➡️ Materials from the enviroment ➡️ affect their clothes, food, weapons etc.

Enviroment ➡️ Certain resources are limited ➡️ plays into their values

Areas, planets where the culture is primarily found

Migration patterns throughout the world

Influence of the environment on their everyday lives

🍵 Values, Beliefs and Traditions

Values and Beliefs:

Core values and principles that guide the culture's behavior and decision-making

Moral and ethical codes that shape their interactions with other cultures and their environment.

Beliefs about the universe, spirituality, the afterlife, and the nature of existence.

Customs and Traditions:

Rituals, ceremonies, and traditions that are significant to the culture's culture

Celebrations, Festivals, holidays, or coming-of-age rituals.

Customs related to birth, marriage, death

Belief Systems and Religion:

Religious or spiritual beliefs practiced by the culture

Deities mythologies and legends

Rituals, ceremonies connected to their faith

sacred sites

👯Relationship and Communication

Social Structures:

Hierarchies and social classes within the culture

Systems of governance, including monarchies, democracies, councils, or communal decision-making. [see government template]

Gender roles, family structures

Interactions between different generations or age groups

Language and Communication:

Unique language(s) spoken by the culture

Dialects and variations within the language

Non-verbal communication, gestures

Written scripts, alphabets, or symbolic systems used for recording and transmitting knowledge.

Relationships and Interactions:

Protocols and etiquette for social interactions, greetings, and forms of address.

Values placed on community, cooperation, or individualism.

Attitudes towards outsiders, including hospitality, suspicion, or xenophobia.

Education, training, and knowledge transmission practices

🪐History and Origins

Mythology or creation stories related to the culture

Historical events that shaped their culture and identity

Moments of triumph, struggle, or transformation in their history.

Conflicts, wars, or alliances that influenced their development and interactions with other Cultures.

How do they prerve the past? (Art, oral traditions, written texts, artifacts, monuments ?)

Are there any guardians of historical knowledge? (historians, scholars?)

Historical Figures and Heroes:

Notable individuals who played pivotal roles in their history

Legendary figures of inspiration within their culture.

Stories and folklore surrounding these historical figures and their impact on the culture

Cultural Revivals (If there was any)

Periods of cultural revivalthat brought about significant artistic or intellectual growth

Factors that sparked these revivals, like social movements, political changes, natural disasters or technological advancements.

How much of these revivals are still affecting them today?

Where do they keep their cultural items?

Interactions with Other Ethnicities/Cultures:

Relations with other culture in the past (conflict, alliances, trade, etc.)

Cultural exchange, assimilation, or integration with other groups

Prejudices, stereotypes, or tensions between different culture bleeding from past events

Are they welcoming?

🎨Art and Architecture

Arts and Entertainment:

Describe their forms of artistic expressions: visual arts, music, dance, storytelling, theater, etc.

Cultural appreciation for literature, poetry, oral histories.

Clothing and Fashion:

Traditional clothing styles and attires specific to the culture, fashion trends

Materials, colors, or patterns commonly used in their garments

Dresscode, Clothing related to social status, ceremonies, events (symbolic accesories, wedding gown, mourning attires, etc.)

Symbolism or cultural significance of specific garments and accessories

Architecture and Built Environment:

Unique architectural styles, construction materials, design principles.

Landmarks, sacred sites, structures of cultural importance.

Adaptations to their homeworld's environment ,technological advancements in their architecture

🎙️ Economics and Technology

Economic Systems:

Modes of production, distribution, and trade

Economic practices (bartering, currency, communal sharing)

Attitudes (or even predujices) towards wealth, resources, material possessions.

Economic activities and industries prominent

Currency, barter systems

Technology and Advancements:

Technological prowess specific advancements

How their technology shapes their way of life and cultural practices

Interaction between traditional and advanced technologies

🍱 Food

Traditional dishes, cooking techniques, culinary customs

Staple foods, spices, ingredients

Rituals and etiquette associated with food preparation, sharing, and dining

Sacred abd holiday dishes.

Impact of environmental conditions on their culinary practices

🏦 Law and Leadership

Political systems or governing structures within the culture

Leadership roles, decision-making processes, and power dynamics

Forms of governance (monarchy, democracy, tribal council, etc.)

Conflict Resolution and Justice:

Methods of conflict resolution

legal systems

Cultural attitudes towards justice, punishment, and rehabilitation.

Traditional systems of governance, decision-making in matters of conflict

[fashionbooksmilano]

Ralph Lauren A Way of Living

Home, Lifestyle, Inspiration

by Ralph Lauren

Rizzoli, New York 2023, 543 pages, 23,5x30,5cm, ISBN 978-0-8478-7214-5

euro 78,00

email if you want to buy booksinprogressmilano@yahoo.it

A stunning celebration of Ralph Lauren’s signature home collections—including the designer’s own homes—which have inspired the world of interior design for nearly half a century. The cinematic vision of Ralph Lauren is brought to life with a stunning and intimately written book that spans decades of innovation and influence by the iconic American designer. Ralph Lauren: A Way of Living, published by Rizzoli New York, commemorates the 40th anniversary of the home collection with the first comprehensive volume dedicated to the signature style of Ralph Lauren and his pioneering lifestyle approach to design. From trailblazing innovations that revolutionized the home industry to conceptualizing residential retailing and perfecting the art of hospitality, Lauren has created a multifaceted world that evokes emotion and inspires a more beautiful way of life. This special volume presents a visual timeline of Ralph Lauren’s remarkable history as a lifestyle innovator. Lauren’s unparalleled ability to seamlessly blend fashion and the home is illustrated with the groundbreaking designs and innovative use of materials that have distinguished the home collection since its inception in 1983: menswear-inspired Oxford Cloth bedding that required the creation of special looms and took two years to refine; the sleek RL-CF1 chair, crafted of carbon fiber and inspired by Lauren’s McLaren F1 racecar; and an appreciation for a timeworn, weathered aesthetic, as exemplified in the iconic Writer’s Chair with its hand-burnished leather and rich patina. Historic achievements such as the opening of his first New York City flagship on Madison Avenue – which invited guests to experience the complete World of Ralph Lauren in a residential environment – and his renowned restaurants that offer the epitome of gracious hospitality, demonstrate the magnitude of Ralph Lauren’s influence on the worlds of lifestyle design and hospitality. The timeline is complete with quotes from distinguished members of the design world and prominent figures of our culture including Oprah Winfrey, Hillary Rodham Clinton, and architecture critic Paul Goldberger. Ralph Lauren’s signature ability to create transportive environments begins with his private homes that inspire his iconic lifestyle collections. Ralph Lauren: A Way of Living offers an in-depth look at all the places Lauren calls home, from a sprawling ranch in Colorado and an island retreat in Jamaica, to a Fifth Avenue penthouse overlooking Manhattan’s Central Park, a seaside home in Montauk and a country estate in Bedford. Lauren’s homes are deeply personal expressions of his vision for living; captivating imagery is complemented by essays and descriptions written in his own words that intimately express the meaning of home and share inspiration and anecdotes for each residence. The photos of Lauren’s captivating homes are followed by a celebration of Ralph Lauren Home’s lifestyle collections – cinematic worlds that are brought to life with iconic imagery showcasing Lauren’s pioneering lifestyle approach and all-encompassing home collection. Ralph Lauren: A Way of Living honors the life and work of a true visionary and innovator. Ralph Lauren’s monumental impact on the way we live is as recognizable today as it was groundbreaking 40 years ago. His vision is not about trends of the moment, but is built upon values and things that last, and his legacy will continue to shape the places we call home.

29/10/24