#Guldies

[mlleclaudine]

CHEF BOI!!!

[meowartsandstuff]

My makeship and youtooz plushies :3

[thecraftgremlin]

My special skill is if you post a stop motion animated GIF about 75% of the time I'll recognize it. No this has never been useful in any situation, why do you ask?

[waywardmillennial]

Oooh can you please go on PH crew tangent because I don't think I realized why that's the most expensive show they make. Like I believe them and I guess the lore scenes take a lot of work but other than that idk why it takes them a year to produce 6 episodes.

Hey nonnie! Thanks for the message (based on my prev ask). I've been rotating it in my head to figure out how best to respond - sorry if this is a longer tangent than you were looking for!

To clarify: PH is probably the 2nd most expensive show that Watcher produces. The most expensive would be GF, and that's because they have to cover travel expenses for a whole crew for multiple nights at each haunted location (also GF has the most related "spin-off" shows with Debrief, Road Files, & Evidence Room making it, in Lizzie's words "a big unbankable bitch" of a show)

There are several reasons why it takes so long to produce six episodes of PH. Part of it is Shane's time being spent on nearly every other Watcher show in some capacity, so he has less time to spend on PH. It's also probably why PH has added so many more crew members - to give Shane more time to work on everything, which in turn makes it more expensive to produce

Also, each season of PH the average runtime has gotten longer. Season Six was the longest so far at about 4 1/2 hours overall, with each episode being about 44 mins - putting it on par with many network and streaming runtimes when you think about it!

I checked the credits for PH 6x06 and there are 22 crew members listed. For example, the episode was Written by Garret Werner, Researched by R.J. Blake and has three people working on the graphics (Mike Fox, Mattea Guldy, & Crystal Cheng). And this count of 22 people doesn't include the guests or voice talent for the episode, the puppet makers (Madison Girifalco and DLUX Puppets), or any of the above-the-line producers or show elements that have been locked in for years now, like the logos or stock sound effects!

And Season Six barely had any Lore!

Special Watcher Crew Shout-Out: Charlie Clay, Editing Wizard! She worked on almost every episode of Season Six, and when I checked 6x06 only one other editor (Frank Parker) is listed. I don't know if you've ever tried to edit video, but there are so many elements that go into it and she makes it look so good!

I also don't know if you're on WTV but we're getting basically a short film's worth of Lore at the end of each Season Seven episode (the two episodes we've gotten have both been closer to the 50 min mark) so of course that's more filming time and editing in post

TLDR; Each season of PH has increased in quality and runtime, adding more crew, because Shane is working on many of Watcher's other shows, but they're still producing a full season with a crew of about two dozen people!

Note: I did want to shout-out this comment from Shane in Pod Watcher #055, when he pointed out that PH and GF are both more expensive to produce than TS. I was a little surprised to hear this, since PH doesn't have the travel expenses of the other two shows. But PH has the largest crew out of the three shows (mainly in post-production) so that must be where the difference goes

Good for Watcher for hiring and paying artists and creators!

[okay some PH quality talking points because I couldn't resist]

DISCLAIMER: I love PH and Shane! He's so creative and what he made with the early seasons is very entertaining, so these aren't meant to be critiques. But if you look an early episode (I picked 1x02 because I enjoy it so much) you can see how the show has increased in quality as the years have passed

For example, The Professor's glasses had to be held on with gaffer tape, the theatre didn't have the Watcher logo on top yet (maybe it hadn't been finalized yet? not sure) and the Pile of Diamonds was a literal sock puppet

I love the Diamond puppet! and I would die for him and his crush on the God puppet!

But when you compare these Season One puppets to ones that Madison Girifalco made in later seasons, like Asmodeous or the Hippo, the increase in quality is obvious - and it should be! Because they chose to hire a professional who specializes in making puppets instead of Shane making them on top of all his other jobs at Watcher

The early seasons was when Watcher was just starting out as a company so Shane had to do most of the jobs himself. He's credited as Creator, Writer, and Editor of 1x02, but we know he also built the early puppets and theater himself, was writing and recording the music (with help from Patrick Volker) and so much more! (remember how he had to trigger the question lights himself and pull the curtain up and down on the rope he built in?)

And I support all versions of the show because it's what Shane wanted to make with the resources he had at the time!

I don't think I've seen anyone point it out but in Season Seven it looks like the whole theater got a facelift. It looks scaled up a little to fit the larger Professor and the constellations light up now! And the curtain rolling up is much smoother too

I don't know if this build was done by Shane or with help from other crew members, but it demonstrates that Watcher is continually re-investing into their shows to add to the production quality and I respect that so much!

Edit: Also good to note that Season One was only four episodes

/end rant

[laughingsquid]

'Chef Boi' Clumsily Tries to Make Some Yummy Pancakes in a Stop Motion Animation by Guldies

[dogsofwosogram]

Teyah Guldie

[saa-na]

i think one of the reasons why video essays have gotten so popular and why they're absorbed with no critical thought is that soft sciences are seen as something just about anyone can be an expert of. you expect a certain level of credentials from people who write or speak about STEM subjects but anyone who can string words together can be regared an expert of history, film, music, literature, language, anthrophology, even psychology. this is not a new phenomenon either, illustrated by former politicians becoming historians despite having no credentials, which is such a naturalized process that even captain picard did that lol.

i understand why it's easier to digest information from video essays than from academic publications, especially when it comes to "fringe" topics like queer history, and it is definitely a failing of ours to not produce easily accessible research - but we need to get paid too, and the route to getting paid is generally not through video essays. and to be honest, dumbing down research easily results in misunderstandings and the spread of misinformation even if it's dumbed down by a professional of the field. i am barely scratching the surface of the discourse on this subject, but would recommend Jo Guldi's and Richard Armitage's book History Manifesto for anyone who might want to read more about this though i don't personally agree with them on everything.

[steampaul]

Original by guldies

.

[video-reviews]

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[la-mousme]

HIS 5925 Week 7

            This week’s sources is unique as we are only analyzing one revolutionary text and the responses and reviews surrounding the text. This includes the comments of other authors, the authors themselves through an overview summary video, and even separate documents that the authors made in response to other critically acclaimed reviews. For the purpose of simplicity, my blog post will cover the sections that I am in charge of, as well as notes and talking points that I think should be noted in our in-class discussion. However, a brief description of their thesis and methodology is needed to understand the critiques and terms used against this manifesto.

            Jo Guldi and David Armitage, authors of The History Manifesto (2014), wrote this revolutionary piece for the purpose of bridging the gap of how historians should view their work in retrospect of the past and future. They claim that historians focus on the past with their research, so much so that there is no plan for the future of that said research, essentially making a call to action for historians to focus more on their work’s future.[1] They even argue a solution to this in a reformed definition of longue duree, or the study of history through a long periodically time frame, which was introduced by Fernand Braudel.[2] The authors state, “It possesses a dynamism and flexibility earlier versions did not have. It has a new relationship to the abounding sources of big data available in our time – data ecological, governmental, economic, and cultural in nature, much of it newly available to the lens of digital analysis”. [3] Their response to the new reformed definition, and how it may prove to be affective.

            As the public response from fellow historians, there was definitely heated and biased remarks made. As I am appointed to the response for the critiques made by Deborah Cohen and Peter Mandler, there is notable disagreements made, but also clarifications as to what the text was supposed to do and what response it was supposed to create. The authors state that their two broad claims are for the “need for change and the potential for innovation” [4], their purpose in encouraging change for an ever-evolving field. For discussion, I wonder the responses that my peers might have of the rest of the field. Is the response warranted and how did the authors handle such critique? Did the manifesto do what it was supposed to for the field, if not then what was the affect? From this document, and specifically my section, have an overall discussion of technique and purpose, as well as if the counter data used can accurately diffuse such critiques.

            In continuation of ‘purpose’, we shift the critiques in a more positive perspective in creating an influential piece. Analyzing reviews and the ‘about the author’ sections, there is more evidence in suggesting this book was made to spark attention and conversation. Its free and public access and diverse use fields and sources, this book is essentially a warning to historians in the fate of their work. These very thoughts are seen and noted in the more positive reviews, which proves that many historians are receptive to this change and this issue. Why is it that some are receptive? What might be causing this personal reaction? Is more public access and focus on public history causing this stray in responses? What could the authors have done to have prevented this?

[1] Guldi, Jo, and David Armitage. The History Manifesto Cambridge, United Kingdom: Cambridge University Press, 2014. 8.

[2] Ibid., 9.

[3] Ibid.

[4] Guldi, Jo, and David Armitage. The History Manifesto Cambridge: A Reply, United Kingdom: Cambridge University Press, 2014. 545.

[jimjams-art]

Stop Motion Interviews

I am currently doing a research project where I am reaching out to stop-motion animators and puppet makers, and it has been going great!

I have done email and Instagram interviews with Ethan Marak and Alexander Unger (Guldies). Both of them were very kind and gave me very detailed and thoughtful answers to my questions.

I have done two video-call interviews with Julia Soo and Jeff Riley. Both of them were amazing to talk to and told me to reach out to them if I ever have questions or need any advice.

I am currently waiting to get emails back from Sam Gainsborough and Suzanne Twining as they have both agreed to be interviewed but through email. They both have my questions, and I am just waiting for their answers.

I have reached out to a total of 10 people and have heard back from 7 as I received a DM back today from Ben Mignola saying he would love to be interviewed. In total, this project has been doing better than I expected and I feel like I am making connections in the industry :)

[sxhaaaan]

Session 3: Magic Paper. A Stop motion Animation by Guldies

I like this stop motion animation. It is creative and moves very fluidly. The animation narrates a story through the printer. It includes some interesting details such as the printer's cable not being connected. It's a magical as in the title "Magic Paper", the creator gets a glass of water by printing out a tap. In the animation, the sound effects are very adaptable making the animation more realistic.

[jmg-digitalhistoryuta]

Text Mining, Digital Mapping, and Big Data

We live in a new world of technology, where almost everything you do on the internet is available for sale and some marketers encourage you to sell that data yourself. That data is tracked and developed from your posts on social media, the digital cookies you unknowingly granted permission, to even the ads you clicked on, yes including the one about erotic fan fiction on Senator Ted Cruz. And while there are steps you can take to protect your data, thousands of historic and archival works are publicly available now at anyone's fingertips. You can even listen to the tape recordings of President Nixon through his own presidential library. Now is a new frontier for digital humanities and the work historians can produce. The most daunting digital projects historians have developed are the digital maps, from the Malaysian Emergency, the Atlantic Slave Trade, to the Mapping of the Republic of Letters by Stanford University.

Historian of Capitalism Jo Guldi from Brown University and Harvard Historian David Armitage wrote The History Manifesto about this new era of big data and information overload.  Thanks to new software that can process millions of different esoteric data into their system, historians can have better overview on entire time periods.  Software like Paper Machines can construct visual presentations, showcasing a plethora of different patterns within historic texts, through an accessible graphical interface (91).  This can apply to not just the digital humanities but to the hard science as well, like climate data.  However, acquiring that data in an ethical matter provides their own hurdles as well, thus Universities need to teach their students on how to better accumulate data properly because gathering data through unethical means would undercut not just the chances of publication but their entire thesis as well (111-112).

Jo Guldi also wrote how universities should teach an ethical method for digital humanities through her book The Dangerous Art of Text Mining: A Methodology for Digital History.  In her book she again mentioned the benefits of the software Paper Machines and the free to use bibliography software Zotero (90).  For now, most of our past books are digitize through Google Books, and while that has been beneficial Google is a for profit company that prioritize money above all else.  For that reason, more Public and nonprofit entities need to work in digitizing past data to avoid having thousands of past works and research trapped in a cell conducted of digital paywalls, especially if their warden was someone with more incentive to keep such knowledge away from the public eye.  But we not in that complete dystopia just yet.  So, our current generation of Digital Historians simply need to make sure that they have ownership of their data and have acquired them through ethical means and not through immoral means that would lead the public to clicking on suspicious links that would give their computers malware.   

[wenting5]

Week 3 response

I really like the UTOPIA. A Stop motion animation by Guldies

Firstly,I particularly appreciate stop motion videos made with clay. Clay offers versatility in creating various shapes and characters, allowing for diverse uses. In the video, The author utilizes bright colored clay, enhancing its visual appeal. The varied shapes of clay consistently surprise me with unexpected forms. The pacing of the video is also well controlled, maintaining a smooth flow throughout. The author has clearly dedicated significant effort to ensuring the video's fluidity.

[suzyvivi]

Top 3 Melhores Colchões 2024, Conheça os Colchões Castor, Guldi e BF - A...

[asinametra]

I have three total characters, and they're ALL Roegadyn!

They are

Naia Lalita:

Guldstyr Thosinundwyn:

Blooming Rosebush:

My first, and my main, is Naia Lalita.

I named her before I knew any of the XIV lore, so the way her name kinda-sorta fits into lore naming conventions is a happy accident. My inspiration when making her in character creation was "colorful mermaid" - so she's a Sea Wolf with green skin, purple hair, and rich ocean blue eyes.

I wanted to pull from that same core inspiration ("colorful mermaid") for her name, so I looked through a lot of name meaning searches for similar and related terms. I chose Naia. In Greek, it can mean water nymph, waves, and seafoam. It means similar in Basque, and in Hawaiian it can also mean dolphin - which adds a note of playfulness to the name that I really enjoy. Her last name, Lalita, I chose for its Sakskrit and Hindu meaning of "playful, charming." In hindsight, had I given her a proper Sea Wolf name, it would have been Khannwyta, meaning "laughing water."

As I've played and built her backstory (for myself, since I do not RP), the reason for her name is this: Hers is a seafaring family, who operate a trading loop between Limsa Lominsa, Kugane, and Thavnair. It is their custom to name children based on the waters on which their boats currently sail—and Naia was born in Thavnairian waters.

My second is Guldstyr.

I originally made Guldy (that's what good friends can call her!) during a lapse in my subscription, just playing around in the benchmark character creator and pushing my own personal aesthetic boundaries. I generally prefer not to mix metals, so her entire visual concept was to combine silver and gold. I also don't typically like heterochromia in my characters, so I applied the silver-and-gold concept there, too. I also assigned her the "annoying" voice option, because it made me laugh. She sat as a saved preset for quite some time. Then there was a long enough content lull that I was bored finding things to do with Naia, and we didn't have Datacenter Travel yet—so I made Gulstyr for real and had to finalize a name.

Guldstyr is pretty straightforward. It means "Gold Star" and she is so named for her bright golden yellow eye, which she has had since birth. Her last name follows Sea Wolf traditions, and so she is Thosinundwyn—"daughter of Grey Wave." She is the youngest child, and only daughter, of a once-properous fishing family that was left impoverished after the last calamity. Her home is none other than Crescent Cove, in Western Thanalan, where the locals are not shy about their misfortunes. Her father is of course Thosinund, partnered for life with Wyznsynt ("White Sand"), and she has two older brothers I've yet to name. In addition to ruining the family's fortunes, the calamity also resulted in Wyznsynt falling severely ill, which pushed the family to the point of breaking. Guldstyr's father did all he could to keep the peace, even going so far as to abandon his career in fishing and taking up work as a mining retainer in Ul'dah to provide for his family and ensure his ailing wife had the medicines she needed. But Guldstyr's eldest brother had a short temper and a vice for cheap drink that led to one too many boisterous blame-fests at home, and so she left to prove herself worthy and capable. She actually hired her own father as a retainer once she had established herself with the Grand Companies. She was able to provide for her family enough that her mother recovered, too, and joined her husband in working as a retainer out of Ul'dah for her daughter.

And finally, Blooming.

Blooming is a Hellsguard from a gardening village in the mountains. Children are often named after noteworthy flowers, or prize crops, in the season they are born, and so she was named after a rare rosebush in full bloom. She possesses incredibly powerful empathy, so much so that some swear she has telepathic abilities. She does not, but she does not blame people for spreading the rumors. She left home peacefully, after an overwhelming sense of urgency washed over her one day, drawing her towards the Twelveswood. Her family and village gave her a hopeful send-off and await her return. But for now, she adventures as a traveling botanist, offering potables and provisions as she goes.

Roegadyn players, tell me about your character's name!

What was your thought process behind it? Does it mean something important? Does it follow Sea Wolf/Hellsguard conventions or does it draw on other cultures? Is it the same as their birth name or has it changed? Can other people pronounce it? Do they go by any nicknames or shorten it for convenience?